DOCSLIB.ORG

Journal of the American Viola Society Volume 6 No. 1, Spring 1990

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Journal of the American Viola Society Volume 6 No. 1, Spring 1990 JOURNAL otthe AMERICANVIOLA SOCIETY Chapte r of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research Vol. 6 No. I Spring 1990 Features 3 Hermann Ritter and His Viola Alta Daniel Thomason 7 Exploring Sound on the Viola Yizhak Scholten 11 Henri Vieuxtemps' Solo Literature for Viola David Kerr 16 A Practical Approacli to Viola Technique Darrel Barnes 19 Heidi Castleman Rosemary Glyde 27 Survey of the XVII International Viola Congress Ronn Andrusco 37 New Officers 42 AVS in the USSR The Journal of the American Viola Society is a publication of that organization, and is produced at Brigham Young University, " 1985, ISSN 0898-5987. The Journal welcomes letters and articles from its readers. / Editorial office: BYU Music, Harris Fine Arts Center, Provo, UT 84602 , (801) 378-3083 Editor: David Dalton Assistant Editor: David Day Advertising office: Harold Klatz, 1024 Maple Avenue, Evanston, IL 60202 , (312 ) 869­ 2972. Deadlines are March I, June I, and October 1 for the three annual issues. Inquiries can be made to Mr. Klatz. Copy and art work should be sent to the editorial office. Rates: $75 full page, $60 two-thirds page, $40 half page, $33 one-third page , $25 one­ fourth page. For classifieds: $10 for 30 words including address; $20 for 31 to 60 words. Payment to "American Viola Society" c/o Rosemary Glyde, treasurer, P.O. Box 558 Rt. 22, Golden's Bridge, NY 10526. OFFICERS David Dalton Presid ent Brigham Young University Provo, Utah 84602 (801) 378-3083 Louis Kievman Vice-Presid ent 1343 Amalfi Dr. Pacific Palisad es, CA 90272 Harold Klat z Secretary 1024 Maple Ave. Evan ston , IL 60202 Rosemary Cl yde Treasurer Po. Box 558, Rt. 22 C olden's Bridge, N Y 10526 Ma urice W Riley Past President 512 Roosevelt Blvd. Ypsilanti , M I 48197 EXECUTIVE BOARD Paul Doktor M ilton Katim s Donald M clrmes Robert O ppelt Joseph de Pasquale Dwight Pounds Thomas Tatton Ma rcus Thom pson Francis Tursi Karen Tuttle Ann Woodward COORD/NAroR WITH CANADIAN VIOLA SOCIETY A. Baird Knec htel FOUNDER Myron Rosenb lum HONORARY PRESIDENT _.. ~ e. Will iam Prim rose (deceased) cf('cr:J;f Chapterof the Internaiionale Viola -Gesellschaft PUBLISHERS OF MUSIC FOR THE SERIOUS VIOLIST STUDIES FIOCCO SCHMIDT Allegro $3 .00 Alla Turka $3.00 ARNOLD Cadenzas for Telemann FRANCOEUR SHU BERT Viola Concerto $ 1.40 Sonata in A Major $4.50 The Bee $3.00 ARNOLD GLUC K TARTINI Th ree Octave Scales Melody from "Orfeo" $3 .00 The Devil's Trill $6.00 And Arpeggios $4.50 Sonata Angelique . $6 .00 HANDEL BLUMENSTENGAL Sonata in D $4.50 TCHA IKOWSKI Viola Scale Techniq ue Canzonetta $3.00 V ol. I · lst Pos $4.50 HUBAY Melodie $3.00 Viola Scale Technique Hejre Kati $4 .50 Serenade Melancholique $4.50 Vol. II · lsr to 5th Pos $4.50 Valse Senrirnentale $3 .00 JOPLIN TARTINI Pineapple Rag $3 .00 VITALI The Art of Bowing $6.00 Solace $3 .00 Chaconne $6 .00 KREISLER VON W EBER Praeludium and Allegro $4.5 0 Andante and Hungarian REPERTOIRE Sicilienne and Rigaudon $4.50 Rondo $4.50 Liebesleid $4.50 ARNOL D Uebesfreud $4.50 WIE NIAWSKI Basic Bach . ... .. ... ... .. $6.60 Recitativo and Scherzo Caprice Legende .. .. .. .. .. .. $3 .00 Mozart Miniatures . ... ... .. $6 .60 (U naccompanied) $3.00 Scherzo > Tarantella $4.50 The Young Violist Bk. I $6 .60 The Young Violist Bk. II $6.60 MASSENET WO EHR Meditation from "Tha is" $3 .00 Bachiana $6 .00 BACH Chromatic Fantasy and MATTH EWS Fugue $4.50 Fantasy $6.00 ENSEMBLES BEETHOV EN MENDELSSOHN Fur Elise $3.00 Sonata in E Rat $4.50 BACH Fifteen Two > Part BOCCHERINI MOUSSO RGSKY Inventions $6 .00 Music Box Menuet $3.00 Hopak $3 .00 MOZART BOH M MO ZART Duo Sonata in Bk. K.292 $4 .50 Sarabande $3 .00 Adagio K.261 $3.00 Twelve Duets K.487 $4.50 Menuetto Divertimento BRAHMS K.334 $3.00 PACHELBEL Scherzo $4.5 0 Rondo K.250 $4.50 Canon for Th ree Violas and Piano $6 .00 CHO PIN Serenata Cantabile K.283 $3.00 Nocturne for Viola $3.00 NOVA CEK TELEMANN Perpetual Motion $4.50 Concerto # I in C for Four CO RELLI Violas $7.25 Saraba nda, Giga and PAGANINI Concerto #2 in G for Four Badinerie $4.5 0 Six Sonatas Bk. I Violas $7 .25 Sonata # 12 • Follia con Nos. I. 2. 3 $6.00 Concerto #3 in F for Four Variazioni $4.50 Six Sonatas Bk. II Violas $7 .25 DANCLA Nos. 4. 5. 6 $6 .00 Variations on the G String $4.50 VIVALDI Carnival of Venice $4 .50 Co ncerto for Four Violas and PUGNANI DEBUSSY Piano $9 .00 Gavorta Variata $4 .50 Girl with the Flaxen Hair $3 .00 La Plus Que Lente $4.50 RACHM ANINOFF Vocalise $3.00 DVORAK Available from : Romance Op . II $4.5 0 RIES VIOLA WORLD Sonatina Op . 100 $6 .00 Perpetuum Mobile $4.50 PUBLICATIONS 14 FENWOOD ROAD FAURE RIMSKY • KOR SAKO FF HUNTINGTON STATIO N Fantasy $6.00 Right of the Bumb le Bee $3.00 NEW YOR K 11746 HERMANN RITTER AND were taken over by the cello in its higher 3 ranges and later a bass instrument doubled HIS VIOLA ALTA the cello an octave lower.) by Even into the 19th century, the alto viola was the only middle voice, and it Daniel Thomason underwent the same changes that the violin and cello had endured up to this point-­ Throughout the long history of the the flattened contour introduced by violin family, the viola has been the one Antonio Stradivari and other Italian makers; instrument for which permanent the longer, restructured neck; and the mathematical dimensions have not been higher bridge, with sound post and bass bar formulated. Lionel Tertis once said, "It modifications added early in the 19th [the Tertis model] is 163/4 inches long, and century. Yet, the viola generally still this I consider to be the maximum length retained its small size. This small size, the for playing under the chin, and, at the same result of the incorrect geometrical pro­ time the minimum from which to hope for portions of the the instrument in relation a re~lly satisfactory C string sonoritv."! to the dimensions of the violin and cello, William Primrose commented, "The ideal resulted in the so-called nasal sound so size is between 16 inches and 16 1/2 much sought after in the 19th century, inches";2 and Paul Doktor added, "Soloists and which today is accepted as the viola as a rule, like to play on instruments as sound (described by Berlioz as "husky'l"). large as they possibly can handle. The advantage which the large instrument has, Small, Weak Violas as far as additional volume of tone and Most viola players in European possibly more depth is concerned, is orchestras of the 19th century played on lessened by the continuous strain on the left very small, weak instruments; the viola hand.,,3These three comments illustrate the sections were often ridiculed as the weakest 20th century belief that the instrument of the strings, and violists were labelled as must be comfortable to play while those who played a "pensioner's instru­ producing the volume and the characteristic ment." Violinists ready for retirement, and viola sonority violists all seek. Though this even non-stringed instrument players due is evident, it was not so obvious to violists to retire soon, were given a viola to play in the nineteenth century, for whom the out their remaining years." Richard Wagner situation was quite problematic. Violists noted, "In the majority of our orchestras then were used to small, weak instruments the viola players do not constitute the with hardly any projection, and with almost flower of bow[ed] instrumentalists.r" It useless C strings. Berlioz observed, "Con­ became generally apparent that the viola ductors should absolutely prohibit the use situation had to be remedied. The dauntless of these mongrel instruments. Their weak Hermann Ritter, in an effort to find a sound deprives the orchestra of one of its remedy, tried to produce a viola equal in most interesting tone elements and robs it sound and tone to the other stringed of sonority, especially on its deep tones."! instruments. As the violin family emerged in the Hermann Ritter, born in 1849 in Wismar, mid-16th century, the voicing eventually Germany, studied violin, theory and music followed the vocal distribution--2 violins, history at the New Academy of Music in 2 violas (small alto, 39 em = 15 1/2", and Berlin. While municipal music director in large tenor, 48 em = 19"), and cello (and/or Heidelberg, he continued to study art a bass instrument). The smaller alto viola history and philosophy. It was there that was certainly easy enough to handle by Ritter became interested in the viola. He most players, but the larger tenor was also became aware of the precarious extremely cumbersome; even so, the two position of the viola and its players, and sizes of violas existed until the beginning decided to reform matters. However, he of the 18th century. As composers moved seemed more interested in redesigning the away from five voices to the four-voiced viola than chastising the players. (Also very string section, the alto survived and the concerned with the education of new, tenor fell by the wayside. (The tenor parts young violists, he became an influential 4 teacher.") When Ritter moved to Wurzburg initially two violas altas were used in the to teach at the Royal Music School, he had Wagner orchestra.
Load more

Recommended publications
  • Programme 2016
    71e CONCOURS DE GENÈVE INTERNATIONAL MUSIC COMPETITION PROGRAMME 2016 CONCOURSGENEVE.CH Partenaire principal Croquis du sinistre Quoi qu’il arrive – nous vous aidons rapidement et simplement. mobiliere.ch Agence générale Genève Denis Hostettler Route du Grand-Lancy 6a 1227 Les Acacias T 022 819 05 55 [email protected] SOMMAIRE SUMMARY I. INTRODUCTION INTRODUCTION 3 Messages de bienvenue Official messages 3 Comment fonctionne le Jury How the Jury works 10 II. CONCOURS DE CHANT VOICE COMPETITION 11 Programme Programme 12 Prix et récompenses Prizes & awards 15 Candidats Candidates 17 Membres du Jury Jury members 28 Accompagnateurs Accompanists 40 Orchestre et chef Orchestra & conductor 42 III. CONCOURS DE QUATUOR STRING QUARTET À CORDES COMPETITION 45 Programme Programme 46 Prix et récompenses Prizes & awards 48 Candidats Candidates 51 Membres du Jury Jury members 60 Compositeur Composer 71 IV. AUTOUR DU CONCOURS AROUND THE COMPETITION 73 Concert d’ouverture Opening concert 75 Concert vernissage Concert inauguration 76 Pédagogie et médiation Education & mediation 77 V. LAURÉATS PRIZE-WINNERS 85 Programme de soutien Career development programme 86 Coup de Cœur Breguet Coup de Cœur Breguet Prize 89 Tournée des lauréats Laureates tour 91 Festival des lauréats Laureates festival 93 Interview du Quatuor Voce Interview of Quatuor Voce 95 Nouvelles des lauréats News of the laureates 100 VI. SOUTIENS SUPPORTS 107 Amis du concours Friends association 108 Partenaires et soutiens Partners & Supports 111 VII. PRATIQUE PRACTICAL 113 Billetterie, tarifs Tickets, prices 115 Lieux Places 118 Organisation Organization 119 Contacts Contacts 120 — 1 — ALTERNATIVE.CH | CI/UN/CH/F/121215 CI/UN/CH/F/121215 La discipline crée la stabilité.
    [Show full text]
  • THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
    THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize.
    [Show full text]
  • A Tribute to Hans-Karl Piltz Marina Thibeault Viola with David Gillham Violin Eric Wilson Cello Jasper Wood Violin
    Wednesday Noon Hours UBC SCHOOL OF MUSIC A Tribute to Hans-Karl Piltz Marina Thibeault viola with David Gillham violin Eric Wilson cello Jasper Wood violin Duo in B-flat major for violin and viola, K. 424 W.A. Mozart i. Adagio-Allegro (1756-1791) ii. Andante cantabile iii. Tema con variazioni David Gillham violin Marina Thibeault viola Lullaby and Grotesque for viola and cello Rebecca Clarke i. Lullaby (1886-1979) ii. Grotesque Marina Thibeault viola Eric Wilson cello Three Madrigals Bohuslav Martinů i. Poco allegro - Poco vivo (1890-1959) ii. Poco andante - Andante moderato iii. Allegro - Moderato Jasper Wood violin Marina Thibeault viola Composed: Mozart (1783); Clarke (1916); Martinů (1947) # We acknowledge that the University of British Columbia is situated on the traditional, ancestral, and unceded territory of the Musqueam people. Hans-Karl Piltz (1923–2020) Professor Hans-Karl Piltz was a talented violist and teacher who helped shape the School of Music as it evolved from a small Bachelor of Arts program in the late 1950s to the large and thriving School it is today. He was 96 years old when he passed away this April. Prof. Piltz loved teaching, and in 1959 joined the UBC Department of Music — as the School of Music was then known. As Professor of Viola, he mentored several generations of strings musicians who have gone on to long and successful careers in orchestras and as soloists in North America, Europe, and all over the world. He founded and directed the UBC Symphony Orchestra from 1959–1970 and also helped found the Vancouver Society for Early Music — now known as Early Music Vancouver — in 1969.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects
    [Show full text]
  • Download Booklet
    557943bk Cello US 3+3 Rev 8/10/05 5:41 PM Page 1 Maria Kliegel A native of Dillenburg, but living in Essen since 1975, Maria Kliegel is one of the leading cello virtuosi of our time VIRTUOSO CELLO and the most recorded on CD. She took up her studies with Janos Starker at Indiana University in the United States, and won first prize at the American College Competition, at the First German Music Competition, and at the Concours Aldo Parisot. After her triumph at the Rostropovich Competition in 1981, she began a series of ENCORES outstanding international concerts and tours, playing in Basle, with the National Symphony Orchestra in Washington and with the Orchestre National de France in Paris, always accompanied by Mstislav Rostropovich Bach • Schubert • Popper • Debussy • Ravel conducting. Successful concert events have led to numerous sessions for radio, television and for record labels. In 1990, when she recorded Alfred Schnittke’s First Cello Concerto, the Russian composer recognized her interpretation as the standard recording of the work, a judgement echoed by critics when the recording appeared on Offenbach • Rachmaninov • Shostakovich Marco Polo, and later on Naxos (8.554465). Maria Kliegel appears regularly as a guest soloist at venues all over the world, as well as with her duo partner, the American pianist Nina Tichman, and, since 2001, with her and the violinist Ida Bieler in the newly established Xyrion Tro. She has an exceptionally wide repertoire and her versatility Maria Kliegel, Cello and interest in exploring newer works has stimulated contemporary composers to write music for her to perform, for example Hommage à Nelson by Wilhelm Kaiser-Lindemann (recorded on Naxos 8.554485) , dedicated to Raimund Havenith, Piano Nelson Mandela.
    [Show full text]
  • LE MONDE Mort De Christophe Desjardins, Un Alto Pour La Musique De Tous Les Temps
    LE MONDE Mort de Christophe Desjardins, un alto pour la musique de tous les temps L’instrumentiste français, soliste à l’Ensemble intercontemporain durant deux décennies et interprète privilégié des plus grands compositeurs, est mort jeudi à 57 ans. Par Marie-Aude Roux Publié le 15 février 2020 Il avait su faire de son instrument une arme de création massive : l’altiste Christophe Desjardins, bien connu des mélomanes amis de la musique contemporaine, est mort à Paris jeudi 13 février des suites d’un cancer. Il avait 57 ans. L’un de ses enregistrements maîtres restera le somptueux récital réalisé pour Aeon, Alto/Multiples, en 2010, dix-sept pièces en 2 CD, dont le premier rassemble des grands solos (d’Hindemith à Elliott Carter) qui ont jalonné le XXe siècle, le second regroupant des œuvres en lien avec un répertoire plus ancien ou réclamant le procédé du re-recording afin de démultiplier son instrument – ainsi, le trio Ockeghem-Maderna, le quatuor de Wolfgang Rihm ou le septuor Messagesquisse de Boulez, dont il a créé en 2000 la version pour sept altos. Christophe Desjardins naît à Caen (Calvados) le 24 avril 1962. Il commence la musique très jeune et étudie d’abord le piano, avant de découvrir l’alto à 10 ans, dont le côté mystérieux le séduit. Il entre au Conservatoire national supérieur de musique de Paris en 1982 dans les classes de Serge Collot pour l’alto, de Geneviève Joy (femme d’Henri Dutilleux) pour la musique de chambre. Muni d’un Premier Prix à l’unanimité l’année suivante (1983), il se perfectionne à la Hochschule der Künste (actuelle Universität der Künste) de Berlin auprès de Bruno Giuranna.
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • Julius Stockhausen's Early Performances of Franz Schubert's
    19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16.
    [Show full text]
  • CHAMBER Contents
    CHAMBER Contents Page a1 3 a2 31 a3 53 a4 60 a5 80 a6+ 89 Supplementary Performances On Period Instruments 103 Classic & Historic Performances 114 a1 The symbol denotes a signpost navigating the user to related content elsewhere in the Edition. Keys are indicated thus: Symphony in C = C major · Sonata in c = C minor 2 CD 1 73.52 Nannerl Notenbuch (excerpts) 16 Minuet in C K15f 1.02 1 Andante in C (No.53) K1a 0.17 17 Fantasia (Prelude) in G K15g 0.59 2 Allegro in C (No.54) K1b 0.14 18 Contredanse in F K15h 1.00 3 Allegro in F (No.55) K1c 0.48 19 Minuet/Minore in A/a K15i/k 2.04 4 Minuet in F (No.56) K1d 1.14 20 Contredanse in A K15l 1.06 5 Minuet in G (No.62) K1e 21 Minuet in F K15m 1.11 Minuet in C (No.63) K1f 1.57 22 Andante in C K15n 2.34 6 Minuet in F (No.58) K2 0.54 23 Andante in D K15o 2.05 7 Allegro in B (No.59) K3 0.57 24 Movement for a Sonata in g K15p (Movement 1?) 3.05 8 Minuet in F b(No.49) K4 1.16 25 Andante in B K15q (Movement 2?) 3.18 9 Minuet in F (No.61) K5 1.06 26 Andante in g bK15r (Movement 3?) 1.31 10 Allegro in C (No.20) K9a 3.10 27 Rondo in C K15s 0.37 Erik Smith harpsichord 28 Movement for a Sonata in F K15t 2.18 CD 10: alternative versions from Nannerl Notenbuch 29 Sicilianos in c K15u 1.45 CD 174: K9b fragment · CD 177: K9b completion 30 Movement for a Sonata in F K15v 2.30 31 Allemande in B K15w 2.18 London Sketchbook b Chamber a1 32 Movement for a Sonata in F K15x 0.54 11 Allegretto in F K15a 1.38 33 Minuet in G K15y 0.54 12 Andantino in C K15b 1.03 34 Gigue in c K15z 2.08 CD 194: K15b first version 35 Movement
    [Show full text]
  • Journal of the American Viola Society Volume 28 No. 1, Spring 2012
    y t e i c o S a l o i V n a c i r e m A e h t Features: 1 f IVC 39 Review r e o b Bernard Zaslav: m From Broadway u l to Babbitt N a Sergey Vasilenko's 8 n Viola Compositions 2 r e m u u l o V o J Journal of the American Viola Society A publication of the American Viola Society Spring 2012 Volume 28 Number 1 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ In Memoriam ~ IVC Host Letter Feature Articles p. 13 International Viola Congress XXXIX in Review: Andrew Filmer and John Roxburgh report from Germany p. 19 Bowing for Dollars: From Broadway to Babbitt: Bernard Zaslav highlights his career as Broadway musician, recording artist, and quartet violist p. 33 Unknown Sergey Vasilenko and His Viola Compositions: Recent Discoveries in Russian Archives: Elena Artamonova uncovers works by Russian composer Sergey Vasilenko Departments p. 49 In the Studio: Yavet Boyadjiev chats with legendary Thai viola teacher Choochart Pitaksakorn p. 57 Student Life: Meet six young violists featured on NPR’s From the Top p. 65 With Viola in Hand: George Andrix reflects on his viola alta p. 69 Recording Reviews On the Cover: Karoline Leal Viola One Violist Karoline Leal uses her classical music background for inspiration in advertising, graphic design, and printmaking. Viola One is an alu - minum plate lithograph featuring her viola atop the viola part to Dvořák’s “New World” Symphony. To view more of her art, please visit: www.karolineart.daportfolio.com.
    [Show full text]
  • A Pedagogical Analysis of Dvorak's Cello Concerto in B Minor, Op
    A Pedagogical Analysis of Dvorak’s Cello Concerto in B Minor, Op. 104 by Zhuojun Bian B.A., The Tianjin Normal University, 2006 M.Mus., University of Victoria, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Cello) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2017 © Zhuojun Bian, 2017 Abstract I first heard Antonin Dvorak’s Cello Concerto in B Minor, Op. 104 when I was 13 years old. It was a memorable experience for me, and I was struck by the melodies, the power, and the emotion in the work. As I became more familiar with the piece I came to understand that it holds a significant position in the cello repertory. It has been praised extensively by cellists, conductors, composers, and audiences, and is one of the most frequently performed cello concertos since it was premiered by the English cellist Leo Stern in London on March 19th, 1896, with Dvorak himself conducting the Philharmonic Society Orchestra. In this document I provide a pedagogical method as a practical guide for students and cello teachers who are planning on learning this concerto. Using a variety of historical sources, I provide a comprehensive understanding of some of the technical challenges presented by this work and I propose creative and effective methods for conquering these challenges. Most current studies of Dvorak’s concerto are devoted to the analysis of its structure, melody, harmony, rhythm, texture, instrumentation, and orchestration. Unlike those studies, this thesis investigates etudes and student concertos that were both precursors to – and contemporary with – Dvorak’s concerto.
    [Show full text]
  • Saturday Playlist
    February 16, 2019: (Full-page version) Close Window “To achieve great things, two things are needed; a plan, and not quite enough time.” — Leonard Bernstein Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, Awake! 00:01 Buy Now! Kreisler Beautiful Rosemary Bell/Coker Decca 000278302 028947561750 00:03 Buy Now! Kreisler Liebesfreud (Love's Joy) Bell/Coker Decca 000278302 028947561750 00:08 Buy Now! Beethoven String Trio in C minor, Op. 9 No. 3 Mutter/Giuranna/Rostropovich DG 427 687 028942768727 Love Music from Acts 2 & 3 ~ Tristan and 00:33 Buy Now! Wagner Philadelphia Orchestra/Stokowski EMI 75480 724357548021 Isolde 01:00 Buy Now! Tchaikovsky Six French Songs, Op. 65 Radulovich/Bryant Navona 6171 n/a 01:16 Buy Now! Chopin Piano Concerto No. 2 in F minor, Op. 21 Arrau/London Philharmonic/Inbal Decca 478 0108 028947801085 01:51 Buy Now! Barber Adagio for Strings, Op. 11 Scottish Chamber Orchestra/Saraste Virgin Classics 730756 5099973075622 12 Variations in G on a French Song, K. 02:00 Buy Now! Mozart Perlman/Barenboim DG 419 215 028941921529 359 We observe Black History Month 02:16 Buy Now! Still Miniatures for Oboe, Flute and Piano Sierra Winds Cambria 1083 021475108329 at TheClassicalStation 02:29 Buy Now! Saint-Saëns Violin Concerto No. 2 in C, Op. 58 Wan/Montreal Symphony/Nagano Analekta 8770 n/a 03:01 Buy Now! Mendelssohn String Quartet in D, Op. 44 No. 1 Melos Quartet DG 415 883 028941588326 03:27 Buy Now! Corigliano The Red Violin Caprices for solo violin Caroline Goulding Telarc 80744 n/a Schwabe/Royal Northern 03:38 Buy Now! Schumann Cello Concerto in A minor, Op.
    [Show full text]