DOCSLIB.ORG

JKF Fischer's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JKF Fischer's Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1975 J. K. F. Fischer's "Adriadne Musica": an Analytical Study. Orin Samuel Driggers Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Driggers, Orin Samuel, "J. K. F. Fischer's "Adriadne Musica": an Analytical Study." (1975). LSU Historical Dissertations and Theses. 8158. https://digitalcommons.lsu.edu/gradschool_disstheses/8158 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. J.K.F. FISCHER’S ARIADNE MUSIC A; AN ANALYTICAL STUDY A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Orin Samuel Driggers, Jr. B.M., Mississippi College, 1963 M.M., North Texas State University, 1967 M.M., Louisiana State University, 1973 December, 1975 UMI Number: DP69545 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI Dissertation Publishing UMI DP69545 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code uest ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 MANUSCRIPT THESES Unpublished theses submitted for the Master's and Doctor's Degrees and deposited in the Louisiana State University Library are available for inspection. Use of any thesis is limited by the rights of the author. Bibliographical references may be noted, but passages may not be copied unless the author has given permission. Credit must be given in subsequent written or published work. A Library which borrows this thesis for use by its clientele is expected to make sure that the borrower is aware of the above restrictions. LOUISIANA STATE UNIVERSITY LIBRARY ACKNOWLEDGEMENTS I would like to express special appreciation to several people who have helped to make this study possible. 1 am extremely grateful to Dr. Jack Guerry, my major professor, whose foresight, encouragement, and superb guidance have been a constant support since the initial stages of this study. It is he who is responsible for the original idea for this work. In addition to his scholarly and ingenious guidance in research, Dr. Guerry has been both challenging and inspiring as a piano teacher. The other members of my committe, Paul Louis Abel, Milton Hallman, Mary Hansard, Wallace McKenzie, Daniel Sher and George Walter, and Dean Everett Timm, of the LSU School of Music, are due special appreciation. Preparing this paper was facilitated by the capable assistance of Peggy Hunt, who was indispensable in proofreading and typing the contents. Her assistance will always be appreciated. I would also like to thank Don Morrison of the LSU Photo Duplication Department and James Turner for their help with the musical examples. J. A. Thorbum, Mrs. Helga Schollman, Dona Sanders and Lynaire Hartsell were most helpful with some of the translations. Finally, I would like to thank my wife, Virginia, for her understanding and encouragement. TABLE OF CONTENTS LIST OF TABLES ...................................................................................................................... iv LIST OF FIGURES .................................................................................................................... v ABSTRACT ..................................................................................................................... vii Chapter I. INTRODUCTION....................................................................................................... 1 II. THE PRELUDE AND FUGUE BEFORE BACH .............................................. 3 III. FISCHER AND HIS MUSIC .................................................................................. 17 IV. THE ARIADNE MUSICA....................................................................................... 21 V. INFLUENCES .................................................................. 37 VI. CONCLUSIONS AND RECOMMENDATIONS ................................................. 49 BIBLIOGRAPHY ........................................................................................................................ 52 APPENDIX ................................................................................................................................... 55 VITA ............................................................................................................................................... 64 iii LIST OF TABLES Table Page I. Types of Preludes in the Ariadne Musica ............................................................... 29 II. Fugues in the Ariadne Musica ................................................................................. 34 iv LIST OF FIGURES Figure Page 1. Kotter, Fantasia in Ut ............................................................................ 4 2. Padovano, Toccata and Ricercar ............................................................................... 5 3. Richter, Suite No. 1, “Toccatina” ............................................................. 8 4. Richter, Suite No. 1, “Capriccio” ............................................................................ 8 5. Richter, Suite No. 2, first movement ....................................................................... 10 6. Richter, Suite No. 3, first movement ....................................................................... 11 7. Richter, Suite No. 3, “Adagio” ................................................................................ 11 8. Tunder, Praeludium ....................................................................................................... 12 9. Buxtehude, Praeludium cum Fuga ............................................................................. 14 10. Title page of the Ariadne Musica ............................................................................... 22 11. English translation of the title page of Fischer’s Ariadne Musica ......................... 23 12. Original preface from the Ariadne Musica ................................................................. 24 13. A free English translation of the preface from the Ariadne Musica ................... 25 14. Title page of Bach’s Goldberg Variations.................................................................. 26 15. Prelude No. 15 in A minor .......................................................................................... 30 16. Fugue No. 16 in A major ........................................................................................... 32 17. Fugue No. 11 in F-sharp minor .................................................................................. 32 18. Fugue No. 8 in E m a jo r ............................................................................................... 33 19. Fugue No. 1 in C m ajo r ............................................................................................... 35 20. Fugue No. 4 in D major ............................................................................................... 35 21. E major fugue subjects, (a) Ariadne Musica, (b) Bach WTC, II ............................. 39 22. F major fugue subjects, (a) Ariadne Musica, (b) WTC, I ....................................... 40 23. Fugue subjects, (a) Ariadne Musica, E-flat major, (b) WTC, II, G minor ........... 41 v Figure Page 24. B-flat fugue subjects, (a) Ariadne Musica, (b) WTC, II ...................................... 41 25. Rhythmical similarities, (a) Ariadne Musica, D minor prelude, (b) WTC, I, D minor prelude, (c) WTC. II, D minor fugue ..................................................... 42 26. Textural similarities in E minor preludes, (a) Ariadne Musica, (b) WTC, I .. 43 27. F-sharp minor fugue subjects, (a) Ariadne Musica, (b) WTC, I ......................... 43 28. Further rhythmical similarities, (a) Ariadne Musica, Fugue in A major, (b) WTC, II, Prelude in A major .............................................................................. 44 29. Motivic similarities, (a) Fischer, Prelude in D minor, (b) WTC, I, Prelude in B-flat minor ................................................................................................ 45 30. Transposed quotes from Fischer’s D major Prelude as found in Bach’s B-flat major Prelude (WTC, I) ................................................................................... 45 31. Fischer’s Prelude in C major from the suite Clio (Parnassus) ........................... 46 32. Preludes in C major, (a) Ariadne Musica, (b) WTC. II ........................................ 46 33. Thematic similarities, (a) Ariadne Musica, Fugue in A minor, (b) Bach, English Suite in A minor, "‘Prelude” ................................................
Load more

Recommended publications
  • Prelude | Grove Music
    Prelude (Fr. prélude; Ger. Vorspiel; It., Sp. preludio; Lat. praeludium, praeambulum) David Ledbetter and Howard Ferguson https://doi.org/10.1093/gmo/9781561592630.article.43302 Published in print: 20 January 2001 Published online: 2001 updated and revised, 1 July 2014 A term of varied application that, in its original usage, indicated a piece that preceded other music whose tonic, mode, or key it was designed to introduce; was instrumental (the roots ludus and Spiel mean ‘played’ as opposed to ‘sung’); and was improvised (hence the French préluder and the German präludieren, meaning ‘to improvise’). The term ‘praeambulum’ (preamble) adds the rhetorical function of attracting the attention of an audience and introducing a topic. The earliest notated preludes are for organ, and were used to introduce vocal music in church. Slightly later ones, for other chordal instruments such as the lute, grew out of improvisation and were a means of checking the tuning of the instrument and the quality of its tone, and of loosening the player’s fingers (as was the Tastar de corde). The purpose of notating improvisation was generally to provide models for students, so an instructive intention, often concerned with a particular aspect of instrumental technique, remained an important part of the prelude. Because improvisation may embrace a wide range of manners, styles, and techniques, the term was later applied to a variety of formal prototypes and to pieces of otherwise indeterminate genre. 1. Before 1800. David Ledbetter The oldest surviving preludes are the five short praeambula for organ in Adam Ileborgh’s tablature of 1448 (ed.
    [Show full text]
  • TOC 0364 CD Booklet.Indd
    JOHANN CASPAR FERDINAND FISCHER Vesperae, seu Psalmi Vespertini, Op. 3 1 Blumen-Strauss (before 1736): Praeludium VIII 1:15 2 Domine ad adjuvandum 1:06 3 Beatus vir 3:23 4 Ariadne musica neo-organoedum (1702): Praeludium et Fuga IV 1:51 5 Conftebor 4:17 6 Ariadne musica neo-organoedum: Praeludium et Fuga XVIII 1:41 7 Credidi 2:03 8 Ariadne musica neo-organoedum: Praeludium et Fuga VIII 1:46 9 Nisi Dominus 3:28 10 Ariadne musica neo-organoedum: Praeludium et Fuga III 1:44 11 Lauda Jerusalem 5:20 12 Ariadne musica neo-organoedum: Praeludium et Fuga XVII 1:54 JOHANN CHRISTOPH PEZ Sonata in G minor 14:43 13 I Adagio 2:13 14 II Allegro 2:23 15 III Adagio 1:25 16 IV Allegro 4:21 17 V Adagio 0:41 18 VI Gigue 1:40 2 JOHANN CASPAR FERDINAND FISCHER FISCHER 19 Magnifcat 6:31 Vesperae, seu Psalmi Vespertini, Op. 3 PEZ Duplex Genius sive Gallo-Italus Instrumentorum Concentus (1696): Sonata Quinta 9:08 20 Blumen-Strauss (before 1736): Praeludium VIII 1:15 I Adagio 1:58 21 Domine ad adjuvandum 1:06 II Allegro 1:39 22 Beatus vir 3:23 III Adagio 3:03 23 Ariadne musica neo-organoedum (1702): Praeludium et Fuga IV 1:51 IV Vivace 1:28 Conftebor 4:17 FISCHER Ariadne musica neo-organoedum: Praeludium et Fuga XVIII 1:41 24 Lytaniae Lauretanae VII (1711): Salve Regina 5:27 Credidi 2:03 TT 63:35 Ariadne musica neo-organoedum: Praeludium et Fuga VIII 1:46 Nisi Dominus 3:28 Exsultemus Ariadne musica neo-organoedum: Praeludium et Fuga III 1:44 Shannon Canavin and Margot Rood, sopranos Lauda Jerusalem 5:20 Thea Lobo and Gerrod Pagenkopf, altos Ariadne musica neo-organoedum:
    [Show full text]
  • Max Reger's Adaptations of Bach Keyboard Works for the Organ Wyatt Smith a Dissertation Submitted in Partial Fulfillment Of
    Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Carole Terry, Chair Jonathan Bernard Craig Sheppard Program Authorized to Offer Degree: School of Music ©Copyright 2019 Wyatt Smith ii University of Washington Abstract Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith Chair of the Supervisory Committee: Dr. Carole Terry School of Music The history and performance of transcriptions of works by other composers is vast, largely stemming from the Romantic period and forward, though there are examples of such practices in earlier musical periods. In particular, the music of Johann Sebastian Bach found its way to prominence through composers’ pens during the Romantic era, often in the form of transcriptions for solo piano recitals. One major figure in this regard is the German Romantic composer and organist Max Reger. Around the turn of the twentieth century, Reger produced many adaptations of works by Bach, including organ works for solo piano and four-hand piano, and keyboard works for solo organ, of which there are fifteen primary adaptations for the organ. It is in these adaptations that Reger explored different ways in which to take these solo keyboard works and apply them idiomatically to the organ in varying degrees, ranging from simple transcriptions to heavily orchestrated arrangements. This dissertation will compare each of these adaptations to the original Bach work and analyze the changes made by Reger. It also seeks to fill a void in the literature on this subject, which often favors other areas of Reger’s transcription and arrangement output, primarily those for the piano.
    [Show full text]
  • The Preludes in Chinese Style
    The Preludes in Chinese Style: Three Selected Piano Preludes from Ding Shan-de, Chen Ming-zhi and Zhang Shuai to Exemplify the Varieties of Chinese Piano Preludes D.M.A. DOCUMENT Presented in Partial Fulfilment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Jingbei Li, D.M.A. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Steven M. Glaser, Advisor Dr. Arved Ashby Dr. Edward Bak Copyrighted by Jingbei Li, D.M.A 2019 ABSTRACT The piano was first introduced to China in the early part of the twentieth century. Perhaps as a result of this short history, European-derived styles and techniques influenced Chinese composers in developing their own compositional styles for the piano by combining European compositional forms and techniques with Chinese materials and approaches. In this document, my focus is on Chinese piano preludes and their development. Having performed the complete Debussy Preludes Book II on my final doctoral recital, I became interested in comprehensively exploring the genre for it has been utilized by many Chinese composers. This document will take a close look in the way that three modern Chinese composers have adapted their own compositional styles to the genre. Composers Ding Shan-de, Chen Ming-zhi, and Zhang Shuai, while prominent in their homeland, are relatively unknown outside China. The Three Piano Preludes by Ding Shan-de, The Piano Preludes and Fugues by Chen Ming-zhi and The Three Preludes for Piano by Zhang Shuai are three popular works which exhibit Chinese musical idioms and demonstrate the variety of approaches to the genre of the piano prelude bridging the twentieth century.
    [Show full text]
  • Music Certificate Repertoire Lists: Piano
    MUSIC CERTIFICATE REPERTOIRE LISTS: PIANO FOUNDATION 1. J S Bach Prelude in C minor BWV999 Any reliable edition Bartok A Joke (also called Jest), no.27 from For 2. Bartók Faber Children vol.1 (from Keynotes Grades 2-3) 3. Bartók Minuet (from The First Term at the Piano) Any reliable edition 4. Beach Weaving Song (from Fingerprints) Faber 5. Beethoven Allemande in A, WoO 81 Any reliable edition 6. Beethoven Fur Elise (complete) Any reliable edition Broekmans & van 7. Cimarosa Sonata no.1 (from 11 Sonatas book 1) Poppel 8. Clementi Sonatina in C op.36 no.3, 3rd movt Any reliable edition 9. Einaudi Le Onde Any reliable edition 10. Gallupi Allegro from Sonata no.26 in A Any reliable edition 11. Gurlitt Allegretto (from Sonatina in G) Any reliable edition 12. Harris Twilight (from Fingerprints) Faber Capriccio (from Succeeding with the Masters: 13. Hässler FJH Music Company The Festival Collection book 4) Allegro (4th movt from Piano Sonata in G Hob. 14. Haydn Any reliable edition XVI/8) Haydn arr. 15. Vivace (from Finale to Symphony no.96 in D) Any reliable edition Salomon Easy improvisation no.1 (from 13 Easy Broekmans & van 16. Hengeveld Improvisations) Poppel Andante Cantabile (from Sonatina in G op. 55 17. Kuhlau Kjos KJ15968 no.2) (from Sonatinas op.20 & op.55) Marching Tune (lower version) (from Keynotes 18. Lenehan Faber Grades 1-2) 19. L Mozart Allegro in G (no.41 from Notebook for Nannerl) Any reliable edition Andante no.37 from The Chelsea Notebook 20. Mozart Faber (from Keynotes Grades 2-3) Any Performance Etude (with improvisation) (from American Popular Piano Book 3 - Etudes Novus Via 21.
    [Show full text]
  • Web Feature 17.1 1
    Kevin Holm-Hudson Music Theory Remixed, Web Feature 17.1 1 Web Feature 17.1 Tonality as a journey The idea of key relationships in music as “distances” to be traveled goes back at least as far as the eighteenth century; in 1702 the composer J. K. F. Fischer published a collection of pieces in nineteen different keys (plus the Phrygian mode) entitled Ariadne musica. The work’s title is a reference to Ariadne’s ball of thread that guided Theseus through the labyrinth in Greek mythology; thus, this was a set of pieces that systematically and collectively explored the relationships among the different keys and “guided” the performer among them. Similarly, J. S. Bach’s son Carl Phillipp Emanuel Bach (1714– 1788) described in his influential book, Essay on the True Art of Playing Keyboard Instruments (1762), how a performer might negotiate a dramatic path among keys that had different perceived “distances” from one another: “in a free fantasia modulation may be made to closely related, remote, and all other keys.”1 He also points out: “It is one of the beauties of improvisation to feign modulation to a new key through a formal cadence and then move off in another direction. This and other rational deceptions make a fantasia attractive.”2 All the same, he cautions the performer to use restraint in structuring the improvisation in a manner that would befit a narrative, not veering off into the “adventure” at the beginning or returning “home” at the end too early: When only little time is available for the display of craftsmanship, the performer should not wander into too remote keys, for the performance must soon come to an end.
    [Show full text]
  • J.S. Bach - Well-Tempered Clavier 1
    J.S. BACH - WELL-TEMPERED CLAVIER 1 For more than two centuries Bach’s Well-Tempered Clavier has had a distinct status in our musical cultural heritage. No other composition has been so prevalent in reaching the performing musician, listener, theoretician and composer, even outranking the Goldberg Variations and the Inventions and Sinfonias. The Well-Tempered Clavier has virtually never been absent from the podium or the music room. Mozart, Beethoven, Chopin, Mendelssohn, Liszt, Bruckner and Brahms were all intimately familiar with this music! Not only the repeated set combination of a prelude and fugue, but also the added fact that Bach moves step by step through all the twelve major and minor keys, and does not for one moment give the impression, that it is an ingenious study piece of the composer or for the performing musician: the Well-Tempered Clavier has provided a function as an outstanding example. “Das Wohltemperirte Clavier. oder Praeludia, und Fugen durch alle Tone und Semitonia, So wohl tertiam majoram oder Ut Re Mi anlan- gend, als auch tertiam minorem oder Re Mi Fa betreffend. Zum Nutzen und Gebrauch der Lehr-begierigen Musicalischen Jugend, als auch dere in diesem stu- dio schon habil seyenden besonderem ZeitVertreib auffgesetzet und verfertigt von Johann Sebastian Bach. p.t.: HochFürstlich Anhalt- Cöthenschen Capel- Meistern und Di- rectore derer Cammer Mu- siquen. Anno 1722" Although the title page of the first book of the Well-Tempered Clavier – a similar second book would appear later – indicates the year 1722, after Bach’s death a story did the rounds for a long time that he had written the whole volume out of sheer boredom because of the lack of a clavier (in Weimar or Carlsbad).
    [Show full text]
  • GERMAN ORGAN MUSIC Volume 1 Fischer Praetorius Bohm Scheidemann and Others Joseph Payne, Organ GERMAN ORGAN MUSIC VOLUME 1
    8.550964 GERMAN ORGAN MUSIC Volume 1 Fischer Praetorius Bohm Scheidemann and others Joseph Payne, Organ GERMAN ORGAN MUSIC VOLUME 1 Organ music of the German-speaking countries is vast and varied, and more than anywhere else in Europe, it reached considerable complexity by the early 15th century. This repertory reflects the complex development of large, fixed organs, about which few generalizations can be made, as well as the more uniform evolution of smaller forms of organs. Among these was the portative, a small portable organ blown by a pair of bellows operated by one of the player's hands. Capable of performing only one part, this was a "monophonic" instrument used mainly in ensembles with other instruments and singers in the performance of polyphonic music. Somewhat larger and more or less stationary was the positive. It employed bellows that were operated by a second person, enabling the organist to use both hands so that several notes might be played simultaneously on a chromatic keyboard. Both these smaller types of organ employed flue pipes, while reed pipes were used in a third type, the regal. (There are many depictions of these small organs; a famous one can be found on the altar painting by Jan van Eyck at St. Bavo in Ghent). Towards the end of the Middle Ages, many tonal and mechanical features of the smaller organs were incorporated into the resources of the full-sized church Orgelwerk. This was a decisive step towards the modern organ: the organ came to be regarded as a composite of several instruments of various capabilities and functions, its resources controlled from several different keyboards.
    [Show full text]
  • The Well-Tempered Clavier
    J.S. BACH The Well-Tempered Clavier Alexandra Papastefanou The Well-Tempered Clavier, Book I (24 Preludes and Fugues: Nos. 1-12, BWV 846-857) CD1 Prelude & Fugue No. 1 in C major, BWV 846 [4:04] Prelude & Fugue No. 7 in E flat major, BWV 852 [5:47] 1 Prelude [1:54] D Prelude [4:10] 2 Fugue [2:06] E Fugue [1:36] Prelude & Fugue No. 2 in C minor, BWV 847 [2:58] Prelude in E flat minor & Fugue in D sharp minor No. 8, BWV 853 3 Prelude [1:28] [9:08] 4 Fugue [1:29] F Prelude [3:37] G Fugue [5:30] Prelude & Fugue No. 3 in C sharp major, BWV 848 [3:41] 5 Prelude [1:23] Prelude & Fugue No. 9 in E major, BWV 854 [2:40] 6 Fugue [2:17] H Prelude [1:28] I Fugue [1:10] Prelude & Fugue No. 4 in C sharp minor, BWV 849 [8:05] 7 Prelude [2:57] Prelude & Fugue No. 10 in E minor, BWV 855 [3:29] 8 Fugue [5:06] J Prelude [2:17] K Fugue [1:10] Prelude & Fugue No. 5 in D major, BWV 850 [3:08] [ ] 9 Prelude [1:14] Prelude & Fugue No. 11 in F major, BWV 856 2:12 L [ ] A Fugue [1:52] Prelude 1:00 M Fugue [1:10] Prelude & Fugue No. 6 in D minor, BWV 851 [3:31] Prelude & Fugue No. 12 in F minor, BWV 857 [7:02] B Prelude [1:24] N Prelude [2:07] C Fugue [2:05] O Fugue [4:52] Total timing: [ 56:19] ̶ 2 ̶ The Well-Tempered Clavier, Book I (24 Preludes and Fugues: Nos.
    [Show full text]
  • Dmitry Shostakovich's <I>Twenty-Four Preludes and Fugues</I> Op. 87
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of Spring 4-23-2010 Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance Denis V. Plutalov University of Nebraska at Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Composition Commons Plutalov, Denis V., "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance" (2010). Student Research, Creative Activity, and Performance - School of Music. 27. https://digitalcommons.unl.edu/musicstudent/27 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. DMITRY SHOSTAKOVICH'S TWENTY-FOUR PRELUDES AND FUGUES, OP. 87: AN ANALYSIS AND CRITICAL EVALUATION OF THE PRINTED EDITION BASED ON THE COMPOSER'S RECORDED PERFORMANCE by Denis V. Plutalov A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Mark Clinton Lincoln, Nebraska May 2010 Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance Denis Plutalov, D.
    [Show full text]
  • KRANNERT CENTER DEBUT ARTIST: LISHAN XUE, PIANO Sunday, April 22, 2018, at 3Pm Foellinger Great Hall PROGRAM KRANNERT CENTER DEBUT ARTIST: LISHAN XUE, PIANO
    KRANNERT CENTER DEBUT ARTIST: LISHAN XUE, PIANO Sunday, April 22, 2018, at 3pm Foellinger Great Hall PROGRAM KRANNERT CENTER DEBUT ARTIST: LISHAN XUE, PIANO Johann Sebastian Bach Prelude and Fugue No. 4 in C-sharp Minor, BWV 873 (1685-1750) Wolfgang Amadeus Mozart Rondo in A Minor, K. 511 (1756-1791) Johannes Brahms Fantasien, Op. 116 (1833-1897) I. Capriccio in D Minor. Presto energico II. Intermezzo in A Minor. Andante III. Capriccio in G Minor. Allegro passionato IV. Intermezzo in E Major (Notturno in autograph). Adagio V. Intermezzo in E Major. Andante con grazia ed intimissimo sentimento VI. Intermezzo in E Major. Andantino teneramente VII. Capriccio in D Minor. Allegro agitato 20-minute intermission 2 Six Études Frédéric Chopin Étude in A-flat Major, Op. 10, No. 10 (1810-1849) Sergei Rachmaninoff Études-Tableaux in E-flat Minor, Op. 39, No. 5 (1873-1943) György Ligeti Étude No. 10, Der Zauberlehrling (1923-2006) Frédéric Chopin Étude in C Major, Op. 10, No. 1 (1810-1849) Sergei Rachmaninoff Études-Tableaux in E-flat Minor, Op.33, No.5 (1873-1943) György Ligeti Étude No. 6 Automne à Varsovie (1923-2006) Two Chinese Works Transcribed by Peixun Chen Autumn Moon over a Calm Lake (1921-2006) Transcribed by Jianzhong Wang Five Yunnan Folk Songs (1933-2016) I. Dali Girl II. Love Duet III. Guess a riddle IV. Mountain song V. Dragon Lantern Tune Maurice Ravel “Alborada del gracioso” from Miroirs (1875-1937) 3 THANK YOU FOR SPONSORING THIS PERFORMANCE Krannert Center honors the spirited generosity of donors who make these performances possible.
    [Show full text]
  • Bach Notes 29
    No. 29 Fall 2018 BACH NOTES NEWSLETTER OF THE AMERICAN BACH SOCIETY BACHFEST LEIPZIG 2018: CYCLES A CONFERENCE REPORT BY YO TOMITA achfest Leipzig listening experience. B2018 took place There was an immensely from June 8–17 with warm and appreciative at- the theme “Zyklen” mosphere in the acoustic (Cycles), featuring space once owned and ex- works that can be ploited to its full by Bach grouped together, for himself almost 300 years instance collections ago. To me this part of the of six or twenty-four Bachfest was a resound- pieces, numbers with ing success. It will be long potential biblical sig- remembered, especially by nificance, or works the fully packed exuberant that share formal or audience at the tenth and stylistic features. In the final concert of the addition, this year’s Kantaten-Ring on June festival presented 10 in the Nikolaikirche, something quite ex- where the Monteverdi traordinary: nearly all Choir and English Ba- the main slots in the John Eliot Gardiner in the Nikolaikirche (Photo Credit: Leipzig Bach Festival/Gert Mothes) roque Soloists directed by first weekend (June 8–10) were filled by a vocal works from the sixteenth and seven- series of concerts called “Leipziger Kantat- teenth centuries. This arrangement exposed en-Ring” (Leipzig Ring of Cantatas), which the stylistic differences between Bach and In This Issue: looked like a festival of Bach cantatas within his predecessors, prompting us to consider the Bachfest. (Its own program book, at why and how Bach’s musical style might Conference Report: Bachfest Leipzig . 1 351 pages, was three times thicker than the have evolved, a precious moment to reflect entire booklet of the Bachfest!) Altogether on Bach’s ingenuity.
    [Show full text]