Organ & Orchestra

Total Page:16

File Type:pdf, Size:1020Kb

Organ & Orchestra SELECTED REPERTOIRE FOR ORGAN AND ORCHESTRA (last updated 10/11/20) This listing, which is neither scholarly nor in any way exhaustive (though likely exhausting to ponder!), grew out of my own curiosity. It derives from a variety of sources, including my personal library of recordings and, most recently, a reviewing of the “Bibliography of Concertos for Organ and Orchestra” compiled by Richard H. Satorius. Published in 1961 by ‘The Instrumentalist Co.’, 1418 Lake Street, Evanston, IL, the Satorius pamphlet (long out of print, but available in many library collections) provides a much more detailed accounting of the provenance of many of the pieces enumerated below which I merely list as a convenient reference point. Heavens, there is a lot of repertoire for organ and ‘orchestra’! NOTE: items with the composer name in CAPS represent the most significant organ/orchestra collaborations. An asterisk (*) indicates that the organ is featured in an important solo role, as in a concerto or ‘organ symphony’. Those items in bold face are orchestral repertoire selections in which the organ part is significant and prominent but not soloistic. In the other works, the organ part is ‘obbligato’, an additional ‘voice’ in the orchestral texture, where its presence, though perhaps not essential, nonetheless adds to the overall visceral/emotional impact of the piece. If nothing else, perhaps this eye-popping list will encourage players (and conductors) to look beyond the ‘standard few’ works that are persistently trotted out. At least some of these others may not deserve their obscurity. Best wishes, Michael Barone * * * * * * * *ADLER, Samuel: Concerto for Organ *ADLER, Samuel: Lux Perpetua (Poem for Organ and Orchestra) *AGRELL, Johann: Concertos (2) for Organ/Harpsichord and Chamber Orchestra *AGER, Andrew: Concerto for Organ and Orchestra, Opus 41 (2011) *AHO, Kalevi: Symphony No. 8 for Organ and Orchestra (1993) *AHRENS, Joseph: Concerto in G for Organ and Orchestra *AHRENS, Joseph: Concerto for Organ and Wind Instruments (1954) *ALBINONI, Tomaso (arr. Giazotto): Adagio in g minor for Organ and Strings *ALBRECHTSBERGER, Johann Georg: Concerto in Bb for Organ and Strings *ALBRIGHT, William: Bacchanal for Organ Solo and Orchestra *ALBRIGHT, William: Gothic Suite (organ, strings, percussion) *ANDRIESSEN, Hendrik: Concerto for Organ and Orchestra (1950) *ARBATSKY, Yury: Symphony #9 (organ and strings) *ARNE, Thomas Augustine: Concertos (6) for Organ and Chamber Orchestra Arnold, Malcolm: A Grand, Grand Overture 1 *ARNOLD, Malcolm: Concerto for Organ, Trumpets, Timpani and Strings, Op. 47 *AUFFMAN, Joseph Anton: Concertos (3) for Organ, 2 Horns and Strings, Op. 1 *BACH, C.P.E.: Concerto in Eb for Organ and Orchestra *BACH, C. P. E.: Concerto in G for Organ, Strings, and Continuo *BACH, J. C.: Organ Concertos (12), from Opus 1, 7, 13 and 14 *BACH, J. S.: Keyboard Concerto in d, S. 1052a *BACH, J. S.: Keyboard Concerto in D, S., 1053a (adapted from Cantatas #49, 169) *BACH, J. S.: Keyboard Concerto in d, S. 1059a (adapted from Cantata #35) *BACH, J. S.: Sinfonias to Cantatas No. 29, 35, 36, 49 and 169 NOTE: the various Bach concertos for multiple keyboards (S. 1060, 1061, 1062, 1063, 1064, 1065) can all be adapted for performance on multiple chamber organs Bach, P.D.Q. 1712 Overture *BADINGS, Henk: Concerto for Organ and Orchestra (1954) *BALES, Gerald: Concerto for Organ and Strings (1950) *BALES, Gerald: Rhapsody for Organ and Small Orchestra *BALES, Gerald: Variants for Organ, Brass and Percussion *BARBER, Samuel: Toccata Festiva for Organ and Orchestra, Op. 36 *BARTMUSS, Richard: Concerto in E for Organ and Orchestra, Op. 25 *BARTMUSS, Richard: Concerto No. 2 for Organ and String Orchestra + Chorus (1901) Bartok Béla: Bluebeard’s Castle, Op. 11 Bartok, Béla: Miraculous Mandarin BAUMANN, Max: Concerto for Organ, Strings and Timpani, Op. 70 *BAUSSNERN, Waldemar: Chamber Symphony for Organ and 10 Strings (unavailable?) Bax, Arnold: Symphony #2 Berio, Luciano: Sinfonia for Eight Solo Voices and Orchestra Berio, Luciano: Voci *BERKELEY, Michael: Organ Concerto (1987) Berlioz, Hector: Te Deum *BERNAL, Miguel Jimenez: Concerto for Organ and Orchestra Bernstein, Leonard: A Musical Toast Bernstein, Leonard: Mass *BESCH, Otto: Concerto for Organ and Orchestra (1932) *BIBL, Rudolf (1832-1902): Concerto for Organ and Orchestra, Op. 68 *BIELAWA, Herbert: Feedback for Organ and Orchestra *BINGHAM, Seth: Concerto for Organ and Orchestra, Op. 46 (1946) *BINGHAM, Seth: Concerto for Organ, Brass and Percussion, Op. 57 (1953) *BINGHAM, Seth: Connecticut Suite for Organ and Orchestra, Opus 56 (1953 - Town Meeting; Picnic; Autumn Haze; Old Yale) Bloch, Augustyn: Enfiando per Orchestra *BOELLMANN, Leon: Fantasie Dialogue for Organ and Orchestra, Op. 35 *BOLCOM, William: Humoresk for Organ and Orchestra *BONNET, Joseph: Concerto for Organ and Orchestra, Op. 9 (unfinished) *BONPORTI, Francesco Antonio: Concerto in B for Organ and Strings 2 *BOODLE, Christopher: Concertino for Organ and Small Orchestra, Op. 56 (2001) *BOODLE, Christopher: Concerto for Organ and Full Orchestra, Op. 72 (2005) *BOROWSKI, Felix: Allegro de Concert for Organ and Orchestra (1915) *BOROWSKI, Felix: Rhapsody for Organ and Small Orchestra (@1922) *BOSSI, Marco Enrico Concertstück in c minor for Organ and Orchestra, Op. 130 *BOSSI, Marco Enrico Concerto in a, Op. 100 for organ, strings, 4 horns and timpani *BOSSI, Marco Enrico Fantasia Sinfonica, Op. 147 for organ, strings, harp and 4 horns Boulanger, Lili: Psalm 24, La terre appartient a l’eternel Boulanger, Lili: Psalm 130, Du fond de l’abime *BOVET, Guy: Concertino for Organ, Flute, Oboe and Strings (1963) *BOVET, Guy: Concerto for Organ and Orchestra (1969) Brahms, Johannes: Ein Deutsches Requiem, Op. 45 *BRANDMÜLLER, Theodore: Concerto for Organ and Orchestra (1981) *BRANT, Henry: Ice Field for Large Orchestral Groups and Organ (2001) *BRAUNFELS, Walter: Concerto for Organ, Op. 38 (1925) *BRET, Julien: Concerto for Organ and Strings (2001) Britten, Benjamin: Cantata, Saint Nicholas, Op.42 Britten, Benjamin: War Requiem, Op. 66 *BRIXI, Franz Xavier: Concertos (5) for Organ and Chamber Orchestra *BROWN, Raynor: Concerto for Organ and String Orchestra (1944) *BROWN, Raynor: Concerto for Organ and Brass (1957) Brubeck, Dave: A Light in the Wilderness *BRUCH, Max: Suite No. 3 for Orchestra and Organ, Op. 88b *BUCKLEY, John: Concerto for Organ and Orchestra (1992) Bruckner, Anton: Requiem in d Bruckner, Anton: Te Deum *BRUSSELMANS, Michel: Concerto for Organ and Orchestra (1938) *BURKHARDT, Willi: Concerto for Organ, Strings and Brasses, Op. 74 *BURLAS, Ladislav: Concerto for Organ and Orchestra (1984) *BUTTERWORTH, Arthur: Concerto for Organ, Strings and Percussion, Op. 33 (1973) *CABENA, Barrie: Biblical Sonata (“The Wedding at Cana”) for Organ and Brass *CABENA, Barrie: Sonata Academica for Continuo Organ and Strings *CAMILLERI, Charles: Organ Concerto (1983) Canning, Thomas: Fantasy on a Hymn by Justin Morgan *CARLSON, Mark: Concerto for Organ and Orchestra (1999) *CARPENTER, Cameron: Der Skandal, Op. 3a (Symphonic Fantasy for Organ and Orchestra (2011) *CASELLA, Alfredo: Concerto Romano for Organ and Orchestra (1926) *CASINIERE, Yves de la: Concerto for Organ and Orchestra (1956) *CHARPENTIER, Jacques: Symphony #6 (organ and orchestra) *CHAYNES, Charles: Concerto for Organ, Strings and Timpani (1973) *CIAMPI, Legrenzio Vincenzo: Concertos (6) for Organ and Strings, Op. 7 (1754) Clapp, Philip Greeley: Symphony #8 *CLARK, Florence Durrell: Symphony No. 1 for Organ and Small Orchestra 3 *CLARKE, Frederick Robert Charles: Sonata for Organ and Strings (1958) *CLARKE, F. R. C.: Fantasie on ‘Missa de Angelis’ for Organ and Strings *CLOKEY, Joseph: Concerto in A-minor for Organ and Orchestra (1957) *COCHEREAU, Pierre: Concerto in C# for Organ and Orchestra (1951) *COERNE, Louis Adolphe: Concerto in E for Strings, Organ, Horns and Harp, Op.12 (1892) Coleridge-Taylor, Samuel: Hiawatha’s Departure *COLGRASS, Michael: Snow Walker, Concerto for Organ and Orchestra, (1990) *COLLUM, Herbert: Concerto for Organ and Orchestra *CONCESSON, Guillaume: Concerto da Requiem for Organ and Orchestra (2021) *COOK, John: Concerto for Organ and Strings (1957) *COPLAND, Aaron: Symphony for Organ and Orchestra (1924) Corigliano, John: Three Hallucinations for Orchestra *CORRETTE, Michel: Concertos (6) for Organ and Chamber Orchestra *CRAWFORD, Thomas: Introduction and Toccata for Organ and Strings *CRESTON, Paul: Symphony No. 6 for Organ and Orchestra, Op. 118 (1982) *CROTCH, William: Concertos for Organ and Orchestra (3) *CURTIS, Edgar: Concerto for Organ and Strings *DAUGHERTY, Michael: Once Upon a Castle (Concerto for Organ and Orchestra, 2003) *DAVELUY, Raymond: Andante for Organ and Strings *DAVELUY, Raymond: Concerto in E for Organ and Orchestra (1981) *DAVIES, Victor: Jazz Concerto for Organ and Orchestra *DECKER, Pamela: El Tigre (Concerto for Organ and Orchestra) (2008) *DEGEN, Helmut: Concerto for Organ and Orchestra (1938) *DEBNER, Erich Wolf: Symphony in e for Organ and Orchestra (unavailable?) *DELDEN, Lex van: Concerto for Electronic Organ and Orchestra, Op. 100 *DELEMARTER, Eric: Concerto No. 1 in E for Organ and Orchestra (1920) *DELEMARTER, Eric: Concerto No. 2 in A for Organ and Orchestra (1922) *DELLO JOIO, Norman: Antiphonal Fantasy on a Theme of Vincenzo Albrici *DEMESSIEUX, Jeanne Poeme for Organ and Orchestra, Op.9 Diamond, David: Symphony #5 *DICKINSON, Peter: Concerto for Organ and Orchestra (strings and percussion) *DIEMER, Emma Lou: Concert
Recommended publications
  • Saturday Playlist
    October 26, 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! Haydn Symphony No. 008 in G, "Evening" English Concert/Pinnock Archiv 423 098 028942309821 00:24 Buy Now! Scarlatti, D. Sonata in A, Kirkpatrick 212 Murray Perahia Sony 63380 07464633802 00:28 Buy Now! Grieg Symphonic Dances, Op. 64 Philharmonia Orchestra/Leppard Philips 438 380 02894388023 Academy of St. Martin-in-the- 01:00 Buy Now! Rossini Overture ~ Cinderella EMI 49155 077774915526 Fields/Marriner 01:09 Buy Now! Parry Elegy for Brahms London Philharmonic/Boult EMI 49022 07777490222 01:20 Buy Now! Brahms Sextet No. 1 in B flat, Op. 18 Stern/Lin/Laredo/Tree/Ma/Robinson Sony Classical 45820 07464458202 02:00 Buy Now! Mozart Fantasia in C minor, K. 475 Alicia de Larrocha RCA Red Seal 60453 090266045327 Lento assai ~ String Quartet in F, Op. 135 (arr. 02:15 Buy Now! Beethoven Royal Philharmonic/Rosekrans Telarc 80562 089408056222 for string orchestra) 02:27 Buy Now! Gade Symphony No. 7 in F, Op. 45 Stockholm Sinfonietta/Jarvi BIS 355 7318590003558 03:00 Buy Now! Debussy Prelude to the Afternoon of a Faun Zoeller/Berlin Philharmonic/Karajan EMI 65914 724356591424 03:11 Buy Now! Mendelssohn Cello Sonata No. 1 in B flat, Op. 45 Rosen/Artymiw Bridge 9501 090404950124 03:37 Buy Now! Offenbach Offenbachiana Monte Carlo Philharmonic/Rosenthal Naxos 8.554005 N/A 04:01 Buy Now! Saint-Saëns Havanaise, Op.
    [Show full text]
  • PROGRAM NOTES Witold Lutosławski Concerto for Orchestra
    PROGRAM NOTES by Phillip Huscher Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra Lutosławski began this work in 1950 and completed it in 1954. The first performance was given on November 26, 1954, in Warsaw. The score calls for three flutes and two piccolos, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, four trombones and tuba, timpani, snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, bells, celesta, two harps, piano, and strings. Performance time is approximately twenty-eight minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lutosławski's Concerto for Orchestra were given at Orchestra Hall on February 6, 7, and 8, 1964, with Paul Kletzki conducting. Our most recent subscription concert performance was given November 7, 8, and 9, 2002, with Christoph von Dohnányi conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on June 28, 1970, with Seiji Ozawa conducting. For the record The Orchestra recorded Lutosławski's Concerto for Orchestra in 1970 under Seiji Ozawa for Angel, and in 1992 under Daniel Barenboim for Erato. To most musicians today, as to Witold Lutosławski in 1954, the title “concerto for orchestra” suggests Béla Bartók's landmark 1943 score of that name. Bartók's is the most celebrated, but it's neither the first nor the last work with this title. Paul Hindemith, Walter Piston, and Zoltán Kodály all wrote concertos for orchestra before Bartók, and Witold Lutosławski, Michael Tippett, Elliott Carter, and Shulamit Ran are among those who have done so after his famous example.
    [Show full text]
  • Download Article
    International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J.
    [Show full text]
  • Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras
    Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
    SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S.
    [Show full text]
  • ANNOUNCING the 2013-2014 SEASON of the OSM the Orchestre Symphonique De Montréal Celebrates Its 80Th Season
    ANNOUNCING THE 2013-2014 SEASON OF THE OSM The Orchestre symphonique de Montréal celebrates its 80th season Great works conducted by Kent Nagano: Opening the season: Berlioz’s La Damnation de Faust and Symphony fantastique Mahler’s Symphony No. 7, Bruckner’s Symphony No. 3, Beethoven’s Symphonies Nos. 2 and 4, Bach’s Mass in B Minor, Brahms’s Symphony No. 3 Concluding the season: three concerts, including Saint-Saëns’s Symphony No. 3, and an open-door day to inaugurate the Grand Orgue Pierre Béique Premiere of eight new works: Arcuri, Bertrand, Gilbert, Good, Hatzis, Hefti, Ryan, Saariaho Groundbreaking programs: OSM artist in residence: James Ehnes Introduction of the series OSM Express OSM Éclaté: focusing on Beethoven and Frank Zappa Second edition of Fréquence OSM Mussorgsky’s Pictures at an Exhibition in collaboration with the Montreal Museum of Fine Arts Two programs with the OSM Chamber Choir conducted by Andrew Megill Prestigious guest conductors and soloists, including conductors Jean-Claude Casadesus, James Conlon, Sir Andrew Davis and Michel Plasson, pianists Yuja Wang, Radu Lupu, Stephen Hough, Marc-André Hamelin and Jan Lisiecki cellists Truls Mørk, Gautier Capuçon and Jian Wang violinists Gidon Kremer and Midori, violist Pinchas Zukerman soprano Anna Caterina Antonacci, mezzo-soprano Ann Hallenberg, tenor Michael Schade and bass-baritone Philippe Sly A new Christmas story recounted by Fred Pellerin Music & Imagery: Beethoven’s Fifth OSM Pops: Hats off to Les Belles-sœurs and La Symphonie rapaillée Symphonic Duo: Adam Cohen
    [Show full text]
  • Handel' S Organ Concerto S Reconsidered
    Handel' s Organ ConcertoConcertos s Reconsidered By NIELS KARL NIELSEN Due to the solid foundatiansfoundations provided by the research carried out by Chrysan­ der, W. Dean, O. E. Deutsch, J. P. Larsen, W. C. Smith and others the study of Randel'sHandel's works has been rendered much easier to-day than it was a mere twenty years ago; this, however, does not mean that all the problems have been solved. On the contrary, many still await exhaustive treatment. Whereas a vast number of books have been written ab out Randel'sHandel's vocal compositions, and the Oratorios in particular, a detailed study of his Organ Concertos, based on the autograph scores and other contemporary sources has not yet been made. Ehrlinger's dissertation 1 contains many valuable observa­ tions; nevertheless its importance is reduced considerably by the faetfact that he did not incorporate the original sources in his research. Accordingly, in the present study I intend to remedy this gap in our knowl­ edge of RandelHandel and his work, by discussing problems such as-date of composi­ tion-sources-original versions-style afof performance, and last but not least, the inevitable question of Randel'sHandel's borrowings. Some of these problems have of course been dealt with before, but I still find it worthwhile to try and collate as much information as possibiepossible about these aspects of Randel'sHandel's wark.work. RandelHandel embarked upon his concertos for organ and orchestra in dose con­ nection with his efforts to introduce the oratorio as a parallel to the produetionproduction of operas which had dominated his work in London up to the beginning of the 1730's.
    [Show full text]
  • 9. Vivaldi and Ritornello Form
    The HIGH BAROQUE:! Early Baroque High Baroque 1600-1670 1670-1750 The HIGH BAROQUE:! Republic of Venice The HIGH BAROQUE:! Grand Canal, Venice The HIGH BAROQUE:! VIVALDI CONCERTO Antonio Vivaldi (1678-1741) The HIGH BAROQUE:! VIVALDI CONCERTO Antonio VIVALDI (1678-1741) Born in Venice, trains and works there. Ordained for the priesthood in 1703. Works for the Pio Ospedale della Pietà, a charitable organization for indigent, illegitimate or orphaned girls. The students were trained in music and gave frequent concerts. The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO Thus, many of Vivaldi’s concerti were written for soloists and an orchestra made up of teen- age girls. The HIGH BAROQUE:! VIVALDI CONCERTO It is for the Ospedale students that Vivaldi writes over 500 concertos, publishing them in sets like Corelli, including: Op. 3 L’Estro Armonico (1711) Op. 4 La Stravaganza (1714) Op. 8 Il Cimento dell’Armonia e dell’Inventione (1725) Op. 9 La Cetra (1727) The HIGH BAROQUE:! VIVALDI CONCERTO In addition, from 1710 onwards Vivaldi pursues career as opera composer. His music was virtually forgotten after his death. His music was not re-discovered until the “Baroque Revival” during the 20th century. The HIGH BAROQUE:! VIVALDI CONCERTO Vivaldi constructs The Model of the Baroque Concerto Form from elements of earlier instrumental composers *The Concertato idea *The Ritornello as a structuring device *The works and tonality of Corelli The HIGH BAROQUE:! VIVALDI CONCERTO The term “concerto” originates from a term used in the early Baroque to describe pieces that alternated and contrasted instrumental groups with vocalists (concertato = “to contend with”) The term is later applied to ensemble instrumental pieces that contrast a large ensemble (the concerto grosso or ripieno) with a smaller group of soloists (concertino) The HIGH BAROQUE:! VIVALDI CONCERTO Corelli creates the standard concerto grosso instrumentation of a string orchestra (the concerto grosso) with a string trio + continuo for the ripieno in his Op.
    [Show full text]
  • Heralding a New Enlightenment
    Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners.
    [Show full text]
  • Zemlinsky's Mermaid
    Zemlinsky’s Mermaid: a new critical edition Antony Beaumont One of the most fascinating works from the orchestral repertoire of the 20th century is being reborn. Antony Beaumont is working on a new critical edition and surprises us with an as yet unknown scene. In 1976, the orchestral score of an untitled piece by Zemlinsky came to light in a private Viennese collection. Four musicologists involved at that time in Zemlinsky research (Alfred Clayton, Peter Gülke, Keith Rooke and Horst Weber) independently identified it as Part I of The Mermaid, and confirmed that a folder in the Zemlinsky Collection at The Library of Congress contained the autograph score of the remaining two movements. Once the two manuscripts had been brought together and collated, the work was performed – for the first time in 75 years – by the Austrian Youth Orchestra conducted by Peter Gülke. Like all other early champions of The Mermaid, Gülke was obliged to conduct from a facsimile of the autograph score: a challenging task at the best of times, exacerbated in this instance by Zemlinsky’s diminutive handwriting, numerous erasures, corrections and other blemishes. These problems also affected the performing materials. Newly copied for the occasion, they have since been updated several times. It was announced that Gülke would prepare a new edition of the score, but the project came to nothing. As a stopgap, Universal Edition prepared a handwritten copyist’s score of Parts II and III. With regard to legibility, this score was a distinct improvement, but unfortunately it was marred by numerous errors and omissions.
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
    [Show full text]