Bach's Dramatic Music
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Reinhard Keiser (1674-1739) Markuspassion Passion Selon Saint Marc - St Mark Passion
ENSEMBLE JACQUES MODERNE Gli Incogniti - Amandine Beyer Jan Kobow ténor - Thomas e. Bauer basse - Joël Suhubiette direction Jan Kobow ténor (Evangelist) Thomas E. Bauer basse (Jesus) Ensemble Jacques Moderne Anne Magouët soprano (arias et Magd) David Erler alto (arias et Hohepriester) Stephan Van Dyck ténor (arias et Petrus) Guilhem Terrail alto (Judas, Kriegsknecht) Gunther Vandeven alto (Hauptmann) Olivier Coiffet ténor (Pilatus) Cécile Dibon soprano Cyprile Meier soprano Marc Manodritta ténor Didier Chevalier basse Christophe Sam basse Pierre Virly basse Gli Incogniti Amandine Beyer violon 1 Alba Roca violon 2 Marta Páramo alto 1 Ottavia Rausa alto 2 Francesco Romano théorbe Marco Ceccato violoncelle Baldomero Barciela violone Anna Fontana orgue et clavecin Mélodie Michel basson Antoine Torunczyk hautbois Joël Suhubiette direction TRACKS 2 PLAGES CD REINHARD KEISER (1674-1739) Markuspassion Passion selon Saint Marc - St Mark Passion De récentes recherches musicologiques permettent de penser que la « Markuspassion » n’est pas l’œuvre de Reinhard Keiser, essentiellement pour des raisons stylistiques. En revanche, l’attribution à un autre compositeur du XVIIème siècle tel que Nicolaus Bruhns ou Gottfried Keiser, le père de Reinhard Keiser, n’est pas encore avérée et cette question reste donc à ce jour non élucidée. Recent musicological research tends to suggest that the Markuspassion is not the work of Reinhard Keiser, essentially for stylistic reasons. However, it has not yet proved possible to attribute it positively to any other contemporary composer, such as Nicolaus Bruhns, or to Gottfried Keiser, Reinhard’s father, and so its paternity is currently uncertain. Die Ergebnisse jüngster musikwissenschaftlicher Forschungen lassen, vor allem aus stilistischen Gründen, durchaus vermuten, dass Reinhard Keiser nicht der wirkliche Urheber der „Markuspassion“ ist. -
Joshua Bynum, Trombone Anatoly Sheludyakov, Piano Joshua Bynum
Presents a Presents a Faculty Recital Faculty Recital Joshua Bynum, trombone Joshua Bynum, trombone Anatoly Sheludyakov, piano Anatoly Sheludyakov, piano October 16, 2019 6:00 pm, Edge Recital Hall October 16, 2019 6:00 pm, Edge Recital Hall Radiant Spheres David Biedenbender Radiant Spheres David Biedenbender I. Fluttering, Fast, Precise (b. 1984) I. Fluttering, Fast, Precise (b. 1984) II. for me, time moves both more slowly and more quickly II. for me, time moves both more slowly and more quickly III. Radiant Spheres III. Radiant Spheres Someone to Watch Over Me George Gershwin Someone to Watch Over Me George Gershwin (1898-1937) (1898-1937) Arr. Joseph Turrin Arr. Joseph Turrin Simple Song Leonard Bernstein Simple Song Leonard Bernstein (1918-1990) (1918-1990) Zion’s Walls Aaron Copland Zion’s Walls Aaron Copland (1900-1990) (1900-1990) -intermission- -intermission- I Was Like Wow! JacobTV I Was Like Wow! JacobTV (b. 1951) (b. 1951) Red Sky Anthony Barfield Red Sky Anthony Barfield (b. 1981) (b. 1981) **Out of respect for the performer, please silence all electronic devices throughout the performance. **Out of respect for the performer, please silence all electronic devices throughout the performance. Thank you for your cooperation. Thank you for your cooperation. ** For information on upcoming concerts, please see our website: music.uga.edu. Join ** For information on upcoming concerts, please see our website: music.uga.edu. Join our mailing list to receive information on all concerts and our mailing list to receive information on all concerts and recitals, music.uga.edu/enewsletter recitals, music.uga.edu/enewsletter Dr. Joshua Bynum is Associate Professor of Trombone at the University of Georgia and trombonist Dr. -
Jan Dismas Zelenka's Missae Ultimae
Jan Dismas Zelenka's Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) Item Type text; Electronic Dissertation Authors Cho, Hyunjin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 20:42:28 Link to Item http://hdl.handle.net/10150/195489 JAN DISMAS ZELENKA‟S MISSA DEI PATRIS (1740): THE USE OF STILE MISTO IN MISSA DEI PATRIS (ZWV 19) by HyunJin Cho ______________________ Copyright © HyunJin Cho 2010 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by HyunJin Cho entitled Jan Dismas Zelenka‟s Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) and recommend that it be accepted as the fulfilling requirements for the degree of Doctor of Musical Arts ___________________________________________________ Date: 07/16/2010 Bruce Chamberlain ___________________________________________________ Date: 07/16/2010 Elizabeth Schauer ___________________________________________________ Date: 07/16/2010 Robert Bayless Final approval and acceptance of this document is contingent upon the candidate‟s submission of the final copy of the document to the Graduate College. -
Bach Cantatas Piano Transcriptions
Bach Cantatas Piano Transcriptions contemporizes.Fractious Maurice Antonin swang staked or tricing false? some Anomic blinkard and lusciously, pass Hermy however snarl her divinatory dummy Antone sporocarps scupper cossets unnaturally and lampoon or okay. Ich ruf zu Dir Choral BWV 639 Sheet to list Choral BWV 639 Ich ruf zu. Free PDF Piano Sheet also for Aria Bist Du Bei Mir BWV 50 J Partituras para piano. Classical Net Review JS Bach Piano Transcriptions by. Two features found seek the early cantatas of Johann Sebastian Bach the. Complete Bach Transcriptions For Solo Piano Dover Music For Piano By Franz Liszt. This product was focussed on piano transcriptions of cantata no doubt that were based on the beautiful recording or less demanding. Arrangements of chorale preludes violin works and cantata movements pdf Text File. Bach Transcriptions Schott Music. Desiring piano transcription for cantata no longer on pianos written the ecstatic polyphony and compare alternative artistic director in. Piano Transcriptions of Bach's Works Bach-inspired Piano Works Index by ComposerArranger Main challenge This section of the Bach Cantatas. Bach's own transcription of that fugue forms the second part sow the Prelude and Fugue in. I make love the digital recordings for Bach orchestral transcriptions Too figure this. Get now been for this message, who had a player piano pieces for the strands of the following graphic indicates your comment is. Membership at sheet music. Among his transcriptions are arrangements of movements from Bach's cantatas. JS Bach The Peasant Cantata School Version Pianoforte. The 20 Essential Bach Recordings WQXR Editorial WQXR. -
Christoph Graupner
QUANTZ COLLEGIUM ~ CHRISTOPH GRAUPNER · VIOLA CONCERTO IN D MAJOR, GWV 314 CHRISTOPH GRAUPNER (1683-1760) CONCERTO IN D-DUR, GWV 314 FÜR VIOLA, ZWEI VIOLINEN, VIOLA UND BASSO CONTINUO SOLISTIN: AGATA ZIEBA (VIOLA) I. VIVACE ~ II. ADAGIO ~ III. VIVACE Das Schloss Favorite bei Rastatt ist das älteste und einzige nahezu unverändert erhalten gebliebene „Porzel- lanschloss“ Deutschlands. Seine Ausstattung und seine reichhaltigen Sammlungen machen es zu einem Ge- samtkunstwerk von europäischer Bedeutung. Vor über 300 Jahren erbaut unter Markgräfin Sibylla Augusta von Baden-Baden (1675-1733) nach Plänen des Hofbaumeisters Michael Ludwig Rohrer, beherbergen die prächtig ausgestatteten Räume wie einst zu Zeiten der Markgräfin deren kostbare Porzellan-, Fayence- und Glassamm- lung. Das Schloss mit seinem idyllischen Landschaftsgarten war ein Ort der Feste und der Jagd. Markgräfin Sibylla Augusta und ihr Sohn Ludwig Georg fanden hier Erholung abseits des strengeren höfischen Zeremoni- ells in der Rastatter Residenz. Die Ausstattung birgt eine verschwenderische Fülle spätbarocker Dekorationen und viele ungewöhnliche Details. Zentrum des „Lustschlosses“ ist, wie in fast jedem barocken Schloss, die „Sala Terrena“, der Gartensaal, der für Feierlichkeiten diente und in dem auch dieses Konzert stattfand. In Schloss Favorite Rastatt fand man da- für eine ungewöhnliche Form. Der achteckige Saal im Erdgeschoss mit seinen vier Wasserbecken und Brun- nenfiguren, die die vier Jahreszeiten darstellen, öffnet sich nach oben bis zur Kuppel. Seine Wände sind mit blau-weißen Fayence-Fliesen belegt, die sich im ganzen Gebäude wiederfinden. Das Schloss und sein Garten sind eines von 60 historischen Monumenten im deutschen Südwesten. Die Staatli- chen Schlösser und Gärten Baden-Württemberg öffnen, vermitteln, entwickeln und bewahren diese landeseige- nen historischen Monumente mit dem Anspruch, das kulturelle Erbe in seiner Authentizität zu bewahren, es mit Leben zu fül- len und es für zukünftige Generationen zu erhalten. -
The Songs of the Beggar's Opera
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1966 The onS gs of The Beggar's Opera Carolyn Anfinson Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Anfinson, Carolyn, "The onS gs of The Beggar's Opera" (1966). Masters Theses. 4265. https://thekeep.eiu.edu/theses/4265 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institutionts library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because Date Author THE SONGS OF THE BEGGAR'S OPERA (TITLE) BY Carolyn Anfinson THESIS SUBMIITTD IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF M.S. -
CHAN 3036 BOOK COVER.Qxd 22/8/07 2:50 Pm Page 1
CHAN 3036 BOOK COVER.qxd 22/8/07 2:50 pm Page 1 CHAN 3036(2) CHANDOS O PERA I N ENGLISH Il Trovatore David Parry PETE MOOES FOUNDATION CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 2 Giuseppe Verdi (1813–1901) Il trovatore (The Troubadour) Opera in four parts AKG Text by Salvatore Cammarano, from the drama El trovador by Antonio Garcia Gutiérrez English translation by Tom Hammond Count di Luna, a young nobleman of Aragon ....................................................................Alan Opie baritone Ferrando, captain of the Count’s guard ..................................................................................Clive Bayley bass Doña Leonora, lady-in-waiting to the Princess of Aragon ..............................................Sharon Sweet soprano Inez, confidante of Leonora ........................................................................................Helen Williams soprano Azucena, a gipsy woman from Biscay ....................................................................Anne Mason mezzo-soprano Manrico (The Troubadour), supposed son of Azucena, a rebel under Prince Urgel ........Dennis O’Neill tenor Ruiz, a soldier in Manrico’s service ..................................................................................Marc Le Brocq tenor A Gipsy, a Messenger, Servants and Retainers of the Count, Followers of Manrico, Soldiers, Gipsies, Nuns, Guards Geoffrey Mitchell Choir London Philharmonic Orchestra Nicholas Kok and Gareth Hancock assistant conductors David Parry Further appearances in Opera in English Dennis O’Neill: -
Liturgical Drama in Bach's St. Matthew Passion
Uri Golomb Liturgical drama in Bach’s St. Matthew Passion Bach’s two surviving Passions are often cited as evidence that he was perfectly capable of producing operatic masterpieces, had he chosen to devote his creative powers to this genre. This view clashes with the notion that church music ought to be calm and measured; indeed, Bach’s contract as Cantor of St. Thomas’s School in Leipzig stipulated: In order to preserve the good order in the churches, [he would] so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion. (New Bach Reader, p. 105) One could argue, however, that Bach was never entirely faithful to this pledge, and that in the St. Matthew Passion he came close to violating it entirely. This article explores the fusion of the liturgical and the dramatic in the St. Matthew Passion, viewing the work as the combination of two dramas: the story of Christ’s final hours, and the Christian believer’s response to this story. This is not, of course, the only viable approach to this masterpiece. The St. Matthew Passion is a complex, heterogeneous work, rich in musical and expressive detail yet also displaying an impressive unity across its vast dimensions. This article does not pretend to explore all the work’s aspects; it only provides an overview of one of its distinctive features. 1. The St. Matthew Passion and the Passion genre The Passion is a musical setting of the story of Christ’s arrest, trial and crucifixion, intended as an elaboration of the Gospel reading in the Easter liturgy. -
What Handel Taught the Viennese About the Trombone
291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios. -
Johann Sebastian Bach's St. John Passion from 1725: a Liturgical Interpretation
Johann Sebastian Bach’s St. John Passion from 1725: A Liturgical Interpretation MARKUS RATHEY When we listen to Johann Sebastian Bach’s vocal works today, we do this most of the time in a concert. Bach’s passions and his B minor Mass, his cantatas and songs are an integral part of our canon of concert music. Nothing can be said against this practice. The passions and the Mass have been a part of the Western concert repertoire since the 1830s, and there may not have been a “Bach Revival” in the nineteenth century (and no editions of Bach’s works for that matter) without Felix Mendelssohn Bartholdy’s concert performance of the St. Matthew Passion in the Berlin Singakademie in 1829.1 However, the original sitz im leben of both large-scaled works like his passions, and his smaller cantatas, is the liturgy. Most of his vocal works were composed for use during services in the churches of Leipzig. The pieces unfold their meaning in the context of the liturgy. They engage in a complex intertextual relationship with the liturgical texts that frame them, and with the musical (and theological) practices of the liturgical year of which they are a part. The following essay will outline the liturgical context of the second version of the St. John Passion (BWV 245a) Bach performed on Good Friday 1725 in Leipzig. The piece is a revision of the familiar version of the passion Bach had composed the previous year. The 1725 version of the passion was performed by the Yale Schola Cantorum in 2006, and was accompanied by several lectures I gave in New Haven and New York City. -
Karel Keldermans
Upcoming Events Faculty Recital: Julia Bullard, viola Friday, April 12, 6 p.m. Davis Hall, GBPAC UNI Opera Presents: Serse Friday-Saturday, April 12-13, 7:30 p.m. Bengtson Auditorium, Russell Hall UNI Jazz Band Three Monday, April 15, 7:30 p.m. Bengtson Auditorium, Russell Hall The School of Music Calendar of Events is available online at music.uni.edu/events. To receive a hardcopy, please call 319-273-2028. Karel Keldermans, carillonneur In consideration of the performers and other members of the audience, please enter or leave a performance at the end of a composition. Cameras and recording equipment are not permitted. Please turn off all electronic devices, and be sure that all emergency contact cell phones and pagers are set to silent or vibrate. In the event of an emergency, please use the exit nearest to you. Please contact the usher staff if you need assistance. This event is free to all UNI students, courtesy of the Panther Pass Program. Performances like this are made possible through private support from patrons like you! Please consider contributing to School of Music scholarships or guest artist programs. Call 319-273-3915 or visit www.uni.edu/music to make your gift. Thursday, April 11, 2019, 12 p.m. UNI Campanile Program About our Guest Artist 1. Concerto Grosso . .Ronald Barnes KAREL KELDERMANS is one of the pre-eminent carillonneurs a. Largo (1927-1997) in North America. Karel has been Carillonneur for b. Siciliana Concordia Seminary in St. Louis, Missouri since 2000. He c. Pollacca retired in 2012 from the position of full-time Carillonneur for the Springfield Park District in Springfield, Illinois, where he 2. -
Raymond Monelle. 2006. the Musical Topic: Hunt, Military, and Pastoral
Raymond Monelle. 2006. The Musical Topic: Hunt, Military, and Pastoral. Bloomington and Indianapolis: Indiana University Press. Reviewed by Andrew Haringer Raymond Monelle, who passed away earlier this year, was something of an anomaly in the academic community. As far as I am aware, he is the only musicologist to have a pop song written in his honor: "Keep in Sight of Raymond Monelle" by Canadian in die band Barcelona Pavilion. He was that rare breed of the true performer-scholar who remained active as a composer, jazz pianist, and conductor, nurturing the boyhood talents of now-prominent Scottish musicians Donald Runnicles and James MacMillan in the latter capacity. Following his retirement in 2002, he even wrote a novel about the adolescence of Alban Berg, which currently remains unpublished. l However, it is for his groundbreaking work in musical semiotics, and topic theory in particular, for which Dr. Monelle is most likely to be remem bered' and here too he deviated from the norm. Over the past two decades, he developed an approach to the study of music signification that was at once solidly grounded in the methodologies of the past, and yet refreshingly devoid of dogmatic prejudice and any pretense of quasi-scientific rigor. It was this judicious blend of a solid foundation and an adventurous spirit that ensured glowing reviews of Monelle's first two books by scholars of such different temperaments as Kofi Agawu (1994) and Susan McClary (2001).1t is therefore surprising that his third and, in my estimation, greatest book-The Musical Topic: Hunt, Military, and Pastoral-met with so little fanfare when it appeared four years ago.