Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
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6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 Harpsichord
Valerio Losito Baroque violin 6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 harpsichord Telemann GEORG PHILIPP TELEMANN (1681–1767) Six Sonatas for Solo Violin, 1715 6 Sonatas ‘Frankfurt 1715’ for solo violin and harpsichord “My Lord, I am not without fear in dedicating these sonatas to Your Highness. It is, Sire, that without mentioning the vivacity of your sublime mind, you also have such certain taste in this fine art, which is the only one with the advantage of begin eternal, Sonata No.1 in G minor TWV41:g1 Sonata No.4 in G TWV41:G1 though it is very hard to create in a work worthy of your approbation. My Lord, I 1. Adagio 1’43 13. Largo 1’12 flatter myself that with this gift of the first pieces that I have had published you will 2. Allegro 2‘45 14. Allegro 2’18 find acceptable my intention of recognizing in some way the favour with which you 3. Adagio 1’08 15. Adagio 2’48 have hitherto honoured me. If, my Lord, my work is thus fortunate enough to meet 4. Vivace 3’03 16. Allegro 2’30 with your pleasure, then I am assured of the support of all connoisseurs, because no one can hope to achieve such understanding as yours. The beauty of the Concertos Sonata No.2 in D TWV41:D1 Sonata No.5 in A minor TWV41:a1 that you yourself have written at such a young age is admired by all those who have 5. Allemanda, Largo 3’52 17. Allemanda, Largo 2’37 seen them, and this is a guarantee for me in my aim. -
A Historiography of Musical Historicism: the Case Of
A HISTORIOGRAPHY OF MUSICAL HISTORICISM: THE CASE OF JOHANNES BRAHMS THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of MUSIC by Shao Ying Ho, B.M. San Marcos, Texas May 2013 A HISTORIOGRAPHY OF MUSICAL HISTORICISM: THE CASE OF JOHANNES BRAHMS Committee Members Approved: _____________________________ Kevin E. Mooney, Chair _____________________________ Nico Schüler _____________________________ John C. Schmidt Approved: ___________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Shao Ying Ho 2013 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work, I, Shao Ying Ho, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS My first and foremost gratitude is to Dr. Kevin Mooney, my committee chair and advisor. His invaluable guidance, stimulating comments, constructive criticism, and even the occasional chats, have played a huge part in the construction of this thesis. His selfless dedication, patience, and erudite knowledge continue to inspire and motivate me. I am immensely thankful to him for what I have become in these two years, both intellectually and as an individual. I am also very grateful to my committee members, Dr. -
Recent Publications in Music 2010
Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A. -
The Viola Da Gamba Society Journal
The Viola da Gamba Society Journal Volume Nine (2015) The Viola da Gamba Society of Great Britain 2015-16 PRESIDENT Alison Crum CHAIRMAN Michael Fleming COMMITTEE Elected Members: Michael Fleming, Linda Hill, Alison Kinder Ex Officio Members: Susanne Heinrich, Stephen Pegler, Mary Iden Co-opted Members: Alison Crum, Esha Neogy, Marilyn Pocock, Rhiannon Evans ADMINISTRATOR Sue Challinor, 12 Macclesfield Road, Hazel Grove, Stockport SK7 6BE Tel: 161 456 6200 [email protected] THE VIOLA DA GAMBA SOCIETY JOURNAL General Editor: Andrew Ashbee Editor of Volume 9 (2015): Andrew Ashbee, 214, Malling Road, Snodland, Kent ME6 5EQ [email protected] Full details of the Society’s officers and activities, and information about membership, can be obtained from the Administrator. Contributions for The Viola da Gamba Society Journal, which may be about any topic related to early bowed string instruments and their music, are always welcome, though potential authors are asked to contact the editor at an early stage in the preparation of their articles. Finished material should preferably be submitted by e-mail as well as in hard copy. A style guide is available on the vdgs web-site. CONTENTS Editorial iv ARTICLES David Pinto, Consort anthem, Orlando Gibbons, and musical texts 1 Andrew Ashbee, A List of Manuscripts containing Consort Music found in the Thematic Index 26 MUSIC REVIEWS Peter Holman, Leipzig Church Music from the Sherard Collection (Review Article) 44 Pia Pircher, Louis Couperin, The Extant Music for Wind or String Instruments 55 Letter 58 NOTES ON THE CONTRIBUTORS 59 Abbreviations: GMO Grove Music Online, ed. D. -
A Violin by Jacobus Stainer 1679
146 A VIOLIN BY JACOBUS STAINER 1679 Roger Hargrave examines the construction and workmanship of this violin, which still retains its original undisturbed baroque neck. Roger Hargrave se penche sur la construction et la the necessary experience. facon d'un violon Jacobus Stainer, 1679, qui conserve Earlier Füssen in the Allgäu might have been a con - son manche baroque original encore intact. sideration, however, the ravages of the thirty years Roger Hargrave untersucht den Bau and die war had left Füssen bereft of skilled instrument mak - Machart einer Violine von Jacobus Stainer, 1679, ers, most of whom had found refuge in Italy and deren ursprünglicher barocker Hals unversehrt in particular in Venice, Rome and Padua. erhalten ist. Experts seem to agree that Stainer learned Jacobus Stainer is one of the very few non - his trade in Italy. And although this agree - Italian violin makers whose life and work have ment mostly rests on analogies of Stainer's been seriously researched. work, it is also known (from his writings) that he was familiar with the language. Furthermore, There have been a number of important publi - there are several oral traditions relating to an cations, most of which have drawn upon the Italian apprenticeship. As might be expected scholarly research work of the late Professor however these oral traditions are contra - Dr. Walter Senn. However, in spite of dictory, on the one hand saying that Senn's magnificent efforts, several im - Stainer worked in Venice and on the portant questions remain unanswered, other that he worked in Cremona. the exact dates of Stainer's birth and death, whether he used both written and Although Senn seems to have been printed labels, and undoubtedly the most convinced that Stainer . -
VILLA I TAT TI Via Di Vincigliata 26, 50135 Florence, Italy
The Harvard University Center for Italian Renaissance Studies VILLA I TAT TI Via di Vincigliata 26, 50135 Florence, Italy Volume 30 E-mail: [email protected] / Web: http://www.itatti.it Tel: +39 055 603 251 / Fax: +39 055 603 383 Autumn 2010 or the eighth and last time, I fi nd Letter from Florence to see art and science as sorelle gemelle. Fmyself sitting on the Berenson gar- The deepening shadows enshroud- den bench in the twilight, awaiting the ing the Berenson bench are conducive fi reworks for San Giovanni. to refl ections on eight years of custodi- In this D.O.C.G. year, the Fellows anship of this special place. Of course, bonded quickly. Three mothers and two continuities are strong. The community fathers brought eight children. The fall is still built around the twin principles trip took us to Rome to explore the scavi of liberty and lunch. The year still be- of St. Peter’s along with some medieval gins with the vendemmia and the fi ve- basilicas and baroque libraries. In the minute presentation of Fellows’ projects, spring, a group of Fellows accepted the and ends with a nostalgia-drenched invitation of Gábor Buzási (VIT’09) dinner under the Tuscan stars. It is still a and Zsombor Jékeley (VIT’10) to visit community where research and conver- Hungary, and there were numerous visits sation intertwine. to churches, museums, and archives in It is, however, a larger community. Florence and Siena. There were 19 appointees in my fi rst In October 2009, we dedicated the mastery of the issues of Mediterranean year but 39 in my last; there will be 31 Craig and Barbara Smyth wing of the encounter. -
Download Booklet
1685 1759 - Violin Sonata in G HWV 358 Violin Sonata in E HWV 373 1 I. [Allegro] 1.57 20 I. Adagio 1.54 2 II. [Adagio] 0.49 21 II. Allegro 2.53 3 III. [Allegro] 2.35 22 III. Largo 1.35 .23 IV Allegro 2.47 Violin Sonata in D minor HWV 359a 4 I. Grave 2.32 Violin Sonata in G minor HWV 368 5 II. Allegro 1.43 24 I. Andante 2.19 6 III. Adagio 0.51 25 II. Allegro 2.49 . 7 IV Allegro 2.35 26 III. Adagio 2.01 .27 IV [Allegro moderato] 2.32 Violin Sonata in A HWV 361 8 I. Andante 2.26 Violin Sonata in F HWV 370 9 II. Allegro 1.54 28 I. Adagio 3.12 10 III. Adagio 0.50 29 II. Allegro 2.13 .11 IV Allegro 2.43 30 III. Largo 3.19 .31 IV Allegro 3.53 Violin Sonata in G minor HWV 364a 12 I. Larghetto 1.56 Violin Sonata in D HWV 371 13 II. Allegro 1.44 32 I. Affettuoso 3.11 14 III. Adagio 0.41 33 II. Allegro 2.57 .15 IV Allegro 2.14 34 III. Larghetto 2.46 .35 IV Allegro 3.55 Violin Sonata in A HWV 372 80.00 16 I. Adagio 1.15 17 II. Allegro 2.24 The Brook Street Band 18 III. Largo 1.14 Rachel Harris baroque violin .19 IV Allegro 2.57 Tatty Theo baroque cello · Carolyn Gibley harpsichord 2 Handel’s Violin Sonatas For a composer as well known as George Frideric Handel, the history of his violin sonatas is somewhat complicated. -
Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake. -
The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von
THE USE OF MULTIPLE STOPS IN WORKS FOR SOLO VIOLIN BY JOHANN PAUL VON WESTHOFF (1656-1705) AND ITS RELATIONSHIP TO GERMAN POLYPHONIC WRITING FOR A SINGLE INSTRUMENT Beixi Gao, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Julia Bushkova, Major Professor Paul Leenhouts, Committee Member Susan Dubois, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Gao, Beixi. The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument. Doctor of Musical Arts (Performance), May 2017, 32 pp., 19 musical examples, bibliography, 46 titles. Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth- century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project focuses on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time is included in this document. -
Early Music Review EDITIONS of MUSIC Here Are Thirteen Works in the Present Volume
Early Music Review EDITIONS OF MUSIC here are thirteen works in the present volume. The first two are masses by John Bedingham, while the others are anonymous mass movements (either New from Stainer & Bell T single or somehow related). Previous titles in the series have been reviewed by Clifford Bartlett, and I confess this English Thirteenth-century Polyphony is the first time I have looked at repertory from this period A Facsimile Edition by William J. Summers & Peter M. since I studied Du Fay at university! At that time I also Lefferts sang quite a lot of (slightly later) English music, so I am not Stainer & Bell, 2016. Early English Church Music, 57 completely unfamiliar with it. I was immediately struck 53pp+349 plates. by the rhythmic complexity and delighted to see that the ISMN 979 0 2202 2405 8; ISBN 978 0 85249 940 5 editions preserve the original note values and avoids bar £180 lines - one might expect this to complicate matters with ligatures and coloration to contend with, but actually it is his extraordinarily opulent volume (approx. 12 laid out in such a beautiful way that everything miraculously inches by 17 and weighing more than seven pounds makes perfect sense. Most of the pieces are in two or three T- apologies for the old school measurements!) is a parts (a fourth part – called “Tenor bassus” – is added to marvel to behold. The publisher has had to use glossy paper the Credo of Bedingham’s Mass Dueil angoisseux in only in order to give the best possible colour reproductions of one of the sources). -
Colombian Nationalism: Four Musical Perspectives for Violin and Piano
COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada.