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Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht. -
Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES 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 Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840 -
Introduction
Copyright © Thomas Braatz, 20071 Introduction This paper proposes to trace the origin and rather quick demise of the Andreas Stübel Theory, a theory which purportedly attempted to designate a librettist who supplied Johann Sebastian Bach with texts and worked with him when the latter composed the greater portion of the 2nd ‘chorale-cantata’ cycle in Leipzig from 1724 to early 1725. It was Hans- Joachim Schulze who first proposed this theory in 1998 after which it encountered a mixed reception with Christoph Wolff lending it some support in his Bach biography2 and in his notes for the Koopman Bach-Cantata recording series3, but with Martin Geck4 viewing it rather less enthusiastically as a theory that resembled a ball thrown onto the roulette wheel and having the same chance of winning a jackpot. 1 This document may be freely copied and distributed providing that distribution is made in full and the author’s copyright notice is retained. 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (Norton, 2000), (first published as a paperback in 2001), p. 278. 3 Christoph Wolff, ‘The Leipzig church cantatas: the chorale cantata cycle (II:1724-1725)’ in The Complete Cantatas volumes 10 and 11 as recorded by Ton Koopman and published by Erato Disques (Paris, France, 2001). 4 Martin Geck, Bach: Leben und Werk, (Hamburg, 2000), p. 400. 1 Andreas Stübel Andreas Stübel (also known as Stiefel = ‘boot’) was born as the son of an innkeeper in Dresden on December 15, 1653. In Dresden he first attended the Latin School located there. Then, in 1668, he attended the Prince’s School (“Fürstenschule”) in Meißen. -
LUTHERAN Bach Cantata Sunday
LUTHERAN ACADEMY & FESTIVAL Bach Cantata Sunday The Eighth Sunday after Pentecost | Sunday, 14 July 2013 Service of Holy Communion Bach Cantata Sunday + Eighth Sunday after Pentecost + 14 July 2013 — 10:30AM Lutheran Summer Music Academy and Festival Today’s Texts It is easy to miss the shocking nature of this morning's parable if we think that this story only teaches us to imitate the Samaritan. The parable says so much more about God, our relationship to God, and the lengths to which God will go to reach out to us. Through the image of the Samaritan, Jesus lifts up a surprising rescuer as an image of our God who relentlessly cares for those in need. Could it be that we are meant to identify not with the Samaritan or even the lawyer to whom Jesus speaks the parable, but rather with the man who is hopeless and left for dead? Could it be that Christ is the good Samaritan who embraces us with the tender compassion of God? Jesus is not just giving us a comfortable morality tale reminding us to be nice, helpful, generous people. Instead Jesus is proclaiming the good news of the kingdom. God's grace comes to us through the cross, and our baptism into Jesus' death and resurrection. God's grace comes to us even—and especially—when we are at our worst, left for dead, bleeding and dying in life's many ditches. Even when we cannot or will not cry out, mercy and grace come into our lives through Jesus. This powerful message of Christ's death and resurrection is reinforced in Bach’s Cantata #4, Christ lag in Todesbanden. -
Document Cover Page
A Conductor’s Guide and a New Edition of Christoph Graupner's Wo Gehet Jesus Hin?, GWV 1119/39 Item Type text; Electronic Dissertation Authors Seal, Kevin Michael 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:03:50 Link to Item http://hdl.handle.net/10150/645781 A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN?, GWV 1119/39 by Kevin M. Seal __________________________ Copyright © Kevin M. Seal 2020 A Document Submitted to the Faculty of the FRED FOX 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 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Kevin Michael Seal titled: A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN, GWV 1119/39 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 7, 2020 Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 3, 2020 John T Brobeck _________________________________________________________________ Date: ____________Aug 7, 2020 Rex A. Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels
Graduate Theses, Dissertations, and Problem Reports 2017 A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels Achareeya Fukiat Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Fukiat, Achareeya, "A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels" (2017). Graduate Theses, Dissertations, and Problem Reports. 5630. https://researchrepository.wvu.edu/etd/5630 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A SURVEY OF SELECTED PIANO CONCERTI FOR ELEMENTARY, INTERMEDIATE, AND EARLY-ADVANCED LEVELS Achareeya Fukiat A Doctoral Research Project submitted to College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger, -
Vox Luminis Lionel Meunier, Founder and Artistic Director THU / OCT 11 / 7:30 PM
Vox Luminis Lionel Meunier, Founder and Artistic Director THU / OCT 11 / 7:30 PM Zsuzsi Tóth SOPRANO Stefanie True SOPRANO Caroline Weynants SOPRANO Victoria Cassano SOPRANO Alexander Chance ALTO Jan Kullmann ALTO Robert Buckland TENOR Philippe Froeliger TENOR Olivier Berten TENOR David Lee TENOR Sebastian Myrus BASS Lionel Meunier BASS & ARTISTIC DIRECTOR Anthony Romaniuk ORGAN Ricardo Rodríguez Miranda VIOLA DA GAMBA PERFORMANCES MAGAZINE 8 ABOUT THE PROGRAM PROGRAM Martin Luther (1483-1546) “Music for farewell” Mit Fried und Freud ich fahr dahin The hymn Mit Fried und Freud ich fahr dahin (“In peace and joy Martin Luther (1483-1546) I now depart”) by Martin Luther is a paraphrase in German of Mit Fried und Freud ich fahr dahin (verses 1 & 4) the Latin “Nunc dimitis,” which is the canticle of Simeon. Luther created the text and melody in 1524, and it was first published in the same year. It has been used for funerals and appears in Schütz’ Heinrich Schütz (1585-1672) Musikalische Exequien and Bach’s chorale cantata Mit Fried und Musikalische Exequien, "Funeral Mass", Op. 7 Freud ich fahr dahin, BWV 125. Concert in Form einer teutschen Begräbnis-Missa SWV 279 Heinrich Schütz (1585-1672) Motette: Herr, wenn ich nur Musikalische Exequien, “Funeral Mass”, Op. 7 dich habe SWV 280 Heinrich Schütz, the greatest German composer of the 17th Canticum B. Simeonis: Herr, nun lässest du century, belonged to a prominent bourgeois family. Facile in deinen Diener in Friede fahren SWV 281 many languages, Schütz also showed an early gift for music. The Landgrave Moritz, who was a distinguished musical amateur, INTERMISSION heard him sing in 1598, and was so impressed that he invited him to his court in Kassel, where Schütz would attend the Collegium Mauritianum, a school for local nobles. -
July 09 Pp. 21-23.Indd
Text Interpretation and Cyclic Unity in Buxtehude’s Nimm von uns Herr, du treuer Gott, BuxWV 207 Markus Rathey Buxtehude’s chorale variations compositions that fulfi ll a merely utilitar- Example 1: Melody, Nimm von uns Herr The number of chorale variations in ian purpose. The following essay will fo- Dietrich Buxtehude’s organ works is cus on Buxtehude’s chorale variations on considerably smaller than in the oeuvre the hymn Nimm von uns Herr, du treuer of other northern and central German Gott, BuxWV 207, examining its musical composers like Samuel Scheidt, Georg structure, its function, and its contexts in Böhm, and Jan Pieterszoon Sweelinck. contemporary piety. Among Buxtehude’s organ works the chorale variations form a rather small Nimm von uns Herr, BuxWV 207 group of six sets:1 The variations are based on a Prot- estant chorale from the second half of BuxWV 177, Ach Gott und Herr, 2 the 16th century. The text has seven variations stanzas and was published in 1584 by BuxWV 179, Auf meinen lieben Gott, the 16th-century poet and theologian 5 variations Martin Moller (1547–1606); the words BuxWV 181, Danket dem Herren, 3 were traditionally combined with Mar- variations tin Luther’s melody for the hymn Vater Example 2: Buxtehude, Nimm von uns Herr, BuxWV 207/2 BuxWV 205, Meine Seele erhebt den unser, im Himmelreich. (See Example 1: Herren, 2 variations Melody, “Nimm von uns Herr.”) BuxWV 207, Nimm von uns Herr, du treuer Gott, 4 variations First movement BuxWV 213, Nun lob, mein Seel, den Buxtehude’s set of variations consists of Herren, 3 variations four verses. -
Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke
SECTION 2 STAGE WORKS OPERAS BALLETS TEIL 2 BÜHNENWERKE BALLETTE 267 268 Bergh d’Albert, Eugen (1864–1932) Amram, David (b. 1930) Mister Wu The Final Ingredient Oper in drei Akten. Text von M. Karlev nach dem gleichnamigen Drama Opera in One Act, adapted from the play by Reginald Rose. Libretto by von Harry M. Vernon und Harald Owen. (Deutsch) Arnold Weinstein. (English) Opera in Three Acts. Text by M. Karlev based on the play of the same 12 Solo Voices—SATB Chorus—2.2.2.2—4.2.3.0—Timp—2Perc—Str / name by Harry M. Vernon and Harald Owen. (German) 57' Voices—3.3(III=Ca).2(II=ClEb).B-cl(Cl).3—4.3.3.1—Timp—Perc— C F Peters Corporation Hp/Cel—Str—Off-stage: 1.0.Ca.0.1—0.0.0.0—Perc(Tamb)—2Gtr—Vc / 150' Twelfth Night Heinrichshofen Opera. Text adapted from Shakespeare’s play by Joseph Papp. (English) _________________________________________________________ 13 Solo Voices—SATB Chorus—1.1.1.1—2.1.1.0—Timp—2Perc—Str C F Peters Corporation [Vocal Score/Klavierauszug EP 6691] Alberga, Eleanor (b. 1949) _________________________________________________________ Roald Dahl’s Snow White and the Seven Dwarfs Text by Roald Dahl (English) Becker, John (1886–1961) Narrator(s)—2(II=Picc).2.2(II=B-cl).1.Cbsn—4.2.2.B-tbn.1—5Perc— A Marriage with Space (Stagework No. 3) Hp—Pf—Str / 37' A Drama in colour, light and sound for solo and mass dramatisation, Peters Edition/Hinrichsen [Score/Partitur EP 7566] solo and dance group and orchestra. -
T. Koopman & Amsterdam Baroque Orchestra & Choir (Erato/Antoine Marchand, 3-CD)
.. Nikolaikirche.leipzig. Photo, Thierry Cohen. Johann Sebastian Bach(1685-1750) COMPLETECANTATAS.L'INTEGRALEDESCANTATES DASKANTATENWERK VOLUME 10 Caroline Starn soprano MichaelChance alto PaulAgnew tenor KlausMertens bass The Amsterdam Baroque Orchestra & Choir TON KOOPMAN Pagel COMPACT DISC 1 76'52 Seite "Preise, Jerusalem, den Herrn" BWV119 22'41 Serviceafter the electionofthe leipzigCityCouncil,'7z3 Officeapres leselectionsdu Conseilde leipzig,'7z3 Gottesdienstanla&lichderleipzigerRatswahl,17Z3 Text:authorunknown soli, choir, oboe, oboes do caccia, recorders, trumpets, bassoon, timpani, violins, violas, cellos, basso continuo Chorus: "Preise, Jerusalem, den Herrn" 5'04 [43] Recitative (Tenor): "Gesegnet Land!" ,,6 [43] 3 Aria (Tenor): "Wohl dir, du Volk der Linden" 4"4 [43] 4 Recitative (Bass): "So herrlich stehst du, liebe Stadt!" 138 [45] s Aria (Alto): "Die Obrigkeit ist Gottes Gabe" 2'38 [45] 6 Recitative (Soprano): "Nun! wir erkennen es und bringen dir" 0'45 [45] 7 Chorus: "Der Herr hat Guts an uns getan" 5'33 [47] 8 Recitative (Alto): "Zuletzt!" 0'32 [47] 9 Chorale:"Hilf deinem Volk, Herr Jesu Christ" 0'58 [47] "Ein Herz, das seinen Jesum Iebend weiB" BWV134 25'16 EasterTuesday'mardide Paques. 3-Ostertag Text:authorunknown soli, choir, oboes, bassoon, violins, violas, cellos, basso continuo 10 Recitative (Tenor, Alto): "Ein Herz, das seinen Jesum lebend weiB" 0'4' [47] 11 Aria (Tenor): "Auf.Glaubige, singet die lieblichen Lieder" 5'42 [49] 12 Recitative (dialogue: Tenor, Alto): "Wohl dir, Gott hat an dich gedacht" 2'08 [49] -
Program Fall 2016
Program Fall 2016 o Choral music – Bach vocal o Choral music – Monteverdi Anniversary 2017 o Choral music – Mozart, Telemann, Schütz et al. o Choral music – Arrangements for chamber orchestra o Choral music – Vocal scores XL. Reader-friendly large print o Carus Choir Coach. The study series on CD o Choral music – Contemporary choral music o Organ music o LIEDERPROJEKT: New series "Love songs" o Choral Music for Reformation Anniversary o carus music, the choir app Choral music – Bach vocal Johann Sebastian Bach (1685 – 1750) Up joyous raise your song Cantata for the 1st Sunday in Advent BWV 36 (German/English) Soli SATB, Coro SATB, 2 Obda, 2 Vl, Va, Bc / 30 min Klaus Hofmann performance material in prep. Bach's well-known church cantata "Schwingt freudig euch empor" BWV 36 (Up joyous raise your song), first heard in its final version on First Advent Sunday in 1731 at the Leipzig Nikolaikirche, can be traced back to a secular birthday cantata from 1725. The text is now revised to render the events of Advent - the rejoicing of the opening chorus, the loving veneration and the warm-hearted welcome of the three solo arias retained from the original cantata now all apply to the Messiah, who, as once in Jerusalem, should find a place in the hearts of the faithful. However, their unmistakeable Advent character derives from the fact that Bach contrasts the four "festive" settings from the secular cantata with three strophes from Luther's Advent chorale, "Nun komm, der Heiden Heiland," thus at the same time giving a voice to the Mystery of God made man. -
The Lutheran Chorale, an Overview of Other Types of Chorales
THE LUTHERAN CHORALE, AN OVERVIEW OF OTHER TYPES OF CHORALES Ph.D. student ANAMARIA LUPU National University of Music Bucharest Anamaria LUPU is currently a first-year student in a Scientific Doctoral Programme at the National University of Music Bucharest and at the same time a permanent teacher at the “Dinu Lipatti” National College of Arts. With a rich and almost decade-long activity in the media as a TV and radio programme editor and producer at Speranța TV and Radio Vocea Speranței, the author has had the opportunity to host her own music programmes entitled “Amadeus”, attended by many prestigious guests from the Romanian musical world. ABSTRACT Sixteenth-century Protestantism marked the entire history of culture and civilization and thus, implicitly, the history of music at least on a European level. The paper The Lutheran Chorale, An Overview of Other Types of Chorales, attempts to briefly capture the context of the emergence of the chorale during the Reformation, the most representative musical forms that developed based on the chorale, as well as a few hallmarks of the Protestant chorale. The chorale reflects a variety of musical styles, ranging from the medieval cantus firmus and the songs of the 16th-century meistersingers, to the continuo lied of the Baroque period. In a wider sense, the chorale can refer to two types of choral hymns: (1) cantus choralis – the Roman Catholic liturgical chant; (2) the Lutheran hymns of the German-Evangelical tradition. For the first 200 years after the Reformation, the chorale provided raw material for a wide variety of musical compositions, among which the chorale prelude, chorale motet, chorale cantata, chorale fugue, chorale partita, chorale fantasia, chorale mass, chorale variations, figured chorale, or chorale concerto.