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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. -
The Organ Ricercars of Hans Leo Hassler and Christian Erbach
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame 3. When a map, dravdng or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
The Musical Heritage of the Lutheran Church Volume I
The Musical Heritage of the Lutheran Church Volume I Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music. Our Lutheran University is therefore particularly happy over the fact that, under the guidance of Professor Theodore Hoelty-Nickel, head of its Department of Music, it has been able to make a definite contribution to the advancement of musical taste in the Lutheran Church of America. The essays of this volume, originally presented at the Seminar in Church Music during the summer of 1944, are an encouraging evidence of the growing appreciation of our unique musical heritage. O. P. Kretzmann The Musical Heritage of the Lutheran Church Volume I Table of Contents Foreword Opening Address -Prof. Theo. Hoelty-Nickel, Valparaiso, Ind. Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church -Prof. Walter E. Buszin, Concordia College, Fort Wayne, Ind. The Chorale—Artistic Weapon of the Lutheran Church -Dr. Hans Rosenwald, Chicago, Ill. Problems Connected with Editing Lutheran Church Music -Prof. Walter E. Buszin The Radio and Our Musical Heritage -Mr. Gerhard Schroth, University of Chicago, Chicago, Ill. Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage? -Dr. Theo. G. Stelzer, Concordia Teachers College, Seward, Nebr. Problems of the Church Organist -Mr. Herbert D. Bruening, St. Luke’s Lutheran Church, Chicago, Ill. Members of the Seminar, 1944 From The Musical Heritage of the Lutheran Church, Volume I (Valparaiso, Ind.: Valparaiso University, 1945). -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
IAMIC - IMS Conference 2006 Göteborgthursday June 22, 2006 Örgryte Nya Kyrka GÖTEBORG BAROQUE Vocal and Instrumental Music from the Düben Collection in Uppsala
IAML - IAMIC - IMS Conference 2006 GöteborgThursday June 22, 2006 Örgryte nya kyrka GÖTEBORG BAROQUE Vocal and Instrumental Music from the Düben Collection in Uppsala Johann Melchior Gletle 0 Beni gni ssi me Jesu 1626-1683 soprano, two violins, sackbutt, organ (Vmhs 85:85) Dieterich Buxtehude Toccata in F BuxWV 156 1637-1707 organ Johann Heinrich Schmelzer Sonata ä 3 1620-1680 two violins, sackbutt, organ (Imhs 8:12) Samuel F. [Bockshorn] Capricornus Laetare Jerusalem 1628-1665 soprano, violin, organ (Vmhs 10:3) Dieterich Buxtehude Vater unser im Himmelreich BuxWV 219 organ Vincenzo Albrici Sinfonia ä 2 1631-1690/96 two violins, organ (Imhs k :2 IOC« Vincenzo Albrici Ornnia qua fecit Deus soprano, two violins, sackbutt, organ (Vmhs 1:17) Kaspar Forster Sonata a 3 1616-1673 two violins, sackbutt, organ (Imhs 3:9a) Johann Adam Reincken Fuga g-moll I623-1722 organ Dieterich Buxtehude Herr, wenn ich nur dich hab BusWV 38 soprano, two violins, organ (Vmhs 6:1 1) Nun lob, mein Seel, den Herren BuxWV 214 organ Christian Geist Wie schön leuchtet der Morgenstern 1650-1711 soprano, two violins, sackbutt, organ (Vmhs 85:85) Anna Jobrant Dalnäs, soprano Fredrik From, baroque violin Per Buhre, baroque violin Daniel Stighäll, sackbut Magnus Kjellson, organ with special thanks to Örgryte Parish and the Göteborg Organ Art Center (GOArt) GÖTEBORG BAROQUE, founded in 2003 by its artistic director Magnus Kjellson, focuses on the instrumental and vocal music of Sweden, Germany, and Italy. Their concerts present the latest in historically-informed performance-practice ideas for the Baroque music, including the use of very few singers per part, a difficult but rewarding vocal practice that gives the music a clearness and transparency of text and musical counterpoint that has become one of the hallmarks of GÖTEBORG BAROQUE performances. -
Bach2000.Pdf
Teldec | Bach 2000 | home http://www.warnerclassics.com/teldec/bach2000/home.html 1 of 1 2000.01.02. 10:59 Teldec | Bach 2000 | An Introduction http://www.warnerclassics.com/teldec/bach2000/introd.html A Note on the Edition TELDEC will be the first record company to release the complete works of Johann Sebastian Bach in a uniformly packaged edition 153 CDs. BACH 2000 will be launched at the Salzburg Festival on 28 July 1999 and be available from the very beginning of celebrations to mark the 250th anniversary of the composer's death in 1750. The title BACH 2000 is a protected trademark. The artists taking part in BACH 2000 include: Nikolaus Harnoncourt, Gustav Leonhardt, Concentus musicus Wien, Ton Koopman, Il Giardino Armonico, Andreas Staier, Michele Barchi, Luca Pianca, Werner Ehrhardt, Bob van Asperen, Arnold Schoenberg Chor, Rundfunkchor Berlin, Tragicomedia, Thomas Zehetmair, Glen Wilson, Christoph Prégardien, Klaus Mertens, Barbara Bonney, Thomas Hampson, Herbert Tachezi, Frans Brüggen and many others ... BACH 2000 - A Summary Teldec's BACH 2000 Edition, 153 CDs in 12 volumes comprising Bach's complete works performed by world renowned Bach interpreters on period instruments, constitutes one of the most ambitious projects in recording history. BACH 2000 represents the culmination of a process that began four decades ago in 1958 with the creation of the DAS ALTE WERK label. After initially triggering an impassioned controversy, Nikolaus Harnoncourt's belief that "Early music is a foreign language which must be learned by musicians and listeners alike" has found widespread acceptance. He and his colleagues searched for original instruments to throw new light on composers and their works and significantly influenced the history of music interpretation in the second half of this century. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Reprints Burning River Baroque: “A Voice in the Wilderness” at Trinity
reprints Burning River Baroque: “A Voice in the Wilderness” at Trinity Lutheran Church, Ohio City (October 17) by Daniel Hathaway On Friday, October 17, Burning River Baroque — Peter Lekx, violin, Malina Rauschenfels, soprano and cello & Paula Maust, organ — presented the first of three performances of sacred German baroque music in an especially appropriate venue. Trinity Lutheran Church, a 19th century Gothic edifice in Ohio City, was built by a German congregation and houses a distinguished 1955 Rudolph von Beckerath neo-baroque organ. The program, dubbed “A Voice in the Wilderness” after a line in Telemann’s cantata, Die Kinder des Höchsten, also included music by such well-known composers as Dieterich Buxtehude, Johann Sebastian Bach, Johann Kuhnau and Heinrich Ignatz Franz von Biber, plus one obscure Dutch figure, Jacob Klein. In the small world of eighteenth-century German protestant church music, most of these composers crossed paths. Buxtehude mentored Bach, who succeeded Kuhnau in Leipzig — winning that post when Telemann became unavailable. Biber, the only non-Lutheran, worked in Catholic Austria. Klein seems to have slid onto this program of sacred music because his cello sonatas are in the “da chiesa” style. Paula Maust opened the concert with Buxtehude’s Praeludium in C, also known as the Prelude, Fugue and Chaconne, a work that departs from the composer’s “fantastic” or improvisatory style in the direction of three more balanced “movements.” Maust played it gracefully and with an unusual sense of intimacy. Performing from the organ loft, Rauschenfels appeared first as a vocalist in a bright performance of Buxtehude’s Singet dem Herrn adorned with a lively violin obbligato by Lekx, then took up her cello for Klein’s Sonata No. -
“Canon in D”- Johann Pachelbel
“CANON IN D”- JOHANN PACHELBEL Johann Pachelbel was baptised on 1 September 1653 and buried 9 1. When was Pachelbel born? Underline one answer March 1706. He was a German composer, organist, and teacher a. 1970 who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his b. 1706 contributions to the development of the chorale, prelude and fugue have earned him a place among the most c. 1653 important composers of the middle Baroque era. Pachelbel's music enjoyed enormous popularity during his lifetime; d. 2000 he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, and the Toccata in E minor for organ. 2. Pachelbel was an Austrian composer. Underline 1 answer. Pachelbel's Canon is the common name for a canon by the German Baroque composer in his Canon and Gigue for 3 violins True or False and basso continuo sometimes referred to as Canon and Gigue in D or Canon in D. Neither the date nor the circumstances of its composition are known but suggested dates range from 1680 to 3. What is Pachelbel best known for? Find and copy the 1706, and the oldest surviving manuscript copy of the piece dates sentence: from the 19th century. __________________________________________________ Pachelbel's Canon, like his other works, although popular during his lifetime, soon went out of style, and remained in obscurity for __________________________________________________ centuries. -
Buxtehude's Pedaliter Keyboard Works: Organ Or Pedal Clavichord?
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Journals of Faculty of Arts, University of Ljubljana K. J. SNYDER • BUXTEHUDE’S PEDALITER ... UDK 780.8:780.649Buxtehude Kerala J. Snyder Eastman School of Music, University of Rochester Eastmanova akademija za glasbo, Univerza v Rochesterju Buxtehude’s Pedaliter Keyboard Works: Organ or Pedal Clavichord? Buxtehudejeva pedalna dela za instrumente s tipkami: orgle ali pedalni klavikord Prejeto: 13. julij 2011 Received: 13th July 2011 Sprejeto: 9. september 2011 Accepted: 9th September 2011 Ključne besede: Buxtehude, klavikord, orgle, Keywords: Buxtehude, clavichord, organ, peda- izvajanje pedaliter [s pedali] liter [or pedals] performance Iz v l e č e k Ab s t r a c t Članek razpravlja o tem, kako naj bi bil Buxtehude This article explores the questions of how Buxte- uporabljal pedalni klavikord pri pouku, reproduk- hude might have used a pedal clavichord for the ciji in komponiranju, zlasti kar zadeva njegove purposes of teaching, performing, and composing, pedalne (pedaliter) preludije. with special reference to his pedaliter praeludia. On May 23, 1675, Dieterich Buxtehude, organist and Werkmeister of St. Mary’s Church in Lübeck, wrote the following entry into the account book of the church: “Saturday. My highly honored directors, upon my—Dieterich Buxtehude’s— humble request (see Memorial, fol. 75), have graciously granted that a small writing and study room be built onto the Werkhaus, over the steps, facing the church courtyard. And this week [the work] began on it.”1 These two positions, one artistic, the other administrative, had been combined at St. -
Bärenreiter Music for Organ
URTEXT Bärenreiter Series and Complete Sets for Organ George Frideric Handel Complete Organ Bärenreiter Works URTEXT · BA 11226 1 volume NEW Music for Organ Antonio de Cabezón Selected Works for Keyboard Dieterich Buxtehude URTEXT · BA 9270 4 volumes New Edition of the A selection Gerard Bunk Complete Organ Works Complete Organ Works BA 8220 5 volumes URTEXT BA 11219 6 volumes Johann Sebastian Bach Felix Mendelssohn The Complete Johann Jacob Froberger Bartholdy New Edition of the New Edition of the Complete Works Alexandre Guilmant URTEXT · BA 9299 11 volumes Complete Organ Works Organ Works Selected Organ Works URTEXT · BA 8198 2 volumes URTEXT · BA 9289 6 volumes The Definitive Edition Bärenreiter Urtext editions provide: With the completion of the New Bach Edition for which all sources have been exhaustively ● Information on the genesis researched, Bärenreiter presents the definitive and history of the work edition of Bach’s organ works in a set of 11 volumes. ● A description of the sources Used ● Valuable notes on by more than ● The excellent quality of printing, the comprehensive performance practice 20,000 organists ● A critical commentary content and a favourable price make this edition explaining all source an absolute must for all organ music collections. worldwide discrepancies and editorial ● The volumes can also be purchased separately. Johann Pachelbel decisions Selected Organ Works Jan Pieterszoon Sweelinck ● Page turns where organists Complete Organ and Keyboard Works BA 2819 10 volumes need them A superb foundation for everyone interested in URTEXT · An eleven-volume performing edition URTEXT · BA 8500 8 volumes ● A well-presented layout the authentic performance of Bach’s organ music. -
Chorale Prélude "Gelobet Seist Du, Jesu Christ"
Simone Stella Arranger, Composer, Interpreter, Publisher, Teacher Italia, Firenze About the artist Born in Florence (Italy) in 1981, Simone Stella studied piano at the Conservatory ?L. Cherubini? of Florence with Rosanita Racugno, and perfected his piano studies with Marco Vavolo. After studying organ in Florence with Mariella Mochi and Alessandro Albenga, harpsichord in Rome with Francesco Cera, and organ improvisation in Cremona with Fausto Caporali and Stefano Rattini, he has attended many courses and seminars held by internationally acclaimed artists, including Ton Koopman, Matteo Imbruno, Luigi Ferdinando Tagliavini, Luca Scandali, Giancarlo Parodi, Stefano Innocenti, Klemens Schnorr, Ludger Lohmann, Michel Bouvard, Monika Henking, Guy Bovet. He won the 2nd and 3rd ?A. Esposito? Youth Organ Competition held in Lucca (2004-05) and then the 1st ?Agati-Tronci? International Organ Competition held in Pistoia (2008). Simone Stella plays, especially as a soloist, in Italy, Spain, Germany, the Netherlands and Denmark. His repertoire includes harpsichord and organ music from every historical era up to and including the present day. Particularly interesting is his live performance (2009-10) of the complete organ works by Dieterich Buxtehude in the historical Orsanmichele Church in Florence, where he was titular organist. He is an active composer of inst... (more online) Personal web: http://www.simonestella.it About the piece Title: Chorale Prelude "Gelobet seist du, Jesu Christ" Composer: Stella, Simone Licence: Creative Commons Attribution-Non