Download Booklet

Total Page:16

File Type:pdf, Size:1020Kb

Download Booklet Classics Contemporaries of Mozart Collection COMPACT DISC ONE Franz Krommer (1759–1831) Symphony in D major, Op. 40* 28:03 1 I Adagio – Allegro vivace 9:27 2 II Adagio 7:23 3 III Allegretto 4:46 4 IV Allegro 6:22 Symphony in C minor, Op. 102* 29:26 5 I Largo – Allegro vivace 5:28 6 II Adagio 7:10 7 III Allegretto 7:03 8 IV Allegro 6:32 TT 57:38 COMPACT DISC TWO Carl Philipp Stamitz (1745–1801) Symphony in F major, Op. 24 No. 3 (F 5) 14:47 1 I Grave – Allegro assai 6:16 2 II Andante moderato – 4:05 3 III Allegretto/Allegro assai 4:23 Matthias Bamert 3 Symphony in G major, Op. 68 (B 156) 24:19 Symphony in C major, Op. 13/16 No. 5 (C 5) 16:33 5 I Allegro vivace assai 7:02 4 I Grave – Allegro assai 5:49 6 II Adagio 7:24 5 II Andante grazioso 6:07 7 III Menuetto e Trio 3:43 6 III Allegro 4:31 8 IV Rondo. Allegro 6:03 Symphony in G major, Op. 13/16 No. 4 (G 5) 13:35 Symphony in D minor (B 147) 22:45 7 I Presto 4:16 9 I Maestoso – Allegro con spirito quasi presto 8:21 8 II Andantino 5:15 10 II Adagio 4:40 9 III Prestissimo 3:58 11 III Menuetto e Trio. Allegretto 5:21 12 IV Rondo. Allegro 4:18 Symphony in D major ‘La Chasse’ (D 10) 16:19 TT 70:27 10 I Grave – Allegro 4:05 11 II Andante 6:04 12 III Allegro moderato – Presto 6:04 COMPACT DISC FOUR TT 61:35 Leopold Kozeluch (1747 –1818) 18:08 COMPACT DISC THREE Symphony in D major 1 I Adagio – Allegro 5:13 Ignace Joseph Pleyel (1757 – 1831) 2 II Poco adagio 5:07 3 III Menuetto e Trio. Vivace 2:44 Symphony in C major, Op. 66 (B 154) 23:10 4 IV Presto con fuoco 5:01 1 I Adagio – Allegro 10:16 2 II Adagio 4:23 Symphony in G minor 17:47 3 III Menuetto e Trio. Allegretto 3:25 5 I Allegro 7:04 4 IV Tempo giusto 4:59 6 II Adagio 5:40 7 III Presto 5:00 4 5 Symphony in F major 20:56 8 I Allegro molto 6:30 9 II Poco adagio 4:54 Grand Characteristic Symphony for the 10 III Menuetto e Trio. Allegretto 4:25 Peace with the French Republic, Op. 31 30:32 11 IV Presto 5:01 in C major TT 56:59 9 I The Revolution. Andante maestoso – Allegro molto – 4:51 10 English March – [Tempo primo] – 2:18 11 COMPACT DISC FIVE March of the Austrians and Prussians: Tempo di marcia. Maestoso – Più allegro, tempo primo 4:06 Paul Wranitzky (1756–1808) 12 II The Fate and the Death of Louis. Adagio affettuoso, con sordini – [ ] – 2:57 Symphony in D major, Op. 36 21:42 13 Funeral March – [ ] 3:58 1 I Adagio – Allegro molto 6:54 14 III English March: Tempo di marcia. Movibile – 0:58 2 II Russe. Allegretto – Minore – Maggiore 5:29 15 March of the Allies – 1:20 3 III Polonese – Trio 3:12 16 The Tumult of a Battle. Allegro 2:44 4 IV Finale: Largo – Rondo. Allegro 5:56 17 IV The Prospects of Peace. Andante grazioso – 1:55 18 Rejoicing at the Achievement of Peace. Allegro vivace 5:09 Symphony in C minor, Op. 11 18:47 TT 71:13 5 I Grave – Allegro assai 6:28 6 II Adagio 3:57 London Mozart Players 7 III Menuetto. Allegretto – Trio 2:49 Thomas Brown* • David Juritz leaders 8 IV Presto 5:22 Matthias Bamert 6 7 of which five were published by the firm TheAdagio , in A, begins with an elegant, Contemporaries of Mozart Collection of Jean/Johann André in Offenbach, near Mozartian theme on the strings, which Frankfurt am Main, between 1798 and about sounds as if it is going to form the basis of a set 1820; two others (‘No. 6’, dated 1823, and of variations. But a contrasting, un‑melodic COMPACT DISC ONE this capacity accompanied him to Paris, Milan, ‘No. 9’, dated 1830) exist in manuscript, and episode, in A minor and for full orchestra Verona, Padua, and Venice. Three years later he a further two (‘No. 7’ and ‘No. 8’) are lost. (less, for the time being, trumpets and Krommer: Symphonies succeeded his compatriot Leopold Kozeluch as The earlier of the two recorded here, ‘No. 2’ timpani), intervenes, and from this point on Franz Krommer was born (as František the last official director of chamber music and in D, Op. 40, was published in 1803, with a these two contrasting factors are alternated Vincenc Kramář) at Kamenice u Třebíče in court composer to the Habsburg emperors, and dedication to a ‘Monsieur P. Bernard’, and is and combined in free, rhapsodic style, perhaps Moravia on 27 November 1759 (not quite retained the position until his death in Vienna scored for strings, flute, and pairs of oboes, with some ‘programmatic’ significance of four years after Mozart); he was the son of on 8 January 1831 (just over three years after clarinets, bassoons, horns, trumpets, and which we are not aware. an innkeeper, Jiří Kramář, who later became Schubert’s death). timpani. It opens with an impressive slow The third movement is a rather Mayor of Kamenice. Between 1773 and 1776 Krommer was one of the most successful introduction in D minor, very reminiscent Beethovenian scherzo (masquerading as a he studied the violin and the organ with his and influential of the many Czech composers of Mozart’s Don Giovanni. The most salient minuet), full of pounding triplet fanfares, uncle, Antonín Matthias Kramář, in Turán active in Vienna at the turn of the eighteenth feature of the first subject of the main Allegro but not without a sense of humour; it frames (near Brno), and became organist there about century. The extent of his reputation is vivace into which this leads is a rising octave a wistful, waltz‑like trio, in G, mostly lightly 1777. In 1785 he went to Vienna, and a year indicated by the rapid spread of his published scale (initially in D major, the movement’s scored, for flute, bassoon, and strings. The later joined the orchestra of the Duke of compositions in reprints and arrangements, main key), which has two distinct off‑shoots: festive finale begins with a vivacious theme Styrum at Simontornya in Western Hungary, by German, French, Italian, Danish, and even a succession of staccato chords on the full on the strings, balanced, after a vigorous tutti, as a violinist. In 1790 he was appointed American publishers, and by his honorary orchestra, and a gentler, legato idea on the by a catchy second subject, shared, as is its Kapellmeister of the cathedral at Pécs, also in membership of musical institutions in Vienna, strings. A discussion of these three elements counterpart in the first movement, between Western Hungary, and two or three years later Innsbruck, Paris, Milan, Venice, and Ljubljana. in combination leads to an attractive second woodwinds and strings. The four‑note (two entered the musical establishment of Prince His 300‑odd works include half a dozen subject, in A, presented in dialogue between long notes, two short) motif which propels Grassalkovich de Gyarak. Krommer returned symphonies, a score of concertos (mainly for woodwinds and strings. A substantial the first tutti and persists throughout the to Vienna in 1795, and became Kapellmeister wind instruments), more than seventy string development section, which brings into play second subject, figures prominently in the to Duke Ignaz Fuchs in 1798. In 1808 he quartets, and a large quantity of other chamber the two subsidiary elements of the first subject development. applied, unsuccessfully, for a position as a music for strings and for winds. as well as the second subject, is followed by violinist in the Hofkapelle, but some time after a recapitulation that is fairly regular except Symphony in C minor, Op. 102 1810 he was given the post of Kammertürhüter Symphony in D major, Op. 40 for the fact that it does not begin with a The Symphony ‘No. 4’ in C minor, Op. 102 (Chamberlain) to the Emperor Franz I, and in Krommer composed at least nine symphonies, formal restatement of the opening flourish. is not dated, but was probably composed 8 9 towards the end of the second decade of the Although the finale – which is in sonata form, orchestra to such a peak of perfection that for further concert tours came to nothing, nineteenth century; it is dedicated to with a brief but busy development, though Dr Charles Burney was moved to describe it and he died in Jena on 9 November 1801, Count Rudolph Wrbna, Councillor and only one real theme – is cast in C major, it (in 1772) as ‘an army of generals’. ten months after his wife. Grand Chamberlain to the Emperor of contains passages to which the trombones Carl, Johann’s elder surviving son, studied Carl Stamitz’s compositions include Austria, and scored for an orchestra similar to impart an air of undeniable majesty; yet the with his father and, after his death, with other more than fifty symphonies, nearly forty that used in ‘No. 2’, but with the addition of perky, Rossinian theme on which it is based members of the court orchestra, including symphonies concertantes (most of them with a second pair of horns and three trombones. keeps on turning up, as though refusing to Christian Cannabich, Ignaz Holzbauer, two solo instruments: two violins, violin The slow introduction is longer and more allow the symphony to end on a solemn note.
Recommended publications
  • Im Dienste Einer Staatsidee
    Wiener Musikwissenschaftliche Beiträge Band 24 Herausgegeben von Gernot Gruber und Theophil Antonicek Forschungsschwerpunkt Musik – Identität – Raum Band 1 Elisabeth Fritz-Hilscher (Hg.) IM DIENSTE EINER STAATSIDEE Künste und Künstler am Wiener Hof um 1740 2013 Böhlau Verlag Wien Köln Weimar Gedruckt mit der Unterstützung durch den Fonds zur Förderung der wissenschaftlichen Forschung Bibliografische Information der Deutschen Nationalbibliothek : Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie ; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagabbildung : Mittelmedaillon des Deckenfreskos im Festsaal der Österreichischen Akademie der Wissenschaften (ehemals Alte Universität) von Gregorio Guglielmi nach einem Programmentwurf von Pietro Metastasio (Rekonstruktion nach dem Brand von 1961 durch Paul Reckendorfer) © ÖAW © 2013 by Böhlau Verlag Ges.m.b.H., Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Satz : Michael Rauscher, Wien Druck und Bindung : General Nyomda kft., H-6728 Szeged Gedruckt auf chlor- und säurefreiem Papier Printed in Hungary ISBN 978-3-205-78927-7 Inhalt Vorwort .................................... 7 Grete Klingenstein : Bemerkungen zur politischen Situation um 1740 ..... 11 Literatur Alfred Noe : Die italienischen Hofdichter. Das Ende einer Ära ......... 19 Wynfrid Kriegleder : Die deutschsprachige Literatur in Wien um 1740 .... 47 Kunst Werner Telesko : Herrscherrepräsentation um 1740 als „Wendepunkt“ ? Fragen zur Ikonographie von Kaiser Franz I. Stephan ............. 67 Anna Mader-Kratky : Modifizieren oder „nach alter Gewohnheit“ ? Die Auswirkungen des Regierungsantritts von Maria Theresia auf Zeremoniell und Raumfolge in der Wiener Hofburg .................... 85 Theater Andrea Sommer-Mathis : Höfisches Theater zwischen 1735 und 1745.
    [Show full text]
  • 1 Eighteenth-Century Music in a Twenty-First Century Conservatory of Music Or Using Haydn to Make the Familiar Exciting by Mary
    1 Morrow, Mary Sue. “Eighteenth-Century Music in a Twenty-First Century Conservatory of Music, or Using Haydn to Make the Familiar Exciting.” HAYDN: Online Journal of the Haydn Society of North America 6.1 (Spring 2016), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2016. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Eighteenth-Century Music in a Twenty-First Century Conservatory of Music or Using Haydn to Make the Familiar Exciting by Mary Sue Morrow University of Cincinnati College-Conservatory of Music I. Introduction Teaching the history of eighteenth-century music in a conservatory can be challenging. Aside from the handful of music history and music theory students, your classes are populated mostly by performers, conductors, and composers who do not always find the study of music history interesting or even necessary. Moreover, when you step in front of a graduate-level class at the College-Conservatory of Music at the University of Cincinnati, everybody in the class is going to know all about the music of the eighteenth century: they’ve played Bach fugues and sung in Handel choruses; they’ve sung Mozart arias and played Haydn string quartets or early Beethoven sonatas. They have also been taught to revere these names as the century’s musical geniuses, but quite a number of them will admit that they are not very interested in eighteenth-century music, particularly the music from the late eighteenth-century: It is too ordinary and unexciting; it all sounds alike; it is mostly useful for teaching purposes (definitely the fate of Haydn’s keyboard sonatas and, to a degree, his string quartets).
    [Show full text]
  • My Musical Lineage Since the 1600S
    Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent
    [Show full text]
  • Art Or Craft? – Significance of the Sociological Background in the Artistic Development of the Harmoniemusik
    MUSICOLOGICA BRUNENSIA 47, 2012, 1 MIKOŁAJ RYKOWSKI ART OR CRAFT? – SIGNIFICANCE OF THE SOCIOLOGICAL BACKGROUND IN THE ARTISTIC DEVELOPMENT OF THE HARMONIEMUSIK Harmoniemusik phenomenon has emerged in the most important 18th and 19th century domains of the musical life. It were aristocratic court, church circle and military service where these ensembles containing usually 2 cl., 2 ob., 2 cr., 2 bs. where active. Geographically these musical practise was spread out among many countries, but their so called ‘homeland’ was Holy Roman Empire territory (altough Moravian emigrants applied this music to Bethlehem parish in North America). Stylistically, existing repertoire embodies wide range of Wind Harmo- ny pieces where often in one musical centre it possible to notice that at particular period of time performed simple, garden-like, background music and artistically significant examples of the concert music. A matter of whether Harmoniemusik presents more art or craft is is concerned more to provoke a discussion about its multicontextual functioning rather than expecting white-or-black answers. It is a very important origin of the entire development that its musical condition depended almost fully on sociological background. Artistic judgment of these music should be provided regarding the fact that Wind Harmony came into appearance in various sociological contexts. Moreover, a certain role in sociological sphere required usage of adequate formal devices such as march-like opening movement for army band or dance music as characteristic for music played in aristocratic chambers. It is interesting to ob- serve in which way all these environments influenced the complexity and content of Harmoniemusik repertoire. The 18th century patronage of the army, court and church and its influence ex- erted over the artistic picture of wind ensembles appeared with different intensity.
    [Show full text]
  • VIVACE AUTUMN / WINTER 2016 Photo © Martin Kubica Photo
    VIVACEAUTUMN / WINTER 2016 Classical music review in Supraphon recordings Photo archive PPC archive Photo Photo © Jan Houda Photo LUKÁŠ VASILEK SIMONA ŠATUROVÁ TOMÁŠ NETOPIL Borggreve © Marco Photo Photo © David Konečný Photo Photo © Petr Kurečka © Petr Photo MARKO IVANOVIĆ RADEK BABORÁK RICHARD NOVÁK CP archive Photo Photo © Lukáš Kadeřábek Photo JANA SEMERÁDOVÁ • MAREK ŠTRYNCL • ROMAN VÁLEK Photo © Martin Kubica Photo XENIA LÖFFLER 1 VIVACE AUTUMN / WINTER 2016 Photo © Martin Kubica Photo Dear friends, of Kabeláč, the second greatest 20th-century Czech symphonist, only When looking over the fruits of Supraphon’s autumn harvest, I can eclipsed by Martinů. The project represents the first large repayment observe that a number of them have a common denominator, one per- to the man, whose upright posture and unyielding nature made him taining to the autumn of life, maturity and reflections on life-long “inconvenient” during World War II and the Communist regime work. I would thus like to highlight a few of our albums, viewed from alike, a human who remained faithful to his principles even when it this very angle of vision. resulted in his works not being allowed to be performed, paying the This year, we have paid special attention to Bohuslav Martinů in price of existential uncertainty and imperilment. particular. Tomáš Netopil deserves merit for an exquisite and highly A totally different hindsight is afforded by the unique album acclaimed recording (the Sunday Times Album of the Week, for of J. S. Bach’s complete Brandenburg Concertos, which has been instance), featuring one of the composer’s final two operas, Ariane, released on CD for the very first time.
    [Show full text]
  • EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
    EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos.
    [Show full text]
  • Musikstunde Ignaz Holzbauer
    _______________________________________________________________________________________ 2 Musikstunde Ignaz Holzbauer Alles Runde, so das Thema dieser Musikstundenwoche und meint damit, alles runde Geburtstage. Und zwar diesmal von solchen Jubilaren, die sonst immer zu kurz kommen, die allein keine komplette Sendewoche füllen könnten und es aber verdienen, dass man sie nicht ganz vergisst. William Boyce heißen sie, Ferdinand Hiller, Ambroise Thomas, Nino Rota und heute Ignaz Holzbauer. Er feiert in diesen Tagen, genauer gesagt gestern seinen 300. Geburtstag. In Wien kommt er zur Welt, also mitten im Geschehen, mitten in einer der größten Musikzentren Europas, wird getauft im Stephansdom, besucht hier auch die Universität. Aber Ignaz Holzbauer verlässt die Donaumetropole und macht sich auf den Weg zu uns ins Sendegebiet von SWR 2. Sein erstes Engagement als Hofkapellmeister führt ihn an die Stuttgarter Hofkapelle, von da aus in die Pfalz an die legendäre Mannheimer Hofkapelle. Hier bleibt er, auch als der Kurfürst nach Bayern umzieht und stirbt hoch geachtet und für damalige Verhältnisse uralt, mit 83 Jahren. Komponiert hat Ignaz Holzbauer bis kurz vor seinem Tod, auch wenn er seine Musik wegen einer Ertaubung selbst leider nicht mehr hören konnte. 1’10 Musik 1: Holzbauer:1.Satz aus der Sinfonie in d-Moll M0090682 004 2‘20 Schwungvoll und lebhaft klingen die Sinfonien des Ignaz Holzbauer, hier der 1. Satz aus seiner Sinfonie in d-Moll mit dem L’Orfeo Barockorchester unter Michi Gaigg. Ignaz Holzbauer, heute so gut wie vergessen, ist zu Lebzeiten eine Berühmtheit. Aber die Karriere fällt ihm nicht in den Schoß, er arbeitet zielstrebig drauf hin und weiß schon als Halbwüchsiger, dass sein Glück nur in der Musik liegt.
    [Show full text]
  • The Classical Period (1720-1815), Music: 5635.793
    DOCUMENT RESUME ED 096 203 SO 007 735 AUTHOR Pearl, Jesse; Carter, Raymond TITLE Music Listening--The Classical Period (1720-1815), Music: 5635.793. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 42p.; An Authorized Course of Instruction for the Quinmester Program; SO 007 734-737 are related documents PS PRICE MP-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Course Content; Course Objectives; Curriculum Guides; *Listening Habits; *Music Appreciation; *Music Education; Mucic Techniques; Opera; Secondary Grades; Teaching Techniques; *Vocal Music IDENTIFIERS Classical Period; Instrumental Music; *Quinmester Program ABSTRACT This 9-week, Quinmester course of study is designed to teach the principal types of vocal, instrumental, and operatic compositions of the classical period through listening to the styles of different composers and acquiring recognition of their works, as well as through developing fastidious listening habits. The course is intended for those interested in music history or those who have participated in the performing arts. Course objectives in listening and musicianship are listed. Course content is delineated for use by the instructor according to historical background, musical characteristics, instrumental music, 18th century opera, and contributions of the great masters of the period. Seven units are provided with suggested music for class singing. resources for student and teacher, and suggestions for assessment. (JH) US DEPARTMENT OP HEALTH EDUCATION I MIME NATIONAL INSTITUTE
    [Show full text]
  • Oboe Trios: an Annotated Bibliography
    Oboe Trios: An Annotated Bibliography by Melissa Sassaman A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2014 by the Graduate Supervisory Committee: Martin Schuring, Chair Elizabeth Buck Amy Holbrook Gary Hill ARIZONA STATE UNIVERSITY December 2014 ABSTRACT This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre. The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included. Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work. In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer’s last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier.
    [Show full text]
  • 7619990104068.Pdf
    Franz Xaver Richter Johann Stamitz Flute Concertos & Trios Jana Semerádová transverse flute Ensemble Castor Petra Samhaber-Eckhardt, Recording: 14-16 February 2019, Landesmusikschule, Ried (Austria) Monika Toth violin Recording producer, digital editing & mastering: Uwe Walter Executive producer: Michael Sawall Peter Aigner viola Layout & booklet editor: Joachim Berenbold Translation: Katie Stephens (English) Peter Trefflinger violoncello Cover picture: “Boy playing the flute“, Judith Leyster (early 1630s), Nationalmuseum Stockholm Barbara Fischer violone + © 2019 note 1 music gmbh, Heidelberg, Germany CD manufactured in The Netherlands Erich Traxler harpsichord Franz Xaver Richter (1709-1789) Franz Xaver Richter Flute Concerto in E minor Harpsichord Trio in D major for transverse flute, strings & b.c. for obbligato harpsichord, violin & cello 1 Allegro moderato 9:09 10 Allegretto 7:18 2 Andantino 7:33 11 Larghetto 6:49 3 Allegro, ma non troppo 4:15 12 Presto, ma non troppo 3:00 Trio Sonata Op. 4 No. 1 in B flat major Harpsichord Trio in G minor for 2 violins & b.c. for obbligato harpsichord, violin & cello 4 Allegro brillante 3:25 13 Andante 7:37 5 Poco andante gracioso 5:23 14 Larghetto - Un poco andante 4:39 6 Allegro 2:39 15 Allegro, ma non troppo 3:02 Johann Stamitz (1717-1757) Flute Concerto in G major for transverse flute, strings & b.c. 7 Allegro moderato 6:07 8 Adagio 4:53 9 Presto 4:01 Was haben die Medici, die gleichsam wohlha- ein beträchtliches Vermögen verfügen konnte. erkannte Karl Theodor das repräsentative Einer der Vorreiter des neuen musikalischen bende und einflussreiche Bankiersfamilie aus Einer Überlieferung zufolge soll Anna Maria Potential der Instrumentalmusik.
    [Show full text]
  • FRIENDS a Munich Chamber Orchestra Hans Stadlmair, Conductor Andrea Griminelli, Flute CHAMBER Sunday, March 29, 1992, 3:00 P.M
    FRIENDS a Munich Chamber Orchestra Hans Stadlmair, Conductor Andrea Griminelli, Flute CHAMBER Sunday, March 29, 1992, 3:00 p.m. Faye Spanos Concert Hall University of the Pacific MUSIC Stockton, California Program Divertimento in F major, K. 138 Wolfgang Amadeus Mozart Allegro Andante Presto Five Deutsche (German Dances) and Franz Schubert Seven Trios with Coda, D. 90 Capriccio for Solo Flute and 15 Strings Hans Stadlmair - Intermission - Adagio and Fugue in G minor Franz Xaver Richter Flute Concerto in G major, Op. 29 Carl Stamitz Allegro Andante non troppo moderato Rondo - Allegro ** * * * * ** * ** * * COLUMBIA ARTISTS MANAGEMENT, INC. Personal Direction: DAVID V. FOSTER Associate: Michael Mushalla 165 West 57th Street, New York, New York 10019 This concert is partially underwritten by a generous grant from the City ofStockton. Munich Chamber Orchestra The soloist is the prize-winning young 5 piano pieces, and twelve chamber Hans Stadlmair, Conductor Italian flutist Andrea Griminelli, who works, including a wind octet, a wind Violin I has studied under Jean-Pierre Rampal nonet, five string quartets and the Five Slobodan Fio, Concertmaster at the Paris Conservatory and John German Dances and Seven Trios ioizb Wladimir Astrachanzew, Assistant Galway. Coda, D. 90. As rapid writers as Bach, Concertmaster Griminelli, winner of the prestigious Handel and Haydn were, none of them Page Woodworth Prix de Paris award, will be heard in ever showed a feat of fecundity such as Bernhard Jestl one of Hans Stadlmair's own works, this. Indeed, having died at age 31, his Romauld Kozik the Capriccio for Solo Flute and 15 short creative period of eighteen years produced over one thousand works.
    [Show full text]
  • Downloaded From
    BÄRENREITER URTEXT offering the best CZECHMUSIC of Czech music BÄRENREITER URTEXT is a seal of quality assigned only to scholarly-critical editions. It guarantees that the musical text represents the current state of research, prepared in accordance with clearly defined editorial guidelines. Bärenreiter Urtext: the last word in authentic text — the musicians’ choice. Your Music Dealer SPA 314 SPA SALES CATALOGUE 2021 /2022 Bärenreiter Praha • Praha Bärenreiter Bärenreiter Praha | www.baerenreiter.cz | [email protected] | www.baerenreiter.com BÄRENREITER URTEXT Other Bärenreiter Catalogues THE MUSICIAN ' S CHOICE Bärenreiter – Bärenreiter – The Programme 2019/2020 Das Programm 2018/2019 SPA 480 (Eng) SPA 478 (Ger) Bärenreiter's bestsellers for The most comprehensive piano, organ, strings, winds, catalogue for all solo chamber ensembles, and solo instruments, chamber music voice. It also lists study and and solo voice. Vocal scores orchestral scores, facsimiles and study scores are also and reprints, as well as books included. on music. Bärenreiter – Bärenreiter – Bärenreiter Music for Piano 2019/2020 Music for Organ Music for Organ 2014/2015 SPA 233 (Eng) 2014/2015 SPA 238 (Eng) Bärenreiter's complete Urtext Bärenreiter's Urtext programme for piano as well programme for organ as well as all educational titles and as collections and series. collections for solo and piano You will also find jazz works, four hands. Chamber music transcriptions, works for with piano is also listed. Your Music Dealer: organ and voice, as well as a selection of contemporary music. Bärenreiter-Verlag · 34111 Kassel · Germany · www.baerenreiter.com · SPA 238 MARTINŮ B Ä R E N R E I T E R U R T E X T Bärenreiter – Bärenreiter – Music for Strings 2018/2019 Choral Music 2018/2019 Nonet č.
    [Show full text]