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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. -
Gaspard Le Roux 1660-1707 Pièces De Clavessin (1705)
Gaspard Complete HarpsichordLe Roux Music Pieter-Jan Belder Siebe Henstra Gaspard le Roux 1660-1707 Pièces de Clavessin (1705) Suite in D minor/major Suite in F major 39. Sarabande (en douze couplets) 13’00 Pieter-Jan Belder harpsichord I 1. Prélude 0’46 21. Prélude 1’25 40. Menuet 1’01 (Solo on 16-26) 2. Allemande, “la Vauvert” 4’25 22. Allemande grave 3’05 41. Gigue (pour deux Clavecins) 1’52 Siebe Henstra harpsichord II 3. Courante 1’17 23. Courante 1’27 42. Courante (avec sa contre partie) 1’31 (Solo on harpsichord I, on 33-42 ) 4. Sarabande grave 2’05 24. Chaconne 4’03 5. Menuet 1’20 25. Menuet & 2 Doubles Suite in A minor/major Harpsichord I: Titus Crijnen after 6. Passepied 0’40 du Menuet 1’55 (solo version) Ruckers 1624, Sabiñan 2014 7. Courante luthée 1’55 26. Passepied 0’54 43. Prélude 0’50 Harpsichord II: Titus Crijnen after 8. Allemande grave, 27. Allemande 1’54 44. Allemande “l’Incomparable” 2’21 Blanchet 1731, Sabiñan 2013 “la Lorenzany” 3’28 45. Courante 1’29 9. Courante 1’28 Suite in F-sharp minor 46. Sarabande 2’02 10. Sarabande gaye 2’51 28. Allemande gaye 1’10 47. Sarabande en Rondeau 2’15 11. Gavotte 1’09 29. Courante 1’27 48. Gavotte 1’05 30. Double de la Courante 1’32 49. Menuet & double du Menuet 1’01 Suite in A minor/major 31. Sarabande grave en Rondeau 2’25 50. Second Menuet 0’32 12. Prélude 0’50 32. -
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. -
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. -
Sacred German Music in the Thirty Years'
Musical Offerings Volume 3 Number 1 Spring 2012 Article 1 2012 Sacred German Music in the Thirty Years’ War Brandi Hoffer Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the History Commons, and the Musicology Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Hoffer, Brandi (2012) "Sacred German Music in the Thirty Years’ War," Musical Offerings: Vol. 3 : No. 1 , Article 1. DOI: 10.15385/jmo.2012.3.1.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/1 Sacred German Music in the Thirty Years’ War Document Type Article Abstract The religious and political turmoil of the Thirty Years’ War significantly impacted the performance and preservation of sacred Baroque music in the German lands. Conflict between the Catholics and Protestants created an unstable social environment, which resulted in a myriad of responses from composers and performers. Leading composers including Heinrich Schütz, Michael Praetorius, Thomas Selle, and Heinrich Scheidemann, expressed their values either overtly or implicitly depending upon their occupational, geographical, political, and religious positions. Research indicates that the influences of the Thirty Years’ War created an ideal environment for the flourishing of the following German music in the late Baroque Era. -
Dietrich Buxtehude Sacred Cantatas
Dietrich Buxtehude Sacred Cantatas Collegium AD MOSAM, Huub Ehlen 1. Jesu meines Lebens Leben (BuxWV 62) 06:31 2. Befiehl dem Engel, daß er komm (BuxWV 10) 05:08 3. Fürwahr, er trug unsere Krankheit (BuxWV 31) 10:13 4. Gott, hilf mir (BuxWV 34) 14:32 5. Der Herr ist mit mir (BuxWV 15) 07:09 6. Herzlich lieb hab ich dich, o Herr (BuxWV 41) 18:17 TOTAL 61:51 Collegium AD MOSAM Huub Ehlen Soloists: Soprano 1 Hannah Morrison (1, 2, 3, 4, 5, 6) Soprano 2 Hayat Chaoui (1, 3, 4, 6) Alto Hanna Kopra (1, 2, 3, 4, 5, 6) Tenor Immo Schröder (1, 2, 3, 4, 5, 6) Basses Michiel Meijer (1, 3, 4, 6) Benoît Giaux (2, 4, 5, 6) Choir: Soprano 1 Beppie Boode Soprano 2 Anita Koolen Alto Mireille Hoogenberk-Rooijmans Tenors Jan Berkers, Hans Timmermans Basses Jo Louppen, Wim Reijnders Orchestra: Trumpets Anna Freeman, Ralph Henssen (6) Violins Andreas Hempel, Heidi Erberich (1, 2, 3, 4, 5, 6) Violas Arjen de Graaf, Marie Haag (1, 4, 6) Gambas Maaike Boekholt, Christian Zincke (3) Violone Hendrik-Jan Wolfert (1, 2, 3, 4, 5, 6) Theorbo Michael Dücker (1, 2, 3, 4, 5, 6) Organ Tineke Steenbrink (1, 2, 3, 4, 5, 6) 3 Dietrich Buxtehude – Sacred Cantatas Dietrich (Diederik) Buxtehude (Oldesloe 1637 – Lübeck 1707) came from a respectable Danish family of organists. He must have received his initial musical training from his father Johannes, for 30 years organist at the Saint Olau Church in Helsingor. After his study in Copenhagen – we know very little of his musical education – he should, by tradition, have succeeded his father in Helsingor, but it seems the young man had greater ambition. -
Progr Corrections Rouge.Indd
Intégrale des Cantates Dimanche 29 mai à 17 h 00 – Temple de la Madeleine o Johann Sebastian Bach Premières cantates de Leipzig – 1723 BWV 22 – 23 – 75 Franz Tunder NAch Herr, lass deine lieben Engelein 2 Programme Intégrale des Cantates – Concert No 2 A propos de l’Intégrale des Cantates Les premières cantates de Leipzig – 1723 Bienvenue à ce deuxième volet de l’intégrale des Cantates de Bach en concert. Nous planifions ce cycle sous la forme de trois ou quatre concerts par an, avec trois ou quatre Johann Sebastian Bach (1685-1750) cantates par concert, regroupées systématiquement autour d’une logique thématique Première cantate du concours : (cantates pour St Michael ou pour St Jean Baptiste, pour tel ou tel dimanche du calendrier liturgique, etc.) ou chronologique (cantates de Weimar, de Köthen, de telle période à Cantate BWV 22 Jesus nahm zu sich die Zwölfe Leipzig, de Mühlhausen etc.). Nous profitons aussi de l’aura de l’œuvre de Bach pour glisser dans chacun de nos Franz Tunder (1614-1667) programme une pièce d’un compositeur moins connu des 17ème et 18ème siècles, afin de Ach Herr, lass deine lieben Engelein faire connaître l’extraordinaire répertoire des prédécesseurs et contemporains du Kantor. Celui-ci a grandi avec leur musique et il s’agit d’un répertoire qui mérite chez nous, où il Johann Sebastian Bach n’est que peu défendu, un éclairage plus important (ainsi Biber, Telemann, Buxtehude, Deuxième cantate du concours : Weckmann, Bruhns, Rosenmüller, Tunder, les oncles de Bach etc., mais aussi Du Mont, Cantate BWV 23 Du wahrer Gott und Davids Sohn Charpentier et Couperin, ou encore Lotti et Durante). -
557541Bk Kelemen 3+3 15/7/08 9:38 PM Page 1
570581bk Buxtehude US:557541bk Kelemen 3+3 15/7/08 9:38 PM Page 1 dissolving into homophony after a few entrances. It is manualiter works. Among these, his most original and Lars Ulrik Mortensen through the gigue, however, that the dance makes itself most justly famous works are praeludia and toccatas in the stylus Lars Ulrik Mortensen studied at the Royal Academy of Music in strongly felt in the other genres of Buxtehude’s keyboard phantasticus, which intermingles highly unpredictable free Copenhagen and with Trevor Pinnock in London. From 1988 to 1990 music. sections in virtuosic and idiomatic keyboard styles with he was harpsichordist with London Baroque and until 1993 with BUXTEHUDE Each of Buxtehude’s three variation sets is grounded in more structured fugal sections. Since organists naturally Collegium Musicum 90. He now works extensively as a soloist and dance rhythms. His most famous variation set, labelled prefer the pedaliter works, those for manuals alone are chamber-musician in Europe, the United States, Mexico, South Aria, but subtitled La Capricciosa, BuxWV 250, follows much less frequently performed, thus offering rich America, and Japan, performing regularly with distinguished Suites in A major and F major the Bergamasca, a dance that originated in Italy during the opportunities to adventurous harpsichordists. Even in these colleagues such as Emma Kirkby, John Holloway and Jaap ter Linden. sixteenth century and was widespread throughout Europe free works one can find elements of dance and variation. In Between 1996 and 1999 he was professor for harpsichord and La Capricciosa in the seventeenth. Its first half also appears as the the Prelude in G major, BuxWV 162, the second fugue is a performance practice at the Munich Musikhochschule, and he now Thuringian song Kraut und Rüben that J.S. -
B Uxtehudesuites in C Major and D Minor
570579bk Buxtehude US 15/1/08 17:10 Page 8 BUXTEHUDE Suites in C major and D minor Wie schön leuchtet der Morgenstern Lars Ulrik Mortensen, Harpsichord 8.570579 8 570579bk Buxtehude US 15/1/08 17:10 Page 2 Dietrich Buxtehude (c.1637–1707): Harpsichord Music, Vol. 1 Lars Ulrik Mortensen 1 Toccata in G major, BuxWV 165 5:15 Lars Ulrik Mortensen studied at the Royal Academy of Music in Copenhagen and with Trevor Pinnock in London. From 1988 to 1990 he was harpsichordist with London Baroque and until 1993 with Collegium Musicum 90. He 2 Wie schön leuchtet der Morgenstern, in G major, BuxWV 223 8:06 now works extensively as a soloist and chamber-musician in Europe, the United States, Mexico, South America, and Japan, performing regularly with distinguished colleagues such as Emma Kirkby, John Holloway and Jaap ter Suite in D minor, BuxWV 233 9:28 Linden. Between 1996 and 1999 he was professor for harpsichord and performance practice at the Munich 3 Allemande d’Amour 3:07 Musikhochschule, and he now teaches at numerous early music courses throughout the world. Until recently Lars 4 Courante 1:31 Ulrik Mortensen was also active as a conductor in Sweden and Denmark, where his activities at the Royal Theatre 5 Sarabande d’Amour – Sarabande 3:15 in Copenhagen met with great critical acclaim, although he has now returned to work primarily with period 6 Gigue 1:35 instrument ensembles. Since 1999 he has been artistic director of the Danish Baroque Orchestra, Concerto Copenhagen, and in 2004 he succeeded Roy Goodman as musical director of the European Union Baroque 7 Fuga in B flat major, BuxWV 176 4:10 Orchestra. -
WECKMANN Complete Organ Music Matteo Venturini the Organ of Our Lady of Fatima Parish Church, Pinerolo Matthias Weckmann 1616-1674 Complete Organ Music
95229 WECKMANN Complete Organ Music Matteo Venturini The Organ of Our Lady of Fatima Parish Church, Pinerolo Matthias Weckmann 1616-1674 Complete Organ Music CD1 60’50 CD2 63’38 1. Præambulum primi toni a 5 in D 11. Toccata dall 12 Tuono [V] in C 4’08 1. Toccata in D minor 3’56 9. Toccata [IV] in A minor 5’45 minor 4’06 12. Canzon dall istesso 10. Canzon [III] in D minor 3’37 2. Fantasia Ex D in D minor 5’03 Tuono [I] in C 2’46 Es ist das Heil uns kommen her 2. Primus versus – Magnificat II. Toni Ach wir armen Sünder Gelobet seist du, Jesu Christ (II) à 5 Voc. Im vollen Werck 4’05 11. Primus versus – à 5 1’35 3. Versus I. – choral in tenor 1’59 13. Primus versus – à 4 1’27 3. Secundus versus – Manualiter, 12. Secundus versus – 4. Versus II. – à 2 Clav. è Ped. 2’42 14. Secundus versus – Auff 2 Clavir 1’24 Canon in hyperdiapente à 4, Auff 2 Clavir 2’53 5. Versus III. – à 2 Clav. 2’27 15. Tertius versus – à 3 voc. 1’02 post minimam 2’56 13. Tertius versus – à 5 2’07 4. Tertius verus – Vff 2 Clavir 4’09 14. Quartus versus – à 6 1’20 6. Fuga ex D pedaliter primi 16. Toccata [II] in E minor 4’21 5. Quartus versus – à 3. Pedaliter, Toni in D minor 5’22 Canon in sub diapason post 15. Canzon [II] in C minor 6’07 Nun freut euch, lieben Christen gmein semiminimam 2’28 Gelobet seist du, Jesu Christ (I) 17. -
Froberger's Fantasias and Ricercars Four Centuries On1 Terence
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Royal College of Music Research Online Journal of the Royal College of Organists , Volume 10 (December 2016), pp. 5–27. Searching fantasy: Froberger’s fantasias and ricercars four centuries on1 Terence Charlston ‘Obscure, profound it was, and nebulous’ 2 It is more than a little surprising, given Johann Jacob Froberger’s significance in the written history of music, how little of his music is regularly played or known today. Traditionally he is viewed as the most important German seventeenth-century keyboard composer, pre-eminent alongside Frescobaldi and Sweelinck, the ‘Father’ of the Baroque keyboard suite. He was celebrated in his own day and his reputation and works were considered important enough to be researched and preserved by following generations. Today the physical notes of his music are readily available in facsimile and modern ‘complete’ editions (see Table 1) and the identification of several new sources of his music since the 1960s, one of which is an autograph with 13 otherwise unknown pieces, have generated renewed interest and discussion.3 Nonetheless, Froberger’s music is still represented in concert and recording only by the same handful of more ‘popular’ pieces which have graced recital programmes and teaching curricula for at least the last 70 years. These few pieces, chosen for their exceptional rather than their representative qualities, leave the majority of his music in peripheral limbo. The exclusion of the less Terence Charlston, ‘Searching fantasy: Froberger’s fantasias and ricercars four centuries on’ © Terence Charlston, 2016. -
1933U6 Nannette Reese Hanslowe, B
79 Maf ?SOO( rn A STUDY OF THE ORIGINS AND EARLY DEVELOPMENT OF THE MAJOR SEVENTH CHORD THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ivUSIC By 1933u6 Nannette Reese Hanslowe, B. M. Denton, Texas August, 1951 1933'J$ TABLE OF CONTENTS Page""k, LIST OF TABLES . * . * * . * * " a iv LIST OF ILLUSTRATIONS . I v Chapter I. INTRODUCTION . , . .a 1 II. THE USE OF TIE I4AJOR SEVENTh CHORD IN THE PHEYGIAN CADENCE . ., ,. 7 III. THE USE OF TEE MAJOR SEVENTH CHORD IN AUTHENTIC CADENCES . 40 IV. THE USE OF THE MAJOR SEVENTH CHORD IN SEQUENCES AND SUSPENSION CHAINS . .. 60 V. THE IRREGULAR USES OF THE MAJOR SEVENTH CHORD * * - - - * - .1 -*.*-0-#-& . & . 1 87 VI. CONCLUSIONS * -.- a a9 a a a9 0 a9 a0 a9 a9 . 107 a 9- 9 0. 9 APPENDIX * 0 - 9 9 9 - , - a a 9 9 0 0 112 BIBLIOGRAPEY *.- * - . .*- . - 9 9 9* . 0 - . 0 . 113 III LIST OF TABLES Table Page 1. Tabulation of the Examples of Irregular Uses of the Major Seventh Chord Mentioned in ChapterV . -a-0-0-0-0**...* - . .*112 iv LIST OF ILLUSTRATIONS Figure Page 1. Voice Leading of the hrygian Cadence . 8 2. Johann Sebastian Bach, "Erbarm' Dich Mein, 0 Herre Gott" . * @0 8 3. Georg Frederick Handel, "Sonata No. 4" . 4. Arcangelo Corelli, "Sonata X" . 10 5. Glausulse for "Hec Dies" . - - - . 12 6. Phrygian Cadence circa 1400 . 13 7. Conrad Paumann, Fundamentum organsandi 13 8. Johannes Martini, "La LMartinella" . 14 9. Jakob Hobrecht, "Pleni und Agnus Dei II".