DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 SEA PICTURES. Op.37 BY SIR EDWARD ELGAR: A COMPREHENSIVE GUIDE FOR STUDY AND PERFORMANCE D.M.A. DOCUMENT Presented in partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School o f The Ohio State University by Lynnette Borman, B.M.E., M.M. ***** The Ohio State University 1998 D.M.A. Document Committee: Approved by: Dr. Robin Rice, Adviser Professor Eileen Davis L Adviser ^ Professor Loretta Robinson School of Music UMI Number; 9900786 UMI Microform 9900786 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Lynnette Borman 1998 ABSTRACT On October 5, 1899 the premier performance of Sea Pictures. Op. 37, took place at the Norwich Festival in England. This song cycle was written for orchestra and contralto / mezzo-soprano soloist and contains the poetic verses of the Honorable Roden Noel, C. A. Elgar, Elizabeth Barrett Browning, Dr. Richard Garnett, and Adam Lindsay Gordon. With this work. Edward Elgar, began an exploration into the new territory of English solo song. This document is designed to enhance future performances of Sea Pictures by offering a discussion on each of the poet’s lives and their literary works. A performer's analysis of the composition in relationship to the poems as well as Elgar’s life, follows. The document is divided into six chapters that include information on the life of Elgar, the history and status of the British Empire while Elgar was compos­ ing, the history of English solo song, Elgar’s compositional style, and finally an in- depth discussion of Sea Pictures. Deeper knowledge of Edward Elgar and his possi­ ble reasons for text choices furnish performers with an increased perception and in sight into Sea Pictures. Op. 37. ACKNOWLEDGMENTS I wish to acknowledge the efforts of all those who assisted with this project. I would like to thank my D.M.A. Document committee for their guidance and expertise: Dr. Robin Rice. Chair. Professor Loretta Robinson, and Professor Eileen Davis. My deepest gratitude to Jennifer and Brian Crain for the untimely use of their computer and the continuous inspiration and encouragement they gave me. My sincere thanks to Mr. John Norris and The Elgar Society for answering my vast amount of questions throughout this project. My sincere appreciation to Professor Loretta Robin­ son. Professor Eileen Davis, and Dr. Robin Rice who so generously took their summer vacation to share their editing skills. 1 would also like to thank both sets of my parents. .Art and Lynn Borman / Jane and Mike Parker, and my grandparents Ben and Karen Montgomery/ Ernie and Mary Jo Parker who supported and encouraged me through­ out all of my educational endeavors. Finally and most importantly, I would like to thank God. For without his strength the completion of this project would have never taken place. Ill VITA 1971 .................................................................................... Bom - Houston, Texas 1994................................................................................... B.M.E. Baylor University Waco, Texas 199 6................................................................................... M.M. The Ohio State University Columbus. Ohio 1994-1998......................................................................... Graduate Teaching Associate The Ohio State University Columbus, Ohio 199 7 ....................................................................................Apprentice Young Artist Des Moines Metro Opera Des Moines, Iowa FIELDS OF STUDY Major Field: Music Studies in Voice, Vocal Pedagogy, Vocal Literature, Music History, Diction, Performance Techniques, Music Education, Choral Conducting IV TABLE OF CONTENTS ABSTRACT........................................................................................................................ ii ACKNOWLEDGMENTS................................................................................................ iii VITA.................................................................................................................................... iv LIST OF FIGURES...........................................................................................................vii INTRODUCTION................................................................................................................I CHAPTERS: 1. EDWARD ELGAR (1837-1934) Family History .............................................................................................. 4 Education and Employment .........................................................................6 Influences ....................................................................................................... 7 Interest in music recording ........................................................................ 14 Chronology .................................................................................................. 15 2. THE BRITISH EMPIRE The Forming and Failing of an Em pire ...................................................20 Elgar's Relationship to English Royalty ..................................................23 The First World War ...................................................................................25 3. ENGLISH SOLO SONG......................................................................................29 4. EDWARD ELGAR’S COMPOSITIONAL STYLE The Beginning of Elgar’s composing career .......................................... 36 Compositional techniques ..........................................................................37 Elgar as a song composer ..........................................................................38 His choice and setting of tex t ....................................................................39 5. SEA PICTURES. OP. 37 ......................................................................................43 6. THE SONGS "Sea Slumber Song” ............................................................................................. 50 P oet ..............................................................................................................51 Poem ........................................................................................................... 54 Music........................................................................................................... 55 Setting of text ............................................................................................. 65 "In Haven” ............................................................................................................ 69 P oet ..............................................................................................................69 Poem ........................................................................................................... 75 Music............................................................................................................76 Setting of text ............................................................................................. 80 "Sabbath Morning at Sea” ....................................................................................82 Poet ..............................................................................................................83 Poem ........................................................................................................... 88 Music........................................................................................................... 89 Setting of text ............................................................................................. 95 "Where corals lie” .................................................................................................98 P oet ..............................................................................................................99 Poem ..........................................................................................................
Load more

Recommended publications
  • DOSVC Weblist 8: Erato Box 51
    DOSVC Weblist 8: Erato Box 51 Label Serial No Composer, Work or Title Artists Record Condition notes Erato EPR 15554 Honegger Symphonie, Roussel Suite Munch, L'ORTF, Lamoreux Near Mint cutout notch UR Erato NUM 75106 Berlioz Symphonie Fantastique Conlon, Orch Nat de France Near Mint Gatefold album Erato NUM 75126 Schumann: Cello Concerto/Four Horns Lodeon/Devoyon/Guschlbauer Factory Sealed Cut Out notch Erato NUM 75146 Mahler/Strauss: Quartets for strings & piano Quatuor Ivaldi Near Mint Cut Out notch Erato NUM 75166 Corelli: Christmas Concerto Scimone, Solisti Veneti Factory Sealed Gatefold album Erato NUM 75167 Mozart: Sonata in D Major/C Minor/Fantasy Pires Factory Sealed Erato NUM 75168 Chopin Sonata 2 and 3 Duchable Factory Sealed Gatefold album, CO notch Erato NUM 75169 Handel: Alcina Gardiner, English Baroque Factory Sealed Gatefold album, CO notch 2 copies Erato NUM 75170 Offenbach/Cherubini/Saint-Saens/Godard Horne/Foster Factory Sealed Gatefold album, CO notch Erato NUM 75171 vocal by: Tosti/Rotoli/Brogi/Denza Raimondi/Scimone Factory Sealed Gatefold album, CO notch Erato NUM 75174 Delalande: Simphonies pour les Soupers du Roy Paillard Chamb Orch Factory Sealed Gatefold album, CO notch Erato NUM 75177 Liszt: Sonata in B Minor/Two Legends Duchable Factory Sealed Erato NUM 75178 Schumann: Scenes from Childhood/Forest Pires Factory Sealed Gatefold album, CO notch Erato NUM 75180 Mozart: Symphonies 38 & 39 Conlon , Scottish Chamber Near Mint Cut Out notch Erato NUM 75181 Motets of Vivaldi Scimone, Solisti Veneti Near Mint Cut Out
    [Show full text]
  • Elgar, Cello Concerto in E Minor
    Cello Concerto in E minor, Op. 85 i. Adagio; Moderato ii. Lento; Allegro molto iii. Adagio iv. Allegro; Moderato; Allegro, ma non troppo; Poco più lento; Adagio Edward Elgar enjoys a curious reputation in his own country. To many, he is the composer of overtly nationalistic music such as Pomp and Circumstance, the musical incarnation of Edwardian imperialism. Although early works such as the Enigma Variations and Imperial March garnered him praise and fame, it is his later works from 1918-1919 that are much more autobiographical in content – none more so than the Cello Concerto in E minor. The Concerto was mostly composed between 1918 and 1919 at Brinkwells, a cottage in the Sussex woods where he wrote three other chamber works – the Violin Sonata, String Quartet and Piano Quintet. Like these other Brinkwells compositions, the Cello Concerto is a deeply introspective work which reveals much about the composer’s state of mind: an aging artist concerned about his waning popularity, his wife’s failing health, and reflecting on the horrors of the First World War. Despite a grossly under-rehearsed première at the Queen’s Hall on 27 October 1919, it has since been established as perhaps the finest cello concerto in the repertoire, alongside Dvořák’s, and the only work of Elgar’s to enjoy regular performances outside the English-speaking world. The Cello Concerto is an emotionally draining work not only for the players but also the listener, its overwhelming mood one of melancholy and autumnal world-weariness. The first movement opens with a declamatory, grandiose statement by the soloist leading, in almost improvisatory style, into a lilting melody; there is a wistfully lyrical middle section before the opening melody returns.
    [Show full text]
  • Interdisciplinary Journal of Decadence Studies
    INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Volume 4, Issue 1 Summer 2021 ‘A Medium More Important than Bodily Sense’: Wilde, the Antipodes, and the Techno-Imagination Thomas Vranken ISSN: 2515-0073 Date of Acceptance: 1 June 2021 Date of Publication: 21 June 2021 Citation: Thomas Vranken, ‘“A Medium More Important than Bodily Sense”: Wilde, the Antipodes, and the Techno-Imagination’, Volupté: Interdisciplinary Journal of Decadence Studies, 4.1 (2021), 65–78. DOI: 10.25602/GOLD.v.v4i1.1508.g1621 volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. ‘A Medium More Important than Bodily Sense’ Wilde, the Antipodes, and the Techno-Imagination Thomas Vranken University of British Columbia Here am I, and you at the Antipodes […]. The messages of the gods to each other travel not by pen and ink and indeed your bodily presence here would not make you more real: for I feel your fingers in my hair, and your cheek brushing mine. The air is full of the music of your voice, my soul and body seem no longer mine, but mingled in some exquisite ecstasy with yours. (Oscar Wilde, letter to Constance Wilde from Edinburgh, 16 December 1884.) A decade ago, in his chapter for The Cambridge History of Australian Literature, Ken Stewart voiced what has long been the conventional understanding of Wilde and his relationship with Britain’s Australian colonies. ‘The image of aristocratic dandyism [Wilde] affected’, Stewart asserted, was the reverse of typically Australian. In witty conversation and
    [Show full text]
  • We Are Proud to Offer to You the Largest Catalog of Vocal Music in The
    Dear Reader: We are proud to offer to you the largest catalog of vocal music in the world. It includes several thousand publications: classical,musical theatre, popular music, jazz,instructional publications, books,videos and DVDs. We feel sure that anyone who sings,no matter what the style of music, will find plenty of interesting and intriguing choices. Hal Leonard is distributor of several important publishers. The following have publications in the vocal catalog: Applause Books Associated Music Publishers Berklee Press Publications Leonard Bernstein Music Publishing Company Cherry Lane Music Company Creative Concepts DSCH Editions Durand E.B. Marks Music Editions Max Eschig Ricordi Editions Salabert G. Schirmer Sikorski Please take note on the contents page of some special features of the catalog: • Recent Vocal Publications – complete list of all titles released in 2001 and 2002, conveniently categorized for easy access • Index of Publications with Companion CDs – our ever expanding list of titles with recorded accompaniments • Copyright Guidelines for Music Teachers – get the facts about the laws in place that impact your life as a teacher and musician. We encourage you to visit our website: www.halleonard.com. From the main page,you can navigate to several other areas,including the Vocal page, which has updates about vocal publications. Searches for publications by title or composer are possible at the website. Complete table of contents can be found for many publications on the website. You may order any of the publications in this catalog from any music retailer. Our aim is always to serve the singers and teachers of the world in the very best way possible.
    [Show full text]
  • String Quartet in E Minor, Op 83
    String Quartet in E minor, op 83 A quartet in three movements for two violins, viola and cello: 1 - Allegro moderato; 2 - Piacevole (poco andante); 3 - Allegro molto. Approximate Length: 30 minutes First Performance: Date: 21 May 1919 Venue: Wigmore Hall, London Performed by: Albert Sammons, W H Reed - violins; Raymond Jeremy - viola; Felix Salmond - cello Dedicated to: The Brodsky Quartet Elgar composed two part-quartets in 1878 and a complete one in 1887 but these were set aside and/or destroyed. Years later, the violinist Adolf Brodsky had been urging Elgar to compose a string quartet since 1900 when, as leader of the Hallé Orchestra, he performed several of Elgar's works. Consequently, Elgar first set about composing a String Quartet in 1907 after enjoying a concert in Malvern by the Brodsky Quartet. However, he put it aside when he embarked with determination on his long-delayed First Symphony. It appears that the composer subsequently used themes intended for this earlier quartet in other works, including the symphony. When he eventually returned to the genre, it was to compose an entirely fresh work. It was after enjoying an evening of chamber music in London with Billy Reed’s quartet, just before entering hospital for a tonsillitis operation, that Elgar decided on writing the quartet, and he began it whilst convalescing, completing the first movement by the end of March 1918. He composed that first movement at his home, Severn House, in Hampstead, depressed by the war news and debilitated from his operation. By May, he could move to the peaceful surroundings of Brinkwells, the country cottage that Lady Elgar had found for them in the depth of the Sussex countryside.
    [Show full text]
  • Australian Poems You NEED to KNOW
    1OO Australian Poems You NEED TO KNOW Edited by Jamie Grant Foreword by Phillip Adams hardiegrant books MELBOURNE-LONDON Convict and Stockrider A Convict's Tour to Hell Francis Macnamara ('Frank the Poet') 16 The Beautiful Squatter Charles Harpur 22 Taking the Census Charles R Thatcher 23 The Sick Stockrider Adam Lindsay Gordon 25 The Red Page My Other Chinee Cook James Brunton Stephens 30 Bell-birds Henry Kendall 32 Are You the Cove? Joseph Furphy ('Tom Collins') 34 How McDougal Topped the Score Thomas E Spencer 35 The Wail of the Waiter Marcus Clarke 38 Where the Pelican Builds Mary Hannay Foott 40 Catching the Coach Alfred T Chandler ('Spinifex') 41 Narcissus and Some Tadpoles Victor J Daley 44 6 i Contents Gundagai to Ironbark Nine Miles from Gundagai Jack Moses 48 The Duke of Buccleuch JA Philp 49 How We Drove the Trotter WTGoodge 50 Our Ancient Ruin 'Crupper D' 52 The Brucedale Scandal Mary Gilmore 53 Since the Country Carried Sheep Harry Morant ('The Breaker') 56 The Man from Ironbark AB Paterson (The Banjo') 58 The Old Whimrhorse Edward Dyson 60 Where the Dead Men Lie Barcroft Boake 62 Australia Bernard O'Dowd , 64 The Stockman's Cheque EW Hornung 65 The Bullocky's Love-episode AF York 67 Bastard and Bushranger «<§!> The Bastard from the Bush Anonymous 70 When your Pants Begin to Go Henry Lawson 72 The Fisher Roderic Quinn 74 The Mystery Man 'NQ' 75 Emus Mary Fullerton 76 The Death of Ben Hall Will H Ogilvie 77 The Coachman's Yarn EJ Brady 80 Fire in the Heavens, and Fire Along the Hills Christopher Brennan 83 The Orange Tree
    [Show full text]
  • Solving Elgar's Enigma
    Solving Elgar's Enigma Charles Richard Santa and Matthew Santa On June 19, 1899, Elgar's opus 36, Variations on a Theme, was introduced to the public for the first time. It was accompanied by an unusual program note: It is true that I have sketched for their amusement and mine, the idiosyn­ crasies of fourteen of my friends, not necessarily musicians; but this is a personal matter, and need not have been mentioned publicly. The Varia­ tions should stand simply as a "piece" of music. The Enigma I will not explain-its "dark saying" must be left unguessed, and I warn you that the connexion between the Variations and the Theme is often of the slightest texture; further, through and over the whole set [of variations 1 another and larger theme "goes" but is not played ... So the principal Theme never appears, even as in some late dramas-e.g., Maeterlinck's "L'Intruse" and "Les sept Princesses" -the chief character is never on the stage. (Burley and Carruthers 1972:119) After this premier Elgar give hints about the piece's "Enigma;' but he never gave the solution outright and took the secret to his grave. Since that time scholars, music lovers, and cryptologists have been trying to solve the Enigma. Because the solution has not been discovered in spite of over 108 years of searching, many people have assumed that it would never be found. In fact, some have speculated that there is no solution, and that the promise of an Enigma was Elgar's rather shrewd way of garnering publicity for the piece.
    [Show full text]
  • CHAN 9859 Front.Qxd 31/8/07 10:04 Am Page 1
    CHAN 9859 Front.qxd 31/8/07 10:04 am Page 1 CHAN 9859 CHANDOS CHAN 9859 BOOK.qxd 31/8/07 10:06 am Page 2 Sir Arthur Sullivan (1842–1900) AKG 1 In memoriam 11:28 Overture in C major in C-Dur . ut majeur Andante religioso – Allegro molto Suite from ‘The Tempest’, Op. 1 27:31 2 1 No. 1. Introduction 5:20 Andante con moto – Allegro non troppo ma con fuoco 3 2 No. 4. Prelude to Act III 1:58 Allegro moderato e con grazia 4 3 No. 6. Banquet Dance 4:39 Allegretto grazioso ma non troppo – Andante – Allegretto grazioso 5 4 No. 7. Overture to Act IV 5:00 Allegro assai con brio 6 5 No. 10. Dance of Nymphs and Reapers 4:21 Allegro vivace e con grazia 7 6 No. 11. Prelude to Act V 4:21 Andante – Allegro con fuoco – Andante 8 7 No. 12c. Epilogue 1:42 Andante sostenuto 3 CHAN 9859 BOOK.qxd 31/8/07 10:06 am Page 4 Sir Arthur Sullivan: Symphony in E major ‘Irish’ etc. Symphony in E major ‘Irish’ 36:02 Sir Arthur Sullivan would have been return to London a public performance in E-Dur . mi majeur delighted to know that the comic operas he of the complete music followed at the 9 I Andante – Allegro, ma non troppo vivace 13:21 wrote with W.S. Gilbert retain their hold on Crystal Palace Concert on 5 April 1862 10 II Andante espressivo 7:13 popular affection a hundred years after his under the baton of August Manns.
    [Show full text]
  • BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
    BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973)
    [Show full text]
  • Dame Clara Butt (1872 – 1936)
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME CLARA BUTT (1872 – 1936) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA APRIL 2017 This finding aid lists programs and ephemera which document all aspects of Clara Butt’s career in Australia and overseas. Clara Butt was an English contralto who was celebrated for her sturdy and broad lower range. She achieved musical success in Britain quickly after completing her academic studies. She went on to lead a charmed life, eventually marrying and touring with the prominent baritone Kennerley Rumford, and was sometimes called Clara Butt-Rumford after her marriage. Her fame was founded upon her remarkably imposing voice and a surprisingly agile singing technique and in her appearances on the concert stage as well as at festivals, and she toured Australia regularly. Her main career was as a recitalist and concert singer. See also Digitised Australian newspaper coverage of Clara Butt. Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance. The list is based on imperfect holdings, and is updated as gaps in the Library’s holdings are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. The Dame Clara Butt PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn3526909 Programs in the National Library’ PROMPT collection are arranged by decade: Performances in the 1910s Performances in the 1920s Performances in the 1930s Then individually listed, chronologically by performance as follows: Date (day and month); City Name of production or performer Headline performers etc.
    [Show full text]
  • Information to Users
    INFORMATION TO U SER S This manuscript has been reproduced from the microfilm master UMl films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer The quality of this reproduction is dependent upon the quality of the copy submitted.Broken or indistinct phnt, colored or poor quality illustrations and photographs, print bleedthrough. substandard margins, and improper alignment can adversely affect reproduction In the unlikely event that the author did not send UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthonzed copyright material had to be removed, a note will indicate the deletion Oversize materials (e g . maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMl® UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MICHAEL HEAD’S LIGHT OPERA, KEY MONEY A MUSICAL DRAMATURGY A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By MARILYN S. GOVICH Norman. Oklahoma 2002 UMl Number: 3070639 Copyright 2002 by Govlch, Marilyn S. All rights reserved. UMl UMl Microform 3070639 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17. United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
    [Show full text]
  • Repertoire Lists
    REPERTOIRE LISTS 36 Piano 41 Harpsichord 43 Organ 46 Violin 49 Viola 51 Cello 52 Double Bass 54 Guitar 57 Harp 59 Recorder 61 Flute 63 Oboe 65 Clarinet 67 Bassoon 69 Saxophone 71 Horn REPERTOIRE LISTS 72 Trumpet, Cornet in Bb, Flugelhorn 74 Eb Horn 75 Trombone 77 Baritone, Euphonium 78 Tuba 80 Percussion 81 Singing 97 Orchestral excerpts for FRSM 99 Accepted related instruments Requirements concerning programming and examination music, as well as other performance details, are given on pp. 7–8 (DipABRSM), pp. 11–12 (LRSM) and pp. 14–15 (FRSM). Candidates are advised to study these requirements carefully when planning their Recital programmes. For contact details of publishers and distributors referred to in the following repertoire lists, see pp. 118–121. A brace is used in the repertoire lists to indicate instances where two or more items appear in the same volume, e.g.: Toccata no.3 in D, BWV 912: complete r Bach 7 Toccatas (Henle or Henle – Schott/M.D.S.) Toccata no.5 in E minor, BWV 914: complete R 36 REPERTOIRE LISTS/Piano Piano: DipABRSM J.S. Bach Any one of the following 48 Preludes and Fugues from ‘The Well-Tempered Clavier’ Part 1: no.12 in F minor, BWV 857; r (Associated Board) no.14 in F# minor, BWV 859; no.16 in G minor, BWV 861 R Part 2: no.5 in D, BWV 874; r no.9 in E, BWV 878; no.11 in F, BWV 880; D (Associated Board) no.16 in G minor, BWV 885; no.17 in Ab, BWV 886 R Toccata no.3 in D, BWV 912: complete r Bach 7 Toccatas (Henle or Henle – Schott/M.D.S.) Toccata no.5 in E minor, BWV 914: complete R Bartók Any two or more
    [Show full text]