Baroque Violin Sonatas
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Symphony in B Flat Major 11 Min Wilhelm Friedemann Bach
Andrew Manze, conductor Johann Georg Pisendel: Symphony in B flat major 11 min I Allegro di molto II Andantino III Tempo di menuet Wilhelm Friedemann Bach: Adagio and Fugue in D minor Fk 65 10 min I Adagio II Fugue Jan Dismas Zelenka Hipocondrie Overture in A major 9 min Antonio Vivaldi: Concerto for the Dresden Orchestra in 12 min G minor RV 576 I Allegro II Larghetto III Allegro INTERVAL 15 min Antonio Lotti: Crucifixus (arr. Andrew Manze) 4 min Dmitri Shostakovich: Chamber Symphony in C minor, 23 min (arr. Rudolf Barshai) Op. 110bis I Largo II Allegro molto III Scherzo (Allegretto) IV Largo V Largo Interval at about 7.55 pm. The concert ends at about 20.45 pm. Broadcast live on YLE Radio 1 and the Internet (www.yle.fi) 1 Music from Dresden Sometimes known as “the Florence on the Elbe”, ern Germany. By contrast, the Elector was more Dresden grew in the first half of the 18th century in favour of the French style while his son, Crown into a city of Baroque palaces, art and music with a Prince Friedrich August II, preferred the Italian. thriving court culture. It was to the German-speak- On the death of his father, the Crown Prince be- ing regions of Europe what Florence had been to came Elector of Saxony and King August III of Po- Renaissance Italy. land in 1733. The credit for Dresden’s golden era goes to Au- Despite his debts, August III continued the gran- gust II the Strong (1670–1733), who in 1694 be- diose court culture established by his father. -
Examining the Performance Practice of Polyphonic Figures in J.S
Columbus State University CSU ePress Theses and Dissertations Student Publications 2011 Chord Conundrum: Examining the Performance Practice of Polyphonic Figures in J.S. Bach's Solo Violin Works Emily Vold Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Performance Commons Recommended Citation Vold, Emily, "Chord Conundrum: Examining the Performance Practice of Polyphonic Figures in J.S. Bach's Solo Violin Works" (2011). Theses and Dissertations. 107. https://csuepress.columbusstate.edu/theses_dissertations/107 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. .5 .it* v fif'-j 'wr i7 I' U5" Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/chordconundrumexOOvold Chord Conundrum: Examining the Performance Practice of Polyphonic Figures in J.S. Bach's Solo Violin Works by Emily Void A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Music in Music Performance College of the Arts Columbus State University Thesis Advisor JjJjUkAu Date ¥/&/// Committee Member Date Committee MembeC^^^^^ J^C^^~^ Date J^g> *&&/ / CSU Honors Committee Member Date Director, Honors Program (^Ljjb^Q^/^ ^—^O Date J^r-ste// Interpreting and expressing the musical intentions of a composer in an informed manner requires great dedication and study on the part of a performer. This holds particularly true in the case of music written well before the present age, where direct connections to the thoughts of the composer and even the styles of the era have faded with the passing of time. -
Corelli'stonalmodels
Intégral 31 (2017) pp. 31–49 Corelli's Tonal Models: The Trio Sonata Op.3, No. 1* by Christopher Wintle Abstract. British thought is typically pragmatic, so a British reception of the work of Heinrich Schenker will concern itself with concrete procedure at the expense of hypothetical abstraction. This is especially important when dealing with the work of Arcangelo Corelli, whose work, along with that of others in the Franco-Italian tradi- tion, holds the key to common-practice tonality. The approach of the British author is thus to construct a set of concrete linear-harmonic models derived from the fore- ground and middleground techniques of Schenker and to demonstrate their han- dling throughout the four movements of a representative trio sonata (Op. 3, No. 1). In this essentially “bottom-up” project, detailed discussion of structure readily merges into that of style and genre, including dance and fugue. The text is supported by many examples and includes a reprint of the trio sonata itself. Keywords and phrases: Arcangelo Corelli, Heinrich Schenker, trio sonata, tonal models, fugue. Introduction poser or a single school,” nevertheless suggested that it was Corelli who “was the first to put the tonal formu- here appears to have been no doubt in the minds of las to systematic use.” Christopher Hogwood (1979, 41), on T many of those who have written about the Baroque the other hand, cites two eighteenth-century sources to era that the music of Arcangelo Corelli bore an extraordi- suggest that Corelli’s achievement was one more of man- nary significance, and one that extended far beyond his ner than of matter: according to Charles Burney, he says, having made a remarkable contribution to the repertoire “Corelli was not the inventor of his own favorite style, of solo, chamber, and concerted violin music. -
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (For Unit 6: Further Musical Understanding) Background information and performance circumstances Arcangelo Corelli (1653–1713) is one of the most important and influential composers of the Baroque period. This is all the more remarkable for the fact that his output was very small, being just four sets of twelve trio sonatas, twelve solo sonatas and twelve concerti grossi, plus a handful of other works. All of his music was written for instrumental forces (almost entirely string ensemble) and the form and style of these works were highly regarded by the later generation of Baroque composers such as Handel and Bach. His music was widely recognised and circulated through publishing with as many as 35 different editions of his Op.1 Trio Sonatas being published during the eighteenth-century alone. The compositional techniques Corelli employed are frequently cited as a model for students of Baroque counterpoint and harmony today. Corelli was born into a prosperous landowning family in Fusignano in Northern Italy, although sadly his father died before Arcangelo was born. He studied for four years at nearby Bologna at a time when Italians reigned as the best instrument makers, teachers and performers of string music in the whole of Europe. In 1675, he moved to Rome where he remained for the rest of his life earning his living as a violinist and composer. Queen Christine of Sweden was an early patron of Corelli (he dedicated his Op.1 Trio Sonatas to her) but the Op.3 Trio Sonatas were dedicated in 1689 to Duke Francesco II of Modena. -
Karel Keldermans
Upcoming Events Faculty Recital: Julia Bullard, viola Friday, April 12, 6 p.m. Davis Hall, GBPAC UNI Opera Presents: Serse Friday-Saturday, April 12-13, 7:30 p.m. Bengtson Auditorium, Russell Hall UNI Jazz Band Three Monday, April 15, 7:30 p.m. Bengtson Auditorium, Russell Hall The School of Music Calendar of Events is available online at music.uni.edu/events. To receive a hardcopy, please call 319-273-2028. Karel Keldermans, carillonneur In consideration of the performers and other members of the audience, please enter or leave a performance at the end of a composition. Cameras and recording equipment are not permitted. Please turn off all electronic devices, and be sure that all emergency contact cell phones and pagers are set to silent or vibrate. In the event of an emergency, please use the exit nearest to you. Please contact the usher staff if you need assistance. This event is free to all UNI students, courtesy of the Panther Pass Program. Performances like this are made possible through private support from patrons like you! Please consider contributing to School of Music scholarships or guest artist programs. Call 319-273-3915 or visit www.uni.edu/music to make your gift. Thursday, April 11, 2019, 12 p.m. UNI Campanile Program About our Guest Artist 1. Concerto Grosso . .Ronald Barnes KAREL KELDERMANS is one of the pre-eminent carillonneurs a. Largo (1927-1997) in North America. Karel has been Carillonneur for b. Siciliana Concordia Seminary in St. Louis, Missouri since 2000. He c. Pollacca retired in 2012 from the position of full-time Carillonneur for the Springfield Park District in Springfield, Illinois, where he 2. -
A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ................................................... -
Arcangelo Corelli
Arcangelo Corelli The music of Arcangelo Corelli (1653-1713) exerted an influence on the development of string music that far exceeded the implications of the modest number of prints in which they were circulated. Only six volumes of works, each containing twelve sonatas or concertos, were published, and the last after Corelli’s death. Corelli’s fame emanated from his playing in Rome, where the courts of cardinals offered much of the best, and best supported, music. Corelli’s particular patrons and benefactors included Cardinal Benedetto Pamphili and his successor, Cardinal Pietro Ottoboni as well as the exiled queen Christina of Sweden. His popularity in the eighteenth century (much of it posthumous) was immense. Printed copies of his works from that time are widely spread throughout Europe, North America, and the East Asia. Church and Chamber Sonatas Opp.1-4 The first four of Corelli’s volumes contains “trio” sonatas—sonatas for two violins and basso continuo. In the case of the “church” sonatas (sonate da chiesa; Opp. 1 [1681] and 3 [1689] ), the works were usually accompanied by organ, which would be reinforced by a cello or a lute or both. In contrast, “chamber” sonatas (sonate da camera, Opp. 2 [1685] and 4 [1692] ) were accompanied by harpsichord, often reinforced by cello. According to long-held views, the difference between church and chamber sonatas inhered in their structure and content. Church sonatas typically contained four movements in the sequence slow-fast- slow-fast (e.g., Adagio-Allegro-Adagio-Allegro). Imitative writing could occur between treble and bass instruments or between the two violins. -
The Concept of Bildung in Early German Romanticism
CHAPTER 6 The Concept of Bildung in Early German Romanticism 1. Social and Political Context In 1799 Friedrich Schlegel, the ringleader of the early romantic circle, stated, with uncommon and uncharacteristic clarity, his view of the summum bonum, the supreme value in life: “The highest good, and [the source of] ev- erything that is useful, is culture (Bildung).”1 Since the German word Bildung is virtually synonymous with education, Schlegel might as well have said that the highest good is education. That aphorism, and others like it, leave no doubt about the importance of education for the early German romantics. It is no exaggeration to say that Bildung, the education of humanity, was the central goal, the highest aspiration, of the early romantics. All the leading figures of that charmed circle—Friedrich and August Wilhelm Schlegel, W. D. Wackenroder, Friedrich von Hardenberg (Novalis), F. W. J. Schelling, Ludwig Tieck, and F. D. Schleiermacher—saw in education their hope for the redemption of humanity. The aim of their common journal, the Athenäum, was to unite all their efforts for the sake of one single overriding goal: Bildung.2 The importance, and indeed urgency, of Bildung in the early romantic agenda is comprehensible only in its social and political context. The young romantics were writing in the 1790s, the decade of the cataclysmic changes wrought by the Revolution in France. Like so many of their generation, the romantics were initially very enthusiastic about the Revolution. Tieck, Novalis, Schleiermacher, Schelling, Hölderlin, and Friedrich Schlegel cele- brated the storming of the Bastille as the dawn of a new age. -
Raymond Monelle. 2006. the Musical Topic: Hunt, Military, and Pastoral
Raymond Monelle. 2006. The Musical Topic: Hunt, Military, and Pastoral. Bloomington and Indianapolis: Indiana University Press. Reviewed by Andrew Haringer Raymond Monelle, who passed away earlier this year, was something of an anomaly in the academic community. As far as I am aware, he is the only musicologist to have a pop song written in his honor: "Keep in Sight of Raymond Monelle" by Canadian in die band Barcelona Pavilion. He was that rare breed of the true performer-scholar who remained active as a composer, jazz pianist, and conductor, nurturing the boyhood talents of now-prominent Scottish musicians Donald Runnicles and James MacMillan in the latter capacity. Following his retirement in 2002, he even wrote a novel about the adolescence of Alban Berg, which currently remains unpublished. l However, it is for his groundbreaking work in musical semiotics, and topic theory in particular, for which Dr. Monelle is most likely to be remem bered' and here too he deviated from the norm. Over the past two decades, he developed an approach to the study of music signification that was at once solidly grounded in the methodologies of the past, and yet refreshingly devoid of dogmatic prejudice and any pretense of quasi-scientific rigor. It was this judicious blend of a solid foundation and an adventurous spirit that ensured glowing reviews of Monelle's first two books by scholars of such different temperaments as Kofi Agawu (1994) and Susan McClary (2001).1t is therefore surprising that his third and, in my estimation, greatest book-The Musical Topic: Hunt, Military, and Pastoral-met with so little fanfare when it appeared four years ago. -
Joseph Beuys and the Reincarnation of German Romanticism
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 5-2003 Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren Elizabeth Smith University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Smith, Lauren Elizabeth, "Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism" (2003). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/601 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. ----------------~~------~--------------------- Postwar Landscapes: Joseph Beuys and the Reincarnation of German Romanticism Lauren E. Smith College Scholars Senior Thesis University of Tennessee May 1,2003 Dr. Dorothy Habel, Dr. Tim Hiles, and Dr. Peter Hoyng, presiding committee Contents I. Introduction 3 II. Beuys' Germany: The 'Inability to Mourn' 3 III. Showman, Shaman, or Postwar Savoir? 5 IV. Beuys and Romanticism: Similia similibus curantur 9 V. Romanticism in Action: Celtic (Kinloch Rannoch) 12 VI. Celtic+ ---: Germany's symbolic salvation in Basel 22 VII. Conclusion 27 Notes Bibliography Figures Germany, 1952 o Germany, you're torn asunder And not just from within! Abandoned in cold and darkness The one leaves the other alone. And you've got such lovely valleys And plenty of thriving towns; If only you'd trust yourself now, Then all would be just fine. -
Early Music Influences in Paul Hindemith's Compositions for the Viola Domenico L
James Madison University JMU Scholarly Commons Dissertations The Graduate School Fall 2014 Early music influences in Paul Hindemith's Compositions for the Viola Domenico L. Trombetta James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Performance Commons Recommended Citation Trombetta, Domenico L., "Early music influences in Paul Hindemith's Compositions for the Viola" (2014). Dissertations. 5. https://commons.lib.jmu.edu/diss201019/5 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Early Music Influences in Paul Hindemith’s Compositions for the Viola Domenico Luca Trombetta A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music December 2014 To my wife Adelaide ii CONTENTS DEDICATION…………………………………………………………………………….ii LIST OF MUSICAL EXAMPLES……………………………………………………….iv LIST OF FIGURES………………………………………………………………………vi ABSTRACT……………………………………………………………………………..vii INTRODUCTION………………………………………………………………………...1 I. The Origins of Hindemith’s Interest in Early Music………………………………….5 II. The Influence of Bach’s D-Minor Chaconne for Solo Violin on Hindemith’s Viola Sonatas op. 11, no.5 and op. 31, no.4………………………………………………..14 III. Viola Concerto Der Schwanendreher………………………………………………..23 IV. Trauermusik for Viola and Strings…………………………………………………..35 CONCLUSION…………………………………………………………………………..42 BIBLIOGRAPHY………………………………………………………………………..45 APPENDICES…………………………………………………………………………...48 A. Musical Examples B. Figures iii Musical Examples 1a Hindemith, Solo Viola Sonata Op. 11, No. 5, movt. IV (In Form und Zeitmass einer Passacaglia), Theme…………………............................................49 1b Bach, Chaconne, Theme………………………………………………………....49 1c Hindemith, Solo Viola Sonata Op. -
GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start.