DOCSLIB.ORG

Musik-Katalog Für Bassetthorn Und Bassettklarinette

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musik-Katalog Für Bassetthorn Und Bassettklarinette Musik-Katalog für Bassetthorn und Bassettklarinette von Thomas Graß und Dietrich Demus Stand vom 31.Mai 2020 Ergänzungen und Berichtigungen des Katalogs aus dem Sachbuch: „Das Bassetthorn. Seine Entwicklung und seine Musik“, 2. Aufl. 2004, Hrsg. T. Grass und D. Demus, BOD, ISBN 3-8311-4411-7 [email protected] [email protected] 1 Inhaltsverzeichnis 1.à Konzerte mit Solo-Bassetthorn 5à 1.1à Solo für ein oder mehrere Bassetthörner und Orchester oder Sinfonisches Blasorchester ........5à 1.2à Werke mit Solo-Bassetthorn, weiteren Solo-Instrumenten oder Singstimme und Orchester oder Blasorchester, auch Sinfonie Concertanti .........................................................................13à 1.3à Historische Bearbeitungen für Bassetthorn und fälschlich oder fraglich dem Bassetthorn zugeschriebene Solowerke mit Orchester .................................................................................18à 2à Kammermusik 19à 2.1à Bassetthorn Solo ........................................................................................................................19à Dà à 2.2à Bassetthorn und Klavier / Cembalo / Orgel / Vibraphon / elektronische Musik / Tape ..............24à 2.3à Zwei Bassetthörner ....................................................................................................................34à 2.4à Bassetthorn und ein anderes Instrument / Singstimme .............................................................37à 2.5à Bassetthorn und Gitarre / Mandoline .........................................................................................43à Tà à 2.7à Trios mit Bassetthorn und Klavier / Harfe ..................................................................................43à 2.8à Drei Bassetthörner .....................................................................................................................46à 2.9à Zwei Bassetthörner und Baßklarinette / Fagott ..........................................................................62à 2.10à Klarinette und zwei Bassetthörner .............................................................................................62à 2.11à Klarinette, Bassetthorn und Baßklarinette / Fagott ....................................................................63à 2.12à Zwei Klarinetten und Bassetthorn ..............................................................................................66à 2.13à Bassetthorn und zwei weitere Instrumente (außer Klavier) .......................................................73à 2.14à Trios mit Bassetthorn und Gitarre ..............................................................................................78à Qà à 2.15à Quartette mit Klavier / Klavieren ................................................................................................78à 2.16à Vier Bassetthörner......................................................................................................................80à 2.17à Klarinette und drei Bassetthörner ...............................................................................................81à 2.18à Klarinette, zwei Bassetthörner und Baßklarinette / Fagott .........................................................87à 2.19à Zwei Klarinetten und zwei Bassetthörner ...................................................................................88à 2.20à Zwei Klarinetten, Bassetthorn und Baßklarinette / Fagott .........................................................89à 2.21à Zwei Bassetthörner und zwei Hörner/ Fagotte ........................................................................ 102à 2.22à Drei Klarinetten und Bassetthorn ............................................................................................ 103à 2.23à Bassetthorn und drei Streicher ................................................................................................ 103à 2.24à Quartette mit Bläsern und / oder Streichern, ggf. Singstimme ............................................... 105à Qà à 2.25à Quintette mit Klavier/Harfe ...................................................................................................... 112à 2.26à Fünf Bassetthörner .................................................................................................................. 113à 2.27à Zwei Klarinetten und drei Bassetthörner ................................................................................. 114à 2.28à Zwei Klarinetten, zwei Bassetthörner und Baßklarinette ........................................................ 117à 2 2.29à Anders besetzte Klarinetten-Quintette mit Bassetthorn oder Bassetthörnern (z.B. 3 Cl, BH, BCl).................................................................................................................. 122à 2.30à Bassetthorn und Streichquartett .............................................................................................. 129à 2.31à Klarinette, Bassetthorn und Streichtrio ................................................................................... 131à 2.32à Gemischte Quintette mit Bläsern und / oder Streichern ohne Klavier .................................... 131à SàààKà à 2.33à Gemische Kammermusikbesetzungen (Bläser und Streicher oder Klavier/Orgel) mit einem oder mehreren Bassetthörnern (ohne Singstimme) ............................................... 137à -2.34à Sechs bis zwölf Bassetthörner ................................................................................................ 146à 2.35à Größere reine Bläser-Besetzungen mit einem oder mehreren Bassetthörnern (incl. Klarinettenchor) ....................................................................................................................... 146à 2.37à Klarinettenchor mit einem oder mehreren Bassetthörnern (Auszug aus Kap. 2.35) .............. 176à 2.38à Sämtliche Kammermusikbesetzungen mit Singstimme(n) ..................................................... 184à 3.à Bassetthorn und Elektronische Musik (Tape, Synthesizer) (alle Besetzungen) 189à 4.à Orchestermusik 192à 4.1à Orchesterwerke und Konzerte mit tutti-Bassetthorn/-hörnern, auch im Sinfonischen Blasorchester .......................................................................................................................... 192à 4.2à Opernwerke und Schauspiele mit Bassetthörnern .................................................................. 200à 4.3à Messen, Oratorien, Requiems und geistliche Musik mit Bassetthörnern ............................... 209à 5.à Varia 224à 5.1à Filmmusik mit Bassetthorn ...................................................................................................... 224à 5.2à Bassetthornschulen und Studienwerke ................................................................................... 225à 5.3à Unvollständig erhaltene Bassetthornmusik und Fragmente ................................................... 226à 5.4à Verschollene oder fraglich erhaltene Bassetthornmusik ......................................................... 229à 6.1à Konzerte mit Solo-Bassettklarinette oder 2 Solo-Bassettklarinetten ...................................... 238à 6.2à Kammermusik mit Bassettklarinette ........................................................................................ 244à 6.2.1à Bassettklarinette Solo, ggf. mit Tape ...................................................................................... 244à 6.2.2à Duos mit Bassettklarinette ...................................................................................................... 247à 6.2.3à Trios mit Bassettklarinette ....................................................................................................... 250à 6.2.4à Quartette mit Bassettklarinette ................................................................................................ 252à 6.2.5à Quintette mit Bassettklarinette ................................................................................................ 252à 6.2.5à Sextette und größere Kammermusikbesetzungen mit Bassettklarinette ................................ 254à 6.3à Orchestermusik und Opern mit Bassettklarinette ................................................................... 255à Stichwortverzeichnis (Komponisten und Bearbeiter)…………………………………………………257 3 Abkürzungen: O = Originalkomposition T = Transkription, Arrangement, im Original für andere Instrumente F = laut Angabe von Heinrich Fink, Düsseldorf MM = laut Angabe der „Preliminary Scetch List“ von Prof. Graham Melville-Mason, London NH = laut Angabe von „The Basset-Horn and its Music“, 2. Ed. 1986 und ergänzte 2. Ed. 1999 von John Newhill G = laut Angabe von Thomas Grass, Arnsberg. In seinem Archiv vorhanden. Haase = laut der Klarinettenbibliographie (Version 2018) von Heribert Haase, Wolfenbüttel, die mehr als 50.000 Werke und Ausgaben enthält (CD-Rom). LB = Landesbibliothek MS = Manuskript VCC = Vienna Clarinet Connection Instrumente: BH = Bassetthorn BassettCl = Bassettklarinette in A/B EH = Englischhorn Ob = Oboe Fl = Flöte Picc = Piccoloflöte Cl = Klarinette (B) Cl/ Es = Es-Klarinette Cl/A = A-Klarinette AltCl = Altklarinette (Es) KAltCl = Kontraaltklarintte BCl = Baß-Klarinette KBCl = Kontrabaß-Klarinette Fa = Fagott Hr = Horn Trp = Trompete Pos = Posaune Vl = Violine Vla = Viola Vcl = Violoncello KB = Kontrabaß P = Klavier Guit = Gitarre 4 1. Konzerte mit Solo-Bassetthorn 1.1 Solo für ein oder mehrere Bassetthörner und Orchester oder Sinfonisches Blasorchester Allen, Anthony Campbell (1925-1995, USA): Concerto for BH [und Orchester]: op. 44 [Autographe Reinschrift]
Load more

Recommended publications
  • A Passion for Opera the DUCHESS and the GEORGIAN STAGE
    A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE PAUL BOUCHER JEANICE BROOKS KATRINA FAULDS CATHERINE GARRY WIEBKE THORMÄHLEN Published to accompany the exhibition A Passion for Opera: The Duchess and the Georgian Stage Boughton House, 6 July – 30 September 2019 http://www.boughtonhouse.co.uk https://sound-heritage.soton.ac.uk/projects/passion-for-opera First published 2019 by The Buccleuch Living Heritage Trust The right of Paul Boucher, Jeanice Brooks, Katrina Faulds, Catherine Garry, and Wiebke Thormählen to be identified as the authors of the editorial material and as the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the authors. ISBN: 978-1-5272-4170-1 Designed by pmgd Printed by Martinshouse Design & Marketing Ltd Cover: Thomas Gainsborough (1727-1788), Lady Elizabeth Montagu, Duchess of Buccleuch, 1767. Portrait commemorating the marriage of Elizabeth Montagu, daughter of George, Duke of Montagu, to Henry, 3rd Duke of Buccleuch. (Cat.10). © Buccleuch Collection. Backdrop: Augustus Pugin (1769-1832) and Thomas Rowlandson (1757-1827), ‘Opera House (1800)’, in Rudolph Ackermann, Microcosm of London (London: Ackermann, [1808-1810]). © The British Library Board, C.194.b.305-307. Inside cover: William Capon (1757-1827), The first Opera House (King’s Theatre) in the Haymarket, 1789.
    [Show full text]
  • Musik-Katalog Bassetthorn Bassettklarinette
    Musik-Katalog für Bassetthorn (3604 Werke) und Bassettklarinette (189 Werke) von Thomas Graß und Dietrich Demus Stand vom 31.Mai 2020 Ergänzungen und Berichtigungen des Katalogs aus dem Sachbuch: „Das Bassetthorn. Seine Entwicklung und seine Musik“, 2. Aufl. 2004, Hrsg. T. Grass und D. Demus, BOD, ISBN 3-8311-4411-7. [email protected] [email protected] Formatierung und Druckherstellung: Michael Baasner 1 Inhaltsverzeichnis 1. Konzerte mit Solo-Bassetthorn 5 1.1 Solo für ein oder mehrere Bassetthörner und Orchester oder Sinfonisches Blasorchester ........5 1.2 Werke mit Solo-Bassetthorn, weiteren Solo-Instrumenten oder Singstimme und Orchester oder Blasorchester, auch Sinfonie Concertanti .........................................................................13 1.3 Historische Bearbeitungen für Bassetthorn und fälschlich oder fraglich dem Bassetthorn zugeschriebene Solowerke mit Orchester .................................................................................18 2 Kammermusik 19 2.1 Bassetthorn Solo ........................................................................................................................19 Duos 24 2.2 Bassetthorn und Klavier / Cembalo / Orgel / Vibraphon / elektronische Musik / Tape ..............24 2.3 Zwei Bassetthörner ....................................................................................................................34 2.4 Bassetthorn und ein anderes Instrument / Singstimme .............................................................37 2.5 Bassetthorn und Gitarre
    [Show full text]
  • Ottoman Empire & European Theatre VIII
    Ottoman Empire & European Theatre VIII ______________ 28 – 29 M a y 2 0 1 5 International Symposium I s t a n b u l – Pera Museum Culture, Diplomacy and Peacemaking: Ottoman-European Relations in the Wake of the Treaty of Belgrade (1739) and the Era of Maria Theresia (r.1740–1780) Under the patronage of Exc. Hasan Göğüş Exc. Dr. Klaus Wölfer Ambassador of & Ambassador of the Republic of Turkey in Vienna the Republic of Austria in Ankara In cooperation with International Symposium Istanbul 2015 by Don Juan Archiv Wien OTTOMAN EMPIRE & EUROPEAN THEATRE VIII Culture, Diplomacy and Peacemaking: Ottoman-European Relations in the Wake of the Treaty of Belgrade (1739) and the Era of Maria Theresia (r.1740–1780) 28 – 29 May 2015 Istanbul, Pera Museum Organized by Don Juan Archiv Wien In cooperation with Pera Museum Istanbul, The UNESCO International Theatre Institute in Vienna (ITI) and The Austrian Cultural Forum in Istanbul PROGRAMME OVERVIEW Thursday, May 28th 2015 10:00–11:00 Opening Ceremony 11:00–11:30 Coffee Break 11:30–12:45 Session I “Of Ottoman Diplomacy” Seyfi Kenan The Education of an Ottoman Envoy during the Early Modern Period (Seventeenth and Eighteenth Centuries) John Whitehead The Embassy of Yirmisekizzade Said Mehmed Pasha to Paris (1742) 12:45–14:00 Lunch Break 14:00–15:15 Session II “The Siege of Belgrade (1789) and the Legend of a Field Marshal” Tatjana Marković Celebrating Field Marshal Gideon Ernest von Laudon (1717–1790) in European Literature and Music Michael Hüttler Celebrating Field Marshal Gideon Ernest von Laudon (1717–1790) in Theatre: The Siege of Belgrade on Stage 15:15–15:30 Coffee Break 15:30–16:45 Session III “Theatrical Aspects: Venice, Paris” Maria Alberti L’impresario delle Smirne (‘The Impresario from Smyrna’, 1759) by Carlo Goldoni (1707–1793), Namely the Naive Turk Aliye F.
    [Show full text]
  • Finale Transposition Chart, by Makemusic User Forum Member Motet (6/5/2016) Trans
    Finale Transposition Chart, by MakeMusic user forum member Motet (6/5/2016) Trans. Sounding Written Inter- Key Usage (Some Common Western Instruments) val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C* Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯* Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B (natural) alto, B Trumpet B¯* Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A* Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G* Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim.
    [Show full text]
  • The Siege of Belgrade on Stage
    Michael Hüttler THEATRE AND CULTURAL MEMORY: THE SIEGE OF BELGRADE ON STAGE Michael Hüttler (Vienna) Abstract: This contribution considers the historical image of Belgrade created by European playwrights and librettists of the eighteenth and nineteenth century. Istanbul has been for a long time the symbol of an oriental city and lifestyle in the Western European mind – an image that was transmitted especially in poetry and dramatic texts. Belgrade seems to be present in a different way in the European cultural memory. Analysis of the representation of history related to Belgrade in the medium of theatre is based on the four selected historical theatre texts: Hannah Brand’s Huniades, or The Siege of Belgrade (Norwich, 1791/1798); Carl Kisfaludy’s Ilka oder die Einnahme von Griechisch-Weissenburg (Pest, 1814); James Cobb’s The Siege of Belgrade (London 1791/1828); und Friedrich Kaiser’s General Laudon (Vienna, 1875). In this article I would like to investigate the historical image of Belgrade created by European playwrights and librettists of the eighteenth and nineteenth century. What are the contents transported in the dramatic texts about Belgrade? Is a certain historical-political context present, which dominates the entertainment factor? Istanbul has been for a long time the symbol of an oriental city and lifestyle in the Western European mind – an image that was transmitted especially in poetry and dramatic texts. Belgrade seems to be present in a different way in the European cultural memory. In his 1963 essay Sur Racine (‘On Racine’) Roland Barthes already posed the question of how to deal academically with the challenge of the relation between history and a work of art, be it music or a dramatic text.
    [Show full text]
  • 9783849816360.Pdf
    AV Kuratorium: Olaf Briese (Berlin), Erika Brokmann (Detmold), Birgit Bublies-Godau (Bochum), Claude Conter (Luxemburg), Norbert Otto Eke (Paderborn), Jürgen Fohrmann (Bonn), Gustav Frank (München) Martin Friedrich (Ber- lin), Bernd Füllner (Düsseldorf ), Detlev Kopp (Bielefeld), Rainer Kolk (Bonn), Hans-Martin Kruckis (Bielefeld), Christian Liedtke (Düsseldorf ), Harro Müller (New York), Maria Porrmann (Köln), Rainer Rosenberg (Ber- lin), Peter Stein (Lüneburg), Florian Vaßen (Hannover), Michael Vogt (Bie- lefeld), Fritz Wahrenburg (Paderborn), Renate Werner (Münster) FVF Forum Vormärz Forschung Jahrbuch 2009 15. Jahrgang Literatur und Recht im Vormärz herausgegeben von Claude D. Conter AISTHESIS VERLAG Das FVF im Internet: www.vormaerz.de 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. Das FVF ist vom Finanzamt Bielefeld nach § 5 Abs. 1 mit Steuer-Nr. 305/0071/1500 als gemeinnützig anerkannt. Spenden sind steuerlich absetzbar. Namentlich gekennzeichnete Beiträge müssen nicht mit der Meinung der Redaktion übereinstimmen. Redaktion: Detlev Kopp Print-Ausgabe: 2010, ISBN 978-3-89528-772-5 © Aisthesis Verlag Bielefeld 2020 Postfach 10 04 27, D-33504 Bielefeld Satz: Germano Wallmann, www.geisterwort.de Alle Rechte vorbehalten ISBN 978-3-8498-1636-0 www.aisthesis.de Inhalt I. Schwerpunktthema: Literatur und Recht im Vormärz Claude D. Conter (Luxemburg)
    [Show full text]
  • Ricci Francesco Siciliani.Pdf
    Franco Carlo Ricci Francesco Siciliani Sessant'anni di vita musicale in Italia Edizioni Scientifiche Italiane Teatro alla Scala Rai Eri 1 Patrocini Ministero dei Beni e delle Attività Culturali Accademia Nazionale di Santa Cecilia Teatro alla Scala di Milano Teatro Comunale di Firenze Teatro San Carlo di Napoli Teatro La Fenice di Venezia Teatro dell'Opera di Roma Federazione Italiana Club Unesco Volume pubblicato con il contributo del Consiglio Nazionale delle Ricerche e con il contributo dei Fondi di Ateneo dell'Istituto di Scienze Umane e delle Arti dell'Università degli Studi della Tuscia-Viterbo Ricci, Franco Carlo Francesco Siciliani (1911-1996). Sessant'anni di vita musicale in Italia Collana: Musica e Musicisti Napoli: Edizioni Scientifiche Italiane, 2003 Roma: Rai Radiotelevisione Italiana, 2003 Teatro alla Scala pp. 756+80 f.t.; 22,2 cm ISBN 88-495-0392-X © 2003 Rai Radiotelevisione Italiana 00195 Roma, viale Mazzini, 14 E-mail: [email protected] © 2003 Edizioni Scientifiche Italiane S.p.A. 80121 Napoli, via Chiatamone, 7 00185 Roma, via dei Taurini, 27 Internet: www.esispa.com E-mail: [email protected] I diritti di traduzione, riproduzione e adattamento totale o parziale e con qualsiasi mezzo (compresi i microfilms e le copie fotostatiche) sono riservati per tutti i Paesi. 2 Sommario Prefazioni LORIN MAAZEL 9 LUCIANO BERIO 12 PREMESSA 13 1. La formazione e gli anni giovanili 21 2. Il periodo bellico 53 3. L'approdo al Maggio Musicale Fiorentino 73 4. I primi Anni Cinquanta 97 5. Médée, Guerra e pace e Agnes von Hohenstaufen 133 6. Ultimi anni al Maggio Musicale Fiorentino 165 7.
    [Show full text]
  • Band Director's Catalog
    BAND DIRECTor’s CATALOG We make legends. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV4230 1 TABLE OF CONTENTS Eb Soprano, Harmony & Eb Alto Clarinets ....... 10 Bb Bass, EEb Bass & BBb Bass Clarinets ........... 11 308 Student Instruments Step-Up & Pro Saxophones .............................. 12-13 Step-Up & Pro Bb Trumpets .............................. 14 Piccolos & Flutes ...................................................... 1 Step-Up & Pro Cornets ..................................... 14 Oboes & Clarinets .................................................... 2 C Trumpets, Harmony Trumpets, Flugelhorns .... 15 Saxophones .............................................................. 3 Step-Up & Pro Trombones ................................ 16-17 204 Trumpets & Cornets .................................................. 4 Alto, Valve & Bass Trombones .......................... 18 Trombones ............................................................... 5 Double Horns .................................................. 19 PICCOLOS Single Horns ............................................................ 5 Baritones & Euphoniums .................................. 20 Educational Drum, Bell and Combo Kits .................. 6 BBb Tubas - Three Valve .................................... 21 ARMSTRONG Mallet Instruments .................................................... 6 BBb & CC Tubas - Four Valve ............................ 21 204 “USA” – Silver-plated headjoint and body, silver-plated
    [Show full text]
  • View PDF Online
    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
    [Show full text]
  • Boston Symphony Chamber Players 50Th Anniversary Season 2013-2014
    Boston Symphony Chamber Players 50th anniversary season 2013-2014 jordan hall at the new england conservatory october 13 january 12 february 9 april 6 BOSTON SYMPHONY CHAMBER PLAYERS Sunday, January 12, 2014, at Jordan Hall at New England Conservatory TABLE OF CONTENTS 3 Welcome 4 “The Boston Symphony Chamber Players: For Fifty Years, Champions of Chamber Music,” by Richard Dyer 6 From the Players 10 Today’s Program Notes on the Program 11 Aaron Copland 13 Irving Fine 14 Wolfgang Amadè Mozart 15 Johannes Brahms Artists 16 Boston Symphony Chamber Players 17 Gilbert Kalish 19 The Boston Symphony Chamber Players: A Discography COVER PHOTO (top) Founding members of the Boston Symphony Chamber Players, 1964: (seated, left to right) Joseph Silverstein, violin; Burton Fine, viola; Jules Eskin, cello; Doriot Anthony Dwyer, flute; Ralph Gomberg, oboe; Gino Cioffi, clarinet; Sherman Walt, bassoon; (standing, left to right) Georges Moleux, double bass; Everett Firth, timpani; Roger Voisin, trumpet; William Gibson, tombone; James Stagliano, horn (BSO Archives) COVER PHOTO (bottom) The Boston Symphony Chamber Players in 2012 at Jordan Hall: (seated in front, from left): Malcolm Lowe, violin; Haldan Martinson, violin; Jules Eskin, cello; Steven Ansell, viola; (rear, from left) Elizabeth Rowe, flute; John Ferrillo, oboe; William R. Hudgins, clarinet; Richard Svoboda, bassoon; James Sommerville, horn; Edwin Barker, bass (photo by Stu Rosner) ADDITIONAL PHOTO CREDITS Individual Chamber Players portraits pages 6, 7, 8, and-9 by Tom Kates, except Elizabeth Rowe (page 8) and Richard Svoboda (page 9) by Michael J. Lutch. Boston Symphony Chamber Players photo on page 16 by Michael J. Lutch.
    [Show full text]
  • Prominent Schools of Clarinet Sound (National Styles)
    Prominent Schools of Clarinet Sound (National Styles) German School (Oehler system, up to 27 keys) Description: dark, compact, well in tune but difficult to play very softly Players: Karl Leister, Sabine Meyer French School (Boehm system, 16 or 17 keys) Description: clear, bright/too bright, large dynamic range Players: Anthony Gigliotti, Phillippe Cuper Italian School (Boehm system) Description: voice-like quality Opera tradition Players: Ernesto Cavallini, Alessandro Carbonare American School (Boehm system) Description: Strong French influence but more open and wide, more air and flexibility Connections to jazz and film music Players: Larry Combs, Richard Stolzman, Charles Neidich, Benny Goodman, Artie Shaw JDG 20200815 The Most-used Types of Clarinets Band Eb Clarinet Bb Clarinet***** Eb Alto Clarinet Bb Bass Clarinet Eb Contra Alto Clarinet Bb Contra Bass Clarinet Orchestra Eb Clarinet C Clarinet Bb Clarinet A Clarinet Bb Bass Clarinet Worth Mentioning Basset Horn (in F) Basset Clarinet (in A) When an instrument plays its C and that sound/pitch is the same as the piano’s C, we say the instrument is “in C” When an instrument plays its C and that sound/pitch is the same as the piano’s Bb, we say the instrument is “in Bb” When an instrument plays its C and that sound/pitch is the same as the piano’s Eb, we say the instrument is “in Eb” And so on. JDG 20200815 Equipment Clarinets Rubber/plastic/ebonite, wood, carbon composites • Buffet • Selmer • LeBlanc • Yamaha • Bundy Mouthpieces Rubber, glass (metal) • Vandoren • Selmer • Yamaha • LeBlanc Reeds Cane or synthetic • Vandoren • Rico • Alexander • Gonzalez Ligatures and mouthpiece caps • Vandoren • Bonade (inverted) • LeBlanc • Rovner • Unnamed Tips • I purchase new instruments and used instruments.
    [Show full text]
  • Numerical Listing
    SEQ DISC NO LABEL CDN PRICE PERFORMER DESCRIPTION a a THREE FOR TWO! ON ALL ITEMS PRICED AT £5.00, ONE- THIRD (1/3) OFF ALL ORDERS FOR 3 OR MORE a a 23776 0 10 1441-3 Supraphon, blue m A1 £10.00 Talich, Vaclav Vol. 1. Suk: Serenade for Strings; Asrael; Ripening. Czech PO c 22047 1 11 1106 Supraphon s A1 £5.00 Vlach SQ Beethoven: Quartets, Opp.18-1; 18-6 bb 22524 1 11 1755 Supraphon s A1 £5.00 Prague SQ Lubomir Zelezny: Clt. Quintet; Wind Quintet; Piano Trio. Prague Wind Quintet, Smetana Trio bb 23786 10 Penzance, USA m A1 £8.00 Callas, Maria, s Wagner: Parsifal, Act 2. Baldelli, Modesti, Pagliughi, -Gui. Live, 20.xi.50. In Italian a 22789 1007831 VdsM, References m A1 £7.00 Kreisler, Fritz, vn Beethoven; Sonatas 5, "Spring"; 9, "Kreutzer". F. Rupp, pf bb 23610 101 Rara Avis, lacquer m A-1- £10.00 Ginsburg, Grigory, pf Liszt: Bells of Geneva, Campanella, Rigoletto, Spanish Rhapsody / Weber: Rondo brillante / Chopin: Etudes, Op.25, 1-3. From 78s, semi-private issue b 22800 12T 160 Topic m A1 £7.00 Folk Songs of Britain, 1 Child Ballads 1. Various artists (field recordings) e 22707 13029 AP DGG, Archiv, Ger., m A1 £40.00 Schneiderhan, Wolfgang, vn Bach: Partita 2, D minor, for solo violin. Sleeve: buff, gatefold 10" bb 22928 133 004 SLPE DGG, Ger., tulip, 10" s A1 £12.00 Bolechowska, Alina, s Chopin: Lieder. S. Nadgrizowski, pf a 22724 133 122 SLP DGG, Ger., red, tulip, s A1 £12.00 Markevitch, Igor, dir Mozart: Coronation Mass.
    [Show full text]