DOCSLIB.ORG

The Department of Music Presents Cornell University Chorus and Glee

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Department of Music Presents Cornell University Chorus and Glee The Department of Music presents Cornell University Chorus and Glee Club John Rowehl, director Cornell Chamber Orchestra Arsenia Soto, soprano; Toby Newman, mezzo-soprano; Nathaniel McEwen, tenor; Brian Ming Chu, baritone Chris Younghoon Kim, conductor Mass for Peace Mass in B-flat Major, Hob. XXII:14 (“Harmoniemesse”) Joseph Haydn (1732–1809) Introitus: Da pacem, Domine Kyrie Gloria Gloria in excelsis Deo Gratias agimus tibi Quoniam tu solus Sanctus Graduale: Rogate Alleluia: Qui posuit Credo Credo in unum Deum Et incarnatus est Et resurrexit Et vitam venturi Offertorium: Laudate Dominum Sanctus Benedictus Benedictus Osanna Agnus Dei Agnus Dei Dona nobis pacem Communion: Pacem relinquo vobis Dismissal: Ite missa est We are pleased to announce that this concert is part of Daniel Pearl World Music Days, the world’s largest symphony for peace. This international network of concerts is in memory of slain journalist/ musician Daniel Pearl, who traveled the world working toward cross-cultural understanding with simply a pen and a fiddle. Through our music tonight, we reaffirm our conviction that humanity will triumph and harmony will prevail. SAGE CHAPEL CORNELL UNIVERSITY Friday, October 26, 2012 – 8:00 PM Program Notes Haydn’s “Harmoniemesse” (1802) is the last of the six mass settings composed in Vienna follow- ing his return from London; they celebrated the name-day of Princess Esterházy, the wife of the reign- ing Prince Nicolaus. In their treatment of the orchestra they share many traits with the “London” symphonies (1791–95); indeed the (inauthentic) nickname “Harmoniemesse” — Haydn titled the autograph simply Missa — was coined in response to the unusually prominent parts for the winds, “Harmonie” being the standard German term for a group of wind-instruments. In terms of formal procedure and generic orientation, however, the ‘symphonic’ character of Haydn’s late masses has been exaggerated; they more closely resemble The Creation (1798) and The Seasons (1801), especially in the inexhaustible freedom with which Haydn exploits the complementary functions of soloists and chorus. The “Harmoniemesse” is in B-flat major. The Kyrie is in the half-slow tempo Poco adagio, with astonishing contrasts of dynamics and performing forces both in the large and in detail. It is in free sonata form with wide-ranging modulations, and conveys a deeply-felt, barely restrained fervor; some have called it Haydn’s greatest individual movement. —The much longer Gloria and Credo are both divided into three large sections, fast–slow–fast. Both initial vigorous sections in duple meter set long stretches of liturgical text (it is worthwhile to follow the text closely) and again fea- ture contrasting motives and textures, including vivid word-paintings on clauses such as (in the Gloria) “laudamus te,” “adoramus te,” and “descendit de coelis.” In both movements, the contrast- ing middle section in triple meter sets the central, expressive portion of the text. In the Gloria, this is a long, moderately fast movement (“Gratias agimus … Qui tollis peccata mundi, miserere nobis … Suscipe deprecationem nostram”), which moves through many keys, never returning to any of them. It begins with solos for each of the three upper soloists in turn, before moving to more varied, rapidly shifting textures and eventually to the chorus. In the Credo, this section (“Et incarnatus est ... Et homo factus est … Cruxifixus … Passus et sepultus est”) is shorter but slower and more intense; it begins with a soprano solo, leading to all four soloists and then the chorus. Both concluding sections first resume the vigorous, foursquare discourse of the opening, then move to a climactic fugue with much chromaticism. In the Gloria this is a long double fugue (“In gloria dei patris”) that runs on from the preceding music without pause; in the Credo (“Et vitam venturi saeculi”) it is briefer, enter- ing after a pause in a different tempo and meter. Towards the end, both fugues break off from coun- terpoint, in favor of homophonic passages both soft and loud, for soloists as well as the chorus. The brief Sanctus/Osanna pair, as is often the case, functions like a prelude to the much longer, separate “Benedictus.” This resembles the Kyrie in being in sonata form (the long ‘first theme’ is for orchestra alone); it is unusual in being in a very fast tempo (Molto allegro) and yet much of the time piano. —In the Agnus dei/Dona nobis pacem pair, again slow–fast, the Agnus is set for the soloists alone, in triple meter and a remote key; it is in three subsections (reflecting the tripartite text) and leads to…. … But here this surface description must break off, in favor of a different kind of story. Like many late Haydn vocal works, notably the two oratorios, the “Harmoniemesse” projects (among many other topics) a new, dynamic sense of the musical sublime. The primary musical resource as- sociated with the dynamic sublime is incommensurability in temporal contrast. The Kyrie of the “Har- moniemesse” begins with a long orchestral introduction, in which contrast is ubiquitous: soft vs. loud, diatonic vs. chromatic, and so forth. Eventually, in the middle of a quiet descending sequence in the winds, the entire chorus and very large orchestra burst in ff, on a completely unexpected dimin- ished seventh chord. This ‘gestural shock’ subsides at once, but this only enhances the sublime effect: like a thunderbolt (the characteristic rhetorical trope for the sublime), it is as astonishing as it is inex- plicable, and it resonates long afterwards. The Agnus Dei begins in the remote key of G major, which eventually works its way around to the dominant of G minor; the pp close is run on without pause to a ff outburst on the single note D, which leads to the Dona nobis pacem. Although the harmonic transition is not unusual (D is the common tone between the dominant of G and the tonic B flat), this outburst is at once astonishing and confusing. After three bars of this naked D, F is added on top, but the sonority is still incom- plete; only after three more bars do the chorus and orchestral basses enter, to complete the B-flat triad. However, the most startling stroke (literally) is in the timpani, which anticipate this act of completion by entering on B-flat one bar ‘too soon.’ This at once grounds the passage in what we instantaneously know must be the tonic, yet — because the timpani are both indistinct in pitch and enter out of sync — at first cannot quite grasp. Surely Haydn intended this overwhelming moment as an invocation of revelation — of the Last Judgment. – James Webster Texts and Translations Introitus: Da pacem, Domine Da pacem, Domine, sustinentibus te, ut prophetae tui Grant peace, O Lord, I wait for Thee, that thy proph- fideles inveniantur: exaudi preces servi tui, et plebis ets be found faithful: hear the prayers of thy servant, tuae Israel. Laetatus sum in his quae dicta sunt mihi: and of thy people, Israel. I am happy at these things in domum Domini ibimus. Gloria Patri, et Filio, et that were said to me: we will go into the house of the Spiritui Sancto. Sicut erat in principio, et nunc, et Lord. Glory to the Father, and to the Son, and to the semper, et in saecula saeculorum. Amen. Holy Spirit. As it was in the beginning, also now, and forever, and unto ages of ages. Amen. Kyrie Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy. Gloria Gloria in excelsis Deo. Glory to God in the highest, Et in terra pax hominibus bonae voluntatis. and on earth peace to people of good will. Laudamus te. Benedicimus te. We praise thee, we bless thee, Adoramus te. Glorificamus te. we worship thee, we glorify thee. Gratias agimus tibi propter magnam gloriam We give thanks to thee for thy great glory, tuam. Domine Deus, Rex caelestis, O Lord God, heavenly King, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite, Iesu Christe. O Lord, the only-begotten Son, Jesus Christ. Domine Deus, Agnus Dei, Filius Patris. O Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, miserere nobis. Thou that takest away the sins of the world, have mercy upon us. Qui tollis peccata mundi, suscipe deprecationem Thou that takest away the sins of the world, nostram. receive our prayer. Qui sedes ad dexteram Patris, miserere nobis. Thou that sittest at the right hand of God the Father, have mercy upon us. Quoniam tu solus Sanctus. Tu solus Dominus. For thou only art holy; thou only art the Lord; Tu solus Altissimus, Iesu Christe. thou only, O Christ, with the Holy Ghost, Cum Sancto Spiritu, in gloria Dei Patris. art most high in the glory of God the Father. Amen. Amen. Graduale: Rogate Rogate quae ad pacem sunt Jerusalem: et abundantia O pray that there is peace in Jerusalem: and that they diligentibus te. Fiat pax in virtute tua: et abundantia shall prosper that love Thee. Peace be within Thy walls: in turribus tuis. and abundance in Thy palaces. Alleluia: Qui posuit Alleluia. Qui posuit fines tuos pacem, et adipe fru- Alleluia. That Thy borders are able to be at peace, and menti satiate. that Thou are satiated with the finest wheat. Credo Credo in unum Deum. I believe in one God, Patrem omnipotentem, the Father almighty, factorem coeli et terrae, Maker of heaven and earth, visibilium omnium et invisibilium. and of all things visible and invisible. Et in unum Dominum And in one Lord, Jesum Christum, Jesus Christ, Filium Dei unigenitum, Only begotten Son of God, Et ex Patre natum ante omnia saecula. Begotten of his Father before all worlds.
Load more

Recommended publications
  • Table of Contents
    Sheet TM Version 2.0 Music 1 CD Haydn, Mozart, and Beethoven Major Choral Works Table of Contents Welcome to the CD Sheet Music™ edition of Haydn, Mozart, and Beethoven, The Major Choral Works. This Table of Contents is interactive. Click on a title below or in the book- marks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks become navigation aids to find the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM HAYDN MOZART BEETHOVEN The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 Music 2 CD FRANZ JOSEPH HAYDN WOLFGANG AMADEUS MOZART The Creation (Die Schöpfung) Veni Sancte Spiritus, K. 47 Part I Te Deum in C Major, K. 141/66b Part II Mass in F, K. 192 Part III Litaniae Lauretanae in D Major, K. 195/186d Mass No. 3 in C Major (Missa Cellensis) (Mariazellermesse) Mass in C Major, K. 258 (Missa Brevis) Mass No. 6 in G Major Missa Brevis in C Major, K. 259 (Organ Solo) (Mass in Honor of Saint Nicholas) Sancta Maria, Mater Dei, K. 273 Mass No. 7 in B Major b Mass in Bb Major, K.
    [Show full text]
  • Missa Brevis Harmoniemesse
    HAYDN Missa brevis (1749) Harmoniemesse Trinity Choir • REBEL Baroque Orchestra J. Owen Burdick • Jane Glover 8.572126 Haydn masses-Missa brevis 1749 booklet.indd 1 23/09/2010 13:54 Joseph HAYDN (1732–1809) Missa brevis 11:41 in F major (Hob.XXII:1; 1749) 1 Kyrie 1:03 2 Gloria 1:34 3 Credo 2:39 4 Sanctus 0:59 5 Benedictus 2:55 6 Agnus Dei 1:27 7 Dona nobis pacem 1:04 Ann Hoyt, soprano 1 • Julie Liston, soprano 2 Richard Lippold, bass Trinity Choir Rebel Baroque Orchestra Jörg Michael Schwarz, leader J. Owen Burdick 8.572126 2 8.572126 Haydn masses-Missa brevis 1749 booklet.indd 2 23/09/2010 13:54 Joseph HAYDN (1732–1809) Missa brevis 11:41 Missa, ‘Harmoniemesse’ 40:30 in F major in B flat major (Hob.XXII:1; 1749) (Hob.XXII:14; 1802) 1 Kyrie 1:03 8 Kyrie 7:09 2 Gloria 1:34 9 Gloria 1:59 3 Credo 2:39 0 Gratias agimus tibi 5:16 4 Sanctus 0:59 ! Quoniam tu solus sanctus 3:17 5 Benedictus 2:55 @ Credo 2:44 6 Agnus Dei 1:27 # Et incarnatus est 3:04 7 Dona nobis pacem 1:04 $ Et resurrexit 2:44 % Et vitam venturi 1 2 1:45 Ann Hoyt, soprano 1 • Julie Liston, soprano 2 ^ Sanctus 2:45 Richard Lippold, bass & Benedictus 4:08 Trinity Choir * Agnus Dei 2:37 Rebel Baroque Orchestra ( Dona nobis pacem 3:02 Jörg Michael Schwarz, leader J. Owen Burdick Nacole Palmer, soprano • Nina Faia, soprano 1 Kirsten Sollek, alto • Daniel Mutlu, tenor Matthew Hensrud, tenor 2 • Andrew Nolen, bass Trinity Choir Rebel Baroque Orchestra Jörg Michael Schwarz, leader Jane Glover 3 8.572126 8.572126 Haydn masses-Missa brevis 1749 booklet.indd 3 23/09/2010 13:54 Haydn’s Masses The ‘father of the symphony’ and master of for composing in sixteen parts before I understood two- conversational wit in the string quartet, [Franz] Joseph part setting.’3 Reutter’s instruction was predominantly Haydn is viewed today principally in the light of his practical in nature; although Haydn remembered only instrumental music.
    [Show full text]
  • Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob
    Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob. XXII:11) Kirchenmusikalische Kompositionen für liturgische Zwecke, insbesondere zur Ausgestaltung der römisch-katholischen Messe, erscheinen in allen Schaffensphasen von Joseph Haydn: Die Missa brevis in F (Hob. XXII:1) schrieb der junge Haydn um 1749 – das Jahr, in dem er infolge des Stimmbruchs Abschied als Chorknabe am Wiener Stephansdom nehmen musste und in dem für ihn eine beschwerliche Phase als freischaffender Musiker begann. Am Ende dieser Reihe steht die Harmoniemesse (Hob. XXII:14), die erstmals 1802 in der Eisenstädter Bergkirche erklang. Danach war es dem mittlerweile 70-jährigen Haydn körperlich nicht mehr möglich, zu komponieren oder öffentlich aufzutreten. Auffällig sind zwei Lücken (zwischen 1750 und 1766 sowie zwischen 1782 und 1796), in denen kein größeres geistliches Werk entstand. Die zweite Lücke war eine Folge der kirchlichen Reformen von Kaiser Joseph II., die nicht nur zur Auflösung der meisten Klöster in den Ländern der Habsburgermonarchie führten, sondern die Liturgie auch von als überflüssig empfundenen Prunk befreiten. Es wurden zahlreiche Verordnungen erlassen, die unter anderem den Einsatz von orchestraler Musik im Gottesdienst regelten und im Ergebnis einschränkten. Aufträge für solche Kompositionen gingen daher erheblich zurück. Erst als Franz II. 1792 die österreichische Regentschaft übernommen hatte, lockerten sich die Vorschriften wieder. In diese Phase fällt die Entstehung von Haydns sechs späten Messen (die sogenannten Hochämter), darunter die der Nelsonmesse. Sie gehören zu den letzten Werken des Komponisten. Die erwähnte kirchenmusikalische Pause, in die auch die beiden Londoner Aufenthalte fielen, hatte Haydn indes zur Erprobung neuer kompositorischer Techniken in Sinfonien und Kammermusik genutzt. Dies zeigte sich nun beispielsweise in „souveräner Beherrschung der Formgestaltung‟, der Hinwendung zur liedhaften Thematik, der „Verfeinerung des Orchestersatzes‟ sowie im „Trend zu einer deutlichen Individualisierung des Einzelwerks‟.
    [Show full text]
  • Complete Dissertation
    LOOKING BACK, LISTENING FORWARD: A NEW TRANSCRIPTION OF LEOŠ JANÁČEK’S SUITE FOR STRINGS FOR DOUBLE WIND QUINTET IN THE HARMONIEMUSIK TRADITION A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Bradley Jay Miedema In Partial Fulfillment for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music June 2014 Fargo, North Dakota North Dakota State University Graduate School Title Looking Back, Listening Forward: A New Transcription of Leoš Janáček’s Suite for Strings for Double Wind Quintet in the Harmoniemusik Tradition By Bradley Jay Miedema The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Warren Olfert Chair Dr. Robert Groves Dr. Jo Ann Miller Dr. Sherri Nordstrom Stastny Approved: June 27, 2014 Dr. John Miller Date Department Chair ABSTRACT The Harmoniemusik tradition has provided the wind chamber repertoire with a tremendous wealth of literature. Spanning the late eighteenth and early nineteenth centuries, these transcriptions of large-scale works had a formative influence on the creative activity of subsequent composers. Most notable are the transcriptions of operas. Some include more than twenty movements and capture much of the drama and intensity of the stage versions. While the Viennese wind octet with pairs of oboes, clarinets, bassoons and horns became the standard instrumentation for the properly defined Harmonie, many pieces were also arranged and composed for ensembles ranging from six to ten players. Composers such as Haydn (1732-1809), Stamitz (1745-1801), Mozart (1756-1791), Krommer (1759-1831), Beethoven (1770-1827) and Mendelssohn (1809- 1847) contributed works to the Harmoniemusik genre.
    [Show full text]
  • Sacred Music, 136.4, Winter 2009
    SACRED MUSIC Winter 2009 Volume 136, Number 4 EDITORIAL Viennese Classical Masses? | William Mahrt 3 ARTICLES Between Tradition and Innovation: Sacred Intersections and the Symphonic Impulse in Haydn’s Late Masses | Eftychia Papanikolaou 6 “Requiem per me”: Antonio Salieri’s Plans for His Funeral | Jane Schatkin Hettrick 17 Haydn’s “Nelson” Mass in Recorded Performance: Text and Context | Nancy November 26 Sunday Vespers in the Parish Church | Fr. Eric M. Andersen 33 REPERTORY The Masses of William Byrd | William Mahrt 42 COMMENTARY Seeking the Living: Why Composers Have a Responsibility to be Accessible to the World | Mark Nowakowski 49 The Role of Beauty in the Liturgy | Fr. Franklyn M. McAfee, D.D. 51 Singing in Unison? Selling Chant to the Reluctant Choir | Mary Jane Ballou 54 ARCHIVE The Lost Collection of Chant Cylinders | Fr. Jerome F. Weber 57 The Ageless Story | Jennifer Gregory Miller 62 REVIEWS A Gift to Priests | Rosalind Mohnsen 66 A Collection of Wisdom and Delight | William Tortolano 68 The Fire Burned Hot | Jeffrey Tucker 70 NEWS The Chant Pilgrimage: A Report 74 THE LAST WORD Musical Instruments and the Mass | Kurt Poterack 76 POSTSCRIPT Gregorian Chant: Invention or Restoration? | William Mahrt SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gre- gory of America since 1915. Published quarterly by the Church Music Associ- ation of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistance: Janet Gorbitz and David Sullivan.
    [Show full text]
  • A Performance Edition of the Opera Kaspar Der Fagottist by Wenzel Müller
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 A performance edition of the opera Kaspar der Fagottist by Wenzel Müller (1767-1835), as arranged for Harmonie by Georg Druschetzky (1745-1819) Susan Nita Barber Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Barber, Susan Nita, "A performance edition of the opera Kaspar der Fagottist by Wenzel Müller (1767-1835), as arranged for Harmonie by Georg Druschetzky (1745-1819)" (2003). LSU Doctoral Dissertations. 2272. https://digitalcommons.lsu.edu/gradschool_dissertations/2272 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PERFORMANCE EDITION OF THE OPERA, KASPAR DER FAGOTTIST BY WENZEL MÜLLER (1767-1835), AS ARRANGED FOR HARMONIE BY GEORG DRUSCHETZKY (1745-1819) Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts By Susan Nita Barber B.M., State University of New York at Potsdam, 1988 M.M., The Juilliard School, 1990 May 2003 „ Copyright 2002 Susan N. Barber All rights reserved ii ACKNOWLEDGMENTS I would like to express my thanks to my husband, family, friends and colleagues for their support throughout the time that I have been engaged in my research and writing for this degree.
    [Show full text]
  • A Form-Functional Approach to Haydn's Theresienmesse
    HAYDN: The Online Journal of the Haydn Society of North America Volume 10 Number 1 Spring 2020 Article 2 March 2020 The Kyrie as Sonata Form: A Form-Functional Approach to Haydn's Theresienmesse Halvor K. Hosar Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Hosar, Halvor K. (2020) "The Kyrie as Sonata Form: A Form-Functional Approach to Haydn's Theresienmesse," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 10 : No. 1 , Article 2. Available at: https://remix.berklee.edu/haydn-journal/vol10/iss1/2 This Article is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Hosar, Halvor K. “The Kyrie as Sonata Form: A Form-Functional Approach to Haydn’s Theresienmesse.” HAYDN: Online Journal of the Haydn Society of North America 10.1 (Spring 2020), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2020. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. The Kyrie as Sonata Form: A Form-Functional Approach to Haydn’s Theresienmesse1 By Halvor K. Hosar I. Introduction The theories of William Caplin, James Hepokoski and Warren Darcy have done much to revitalize the dormant Formenlehre tradition, by devising new analytical
    [Show full text]
  • Rivera, Doctor of Musical Arts, 2016
    ABSTRACT Title of Dissertation: W.A. MOZART’S DIE ZAUBERFLÖTE AN ARRANGEMENT AND PERFORMANCE EDITION FOR WIND INSTRUMENTS AND VOCAL SOLOISTS Anthony Rivera, Doctor of Musical Arts, 2016 Dissertation directed by: Dr. Michael Votta, Jr., School of Music The purpose of this dissertation is to produce a new Harmonie arrangement of Mozart’s Die Zauberflöte suitable for modern performance, bringing Joseph Heidenreich’s 1782 arrangement—one of the great treasures of the wind repertoire—to life for future performers and audiences. I took advantage of the capabilities of modern wind instruments and performance techniques, and employed other instruments normally found in the modern wind ensemble1 to create a work in the tradition of Heidenreich’s that restored as much of Mozart’s original thinking as possible. I expanded the Harmonie band to include flute and string bass. Other instruments provide special effects, a traditional role for wind instruments in the Classical opera orchestra. This arrangement is conceived to be performed with the original vocal soloists, making it a viable option for concert performance or for smaller staged productions. It is also intended to allow the wind players to be onstage with the singers, becoming part of 1 The instrumentation model of most current US university band programs is based on the instrumentation of the original 1952 Eastman Wind Ensemble. the dramatic action while simultaneously serving as the “opera orchestra.” This allows creative staging possibilities, and offers the wind players an opportunity to explore new aspects of performing. My arrangement also restores Mozart’s music to its original keys and retains much of his original wind scoring.
    [Show full text]
  • Solo Oboe, English Horn with Band
    A Nieweg Chart Solo Oboe or Solo English Horn with Band or Wind Ensemble 95 editions April 2017 The 2017 Chart is an update of the 2010 Chart. It is not a complete list of all available works for Oboe or EH and band. Works with prices listed are for sale from any music dealer. Prices current as of 2010. Look at the publisher’s website for the current prices. Works marked rental must be hired directly from the publisher listed. Sample Band Instrumentation code: 3fl[1.2.3/pic] 2ob 7cl[Eb.1.2.3.acl.bcl.cbcl] 3bn[1.2.cbn] 4sax[a.a.t.b] — 4hn 3tp 3tbn euph tuba double bass — tmp+3perc — hp, pf, cel This listing gives the number of parts used in the composition, not the number of players. ------------------ Abbado, Marcello (b. Milan, 1926; ) Concerto in C minor (complete) Arranger / Editor: Trans. Charles T. Yeago Instrumentation: Oboe solo and band Pub: BAS Publishing. SOS-217 http://www.baspublishing.com ------------------ ALBINONI, Tommaso (1674-1745) Concerto in F for TWO Oboes and Band Adapted: Paul R. Brink Grade Level: Medium Pub: Bas Publishing Co.; Score and band set SOS-226 -$65.00 | 2 oboes and piano ENS-708. $10.00 ------------------ ARENZ, Heinz (b. 1924) German wind director, administrator, and composer Concertino fur Solo Oboe und Blasorchester Dur: 7'39" Grade Level: solo 6, band 5 Pub: HeBu Music Publishing; Band score and set 113.00 € Oboe and Piano 11.00 € ------------------ ATEHORTUA, Blas Emilio (b. Medellin, Columbia, 3 October 1933) Concerto for Oboe and Wind Symphony Orchestra Instrumentation listed <http://www.edition-peters.com/pdf/Albinoni-Grieg.pdf> Dur: 15' Pub: C.
    [Show full text]
  • Download Booklet
    ne of the many delights of being Artistic Director of America’s oldest continuously fact that he was writing for a paying audience, but also the press and their daily music criticism Operforming arts organisation, the Handel and Haydn Society (H+H), is that I am given – something which didn’t happen on the continent. London loved him and his Symphony the opportunity to present most of our concert season at Boston’s glorious Symphony Hall. No. 99 was not to disappoint. One critic hailed it as “a composition of the most exquisite kind, Built in 1900, it is principally the home of the Boston Symphony Orchestra, but it has been rich, fanciful, bold and impressive”. The woodwind writing in the second movement Adagio is our primary performance home since 1900 as well, and it is considered by many, with some simply exemplary and demonstrates his mastery of symphonic art. Haydn was out to enlighten justification I would add, to be one of the finest concert halls in the world. It is that classic and delight and its Finale certainly achieves the latter. He litters the movement with numerous ‘shoebox style’ reminiscent of the Musikverein in Vienna; the acoustics are quite superb and, jokes of instrumentation and the overall effect is quite simply breathtaking. despite its size – c.2500 capacity – perfect for playing on period instruments. I feel very privileged to have taken this august Society into its Bicentennial; yes, the Handel On this live recording, we present a programme devoted to our namesake, Haydn. Having and Haydn Society was founded in 1815.
    [Show full text]
  • ONYX 4012 BK 4/8/06 01:25 Page 1
    ONYX 4012_BK 4/8/06 01:25 Page 1 mozart serenades K361 'Gran Partita' & K388 p1 London Winds Michael Collins ONYX 4012_BK 4/8/06 01:25 Page 2 p2 Michael Collins ONYX 4012_BK 4/8/06 01:25 Page 3 WOLFGANG AMADEUS MOZART (1756-1791) Serenade K361 (370a) “Gran Partita”in Bb major for 13 wind instruments en si bémol majeur pour 13 instruments à vent B-Dur für 13 Bläser 1 I Largo – Molto allegro 9.06 2 II Menuetto – Trio - Trio II 9.32 3 III Adagio 5.09 4 IV Menuetto (Allegretto) – Trio – Trio II 4.41 5 V Romanze: Adagio – Allegretto – Adagio 6.56 6 VI Thema mit 6 Variationen (Andante) 9.59 7 VII Finale (Molto allegro) 3.24 For purely musical reasons of Serenade K388 (K384a) in C minor (“Nacht Musique”) improved blend and balance, London Winds have performed ut mineur. C-moll K361 for many years with 8 I Allegro 8.29 contrabassoon rather than 9 II Andante 4.02 double bass. Mozart clearly p3 indicated string bass in the 10 III Menuetto in canone – Trio: in canone al rovescio 4.26 autograph, but equally the 11 IV Allegro 6.39 contrabassoon and its players in 1780s Vienna would have TOTAL TIME 72.31 struggled with the required articulation of the part, and by London Winds the early 1800s the instrument Director: Michael Collins had improved to the extent that the first printed edition of K361 Oboe. Hautbois: Gareth Hulse *, Katie Clemmow * uses contrabassoon and Clarinet. Clarinette. Klarinette: Michael Collins *, Jennifer McLaren * Beethoven gives it prominence in Basset Horn.
    [Show full text]
  • Joseph Haydn
    Joseph Haydn Harmoniemesse Mass in Bb First performance: September 8, 1802 Vocal soloists (SATB) Chorus (SATB) Orchestra: Flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, organ ***************** Program notes by Martin Pearlman Composed in 1802, Haydn's Harmoniemesse is his last completed composition. By that time, the seventy-year old Haydn, celebrated as the greatest living composer, held what was essentially an emeritus position, sitting at table with Prince Esterhazy himself and being obliged only to compose one mass each year to commemorate the princess's name day. But composing a major choral work each year was taxing on a man who felt himself to be old and in failing health, and he was no doubt glad to be freed of this obligation for the future. The Harmoniemesse was given its first performance on September 8 of 1802, the princess's name day, at a mass in her honor. After the mass, the invited guests returned to the Esterhazy palace for a dinner which offered scores of various dishes and many fine wines. The round of toasts, including one to Haydn, was punctuated by trumpets and drums in the gallery and the sound of cannon from outside the hall. The evening concluded with a ball. The Harmoniemesse, named for its unusually large "Harmonie" (or wind) section, is the last -- and many would say the greatest -- of the series of six masses which Haydn wrote toward the end of his life. It has always been held in special esteem by musicians and others who knew it, but, being a mass, it has never enjoyed the wide popularity of his two great oratorios, The Creation and The Seasons, which date from the same period.
    [Show full text]