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On Modulation —
— On Modulation — Dean W. Billmeyer University of Minnesota American Guild of Organists National Convention June 25, 2008 Some Definitions • “…modulating [is] going smoothly from one key to another….”1 • “Modulation is the process by which a change of tonality is made in a smooth and convincing way.”2 • “In tonal music, a firmly established change of key, as opposed to a passing reference to another key, known as a ‘tonicization’. The scale or pitch collection and characteristic harmonic progressions of the new key must be present, and there will usually be at least one cadence to the new tonic.”3 Some Considerations • “Smoothness” is not necessarily a requirement for a successful modulation, as much tonal literature will illustrate. A “convincing way” is a better criterion to consider. • A clear establishment of the new key is important, and usually a duration to the modulation of some length is required for this. • Understanding a modulation depends on the aural perception of the listener; hence, some ambiguity is inherent in distinguishing among a mere tonicization, a “false” modulation, and a modulation. • A modulation to a “foreign” key may be easier to accomplish than one to a diatonically related key: the ear is forced to interpret a new key quickly when there is a large change in the number of accidentals (i.e., the set of pitch classes) in the keys used. 1 Max Miller, “A First Step in Keyboard Modulation”, The American Organist, October 1982. 2 Charles S. Brown, CAGO Study Guide, 1981. 3 Janna Saslaw: “Modulation”, Grove Music Online ed. L. Macy (Accessed 5 May 2008), http://www.grovemusic.com. -
Ludwig Van Beethoven a Brilliant Pianist, but When Born: December 16, 1770 He Was Around 30 Years Old Died: March 26, 1827 Beethoven Began Going Deaf
SymphonySecond No. Movement 8 in F Major Ludwig van Beethoven a brilliant pianist, but when Born: December 16, 1770 he was around 30 years old Died: March 26, 1827 Beethoven began going deaf. Even though he could no Ludwig van Beethoven was longer hear well enough to born in Bonn, Germany. His play the piano, Beethoven father, who was a singer, composed some of his best was his first teacher. After a music after he lost his while, even though he was hearing! still only a boy, Ludwig became a traveling Beethoven is considered performer, and soon he was one of the greatest musical supporting his family. geniuses who ever lived. He may be most famous for his In his early twenties nine symphonies, but he also Beethoven moved to Vienna, wrote many other kinds of where he spent the rest of music: chamber and choral his life. Beethoven was one pieces, piano works, string of the first composers to quartets, and an opera. make a living without being employed by the church or a member of the nobility. At first, he was known as Beethoven’s Music Listen to the second movement of Beethoven’s 8th Symphony, then answer the questions below. 1. How many “ticks” do you hear before the melody begins? a. 2 b. 5 c. 7 d. 8 2. What instrument plays the melody first? a. violin b. viola c. cello d. bass 3. Does the orchestra get loud suddenly? a. yes b. no 4. Does the music sound like it’s jumping around the orchestra? a. -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Sunday 5 February 2017 7pm Barbican Hall LSO ARTIST PORTRAIT: JANINE JANSEN Sibelius The Oceanides Bernstein Serenade INTERVAL Nielsen Symphony No 4 London’s Symphony Orchestra (‘The Inextinguishable’) Sir Antonio Pappano conductor Janine Jansen violin Concert finishes approx 8.55pm Filmed and broadcast live by Mezzo 2 Welcome 5 February 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican, LSO 2017/18 SEASON NOW ON SALE which marks the start of this season’s Artist Portrait series, focusing on violin soloist Janine Jansen. The LSO’s inaugural season with Sir Simon Rattle as Music Director is now on sale. Beginning with a ten- The LSO has performed with Janine Jansen regularly day celebration to welcome him in September, the for many years all over the world, and she is a season features concerts to mark 100 years since favourite with our audiences and with the musicians the birth of Bernstein and 100 years since the death of the Orchestra. Across three concerts we will of Debussy, world premieres from British composers, hear her perform a wide range of repertoire, from the beginning of a Shostakovich symphonies cycle, Bernstein’s Serenade tonight to Brahms’ Violin and a performance of Stockhausen’s Gruppen in the Concerto in March, and finally the Berg Violin Concerto Turbine Hall at Tate Modern. in April, showing the many different sides of her celebrated artistry. alwaysmoving.lso.co.uk This evening’s programme is conducted by another good friend of the LSO, Sir Antonio Pappano. -
Songs of the Mighty Five: a Guide for Teachers and Performers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me. -
DIE LIEBE DER DANAE July 29 – August 7, 2011
DIE LIEBE DER DANAE July 29 – August 7, 2011 the richard b. fisher center for the performing arts at bard college About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space; and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrates its 22nd year in August, with “Sibelius and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. ©2011 Bard College. All rights reserved. Cover Danae and the Shower of Gold (krater detail), ca. 430 bce. Réunion des Musées Nationaux/Art Resource, NY. Inside Back Cover ©Peter Aaron ’68/Esto The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein Honorary Patron Martti Ahtisaari, Nobel Peace Prize laureate and former president of Finland Die Liebe der Danae (The Love of Danae) Music by Richard Strauss Libretto by Joseph Gregor, after a scenario by Hugo von Hofmannsthal Directed by Kevin Newbury American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Rafael Viñoly and Mimi Lien Choreography by Ken Roht Costume Design by Jessica Jahn Lighting Design by D. -
Sibelius the Tempest: Incidental Music/Finlandia/Karelia Suite - Intermezzo & Alla Marcia/Scenes Historiques/Festivo Mp3, Flac, Wma
Sibelius The Tempest: Incidental Music/Finlandia/Karelia Suite - Intermezzo & Alla Marcia/Scenes Historiques/Festivo mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: The Tempest: Incidental Music/Finlandia/Karelia Suite - Intermezzo & Alla Marcia/Scenes Historiques/Festivo Country: Europe Released: 1990 Style: Romantic MP3 version RAR size: 1802 mb FLAC version RAR size: 1394 mb WMA version RAR size: 1218 mb Rating: 4.8 Votes: 236 Other Formats: MIDI AIFF DMF RA MP3 DTS MP2 Tracklist Hide Credits The Tempest: Incidental Music Op. 109b & C Orchestra – The Royal Philharmonic Orchestra 1 Caliban's Song 1:21 2 The Oak Tree 2:45 3 Humoresque 1:07 4 Canon 1:32 5 Scene 1:29 6 Berceuse 2:30 7 Chorus Of The Winds 3:24 8 Intermezzo 2:21 9 Dance of the Nymphs 2:11 10 Prospero 1:51 11 Second Song 1:00 12 Miranda 2:23 13 The Naiads 1:11 14 The Tempest 4:06 Festivo, Op. 25, No. 3 (from Scenes Historiques, 1) 15 7:45 Orchestra – The Royal Philharmonic Orchestra Scenes Historiques, 2 Engineer – Arthur ClarkOrchestra – The Royal Philharmonic Orchestra 16 The Chase, Op. 66 No. 1 6:34 17 Love Song, Op. 66 No. 2 4:56 18 At The Drawbridge, Op. No. 3 6:48 Karelia Suite Orchestra – BBC Symphony Orchestra 19 Intermezzo, Op. 11 No. 1 3:00 20 Alla Marcia, Op. 11 No. 3 4:32 Finlandia-Symphonic Poem Op. 26 21 Engineer – Arthur Clark*Orchestra – The London 8:54 Philharmonic OrchestraProducer – Walter Legge Credits Composed By – Jean Sibelius Conductor – Sir Thomas Beecham Cover – John Marsh Design Associates Remastered By [Digitally Remastered By] – John Holland Notes Tracks 1-14 - The copyright in these sound recordings is owned by CBS Records Inc, p)1956. -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Sibelius Society
UNITED KINGDOM SIBELIUS SOCIETY www.sibeliussociety.info NEWSLETTER No. 84 ISSN 1-473-4206 United Kingdom Sibelius Society Newsletter - Issue 84 (January 2019) - CONTENTS - Page 1. Editorial ........................................................................................... 4 2. An Honour for our President by S H P Steadman ..................... 5 3. The Music of What isby Angela Burton ...................................... 7 4. The Seventh Symphonyby Edward Clark ................................... 11 5. Two forthcoming Society concerts by Edward Clark ............... 12 6. Delights and Revelations from Maestro Records by Edward Clark ............................................................................ 13 7. Music You Might Like by Simon Coombs .................................... 20 8. Desert Island Sibelius by Peter Frankland .................................. 25 9. Eugene Ormandy by David Lowe ................................................. 34 10. The Third Symphony and an enduring friendship by Edward Clark ............................................................................. 38 11. Interesting Sibelians on Record by Edward Clark ...................... 42 12. Concert Reviews ............................................................................. 47 13. The Power and the Gloryby Edward Clark ................................ 47 14. A debut Concert by Edward Clark ............................................... 51 15. Music from WW1 by Edward Clark ............................................ 53 16. A -
Unc Symphony Orchestra Library
UNC ORCHESTRA LIBRARY HOLDINGS Anderson Fiddle-Faddle Anderson The Penny-Whistle Song Anderson Plink, Plank, Plunk! Anderson A Trumpeter’s Lullaby Arensky Silhouettes, Op. 23 Arensky Variations on a Theme by Tchaikovsky, Op. 35a Bach, J.C. Domine ad adjuvandum Bach, J.C. Laudate pueri Bach Cantata No. 106, “Gottes Zeit ist die allerbeste Zeit” Bach Cantata No. 140, “Wachet auf, ruft uns die Stimme” Bach Cantata No. 209, “Non sa che sia dolore” Bach Brandenburg Concerto No. 1 in F major, BWV 1046 Bach Brandenburg Concerto No. 2 in F major, BWV 1047 Bach Brandenburg Concerto No. 3 in G major, BWV 1048 Bach Brandenburg Concerto No. 4 in G major, BWV 1049 Bach Brandenburg Concerto No. 5 in D major, BWV 1050 Bach Clavier Concerto No. 4 in A major, BWV 1055 Bach Clavier Concerto No. 7 in G minor, BWV 1058 Bach Concerto No. 1 in C minor for Two Claviers, BWV 1060 Bach Concerto No. 2 in C major for Three Claviers, BWV 1064 Bach Violin Concerto No. 1 in A minor, BWV 1041 Bach Concerto in D minor for Two Violins, BWV 1043 Bach Komm, süsser Tod Bach Magnificat in D major, BWV 243 Bach A Mighty Fortress Is Our God Bach O Mensch, bewein dein Sünde gross, BWV 622 Bach Prelude, Choral and Fugue Bach Suite No. 3 in D major, BWV 1068 Bach Suite in B minor Bach Adagio from Toccata, Adagio and Fugue in C major, BWV 564 Bach Toccata and Fugue in D minor, BWV 565 Barber Adagio for Strings, Op. -
Trumpet Scales
Poston Scale Packet Trumpet Jenn Bock Concert F Major G Major Written One Octave Scale and Arpeggio #c & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale # œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w Scale in Thirds œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Arpeggio Exercise # œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Concert Bb Major C Major Written One Octave Scale and Arpeggio & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w Scale in Thirds œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Arpeggio Exercise œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Concert Eb Major F Major Written One Octave Scale and Arpeggio œ œ œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ w Poston Scale Packet- Trumpet- Jenn Bock 2 Scale in Thirds œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Arpeggio Exercise œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Concert Ab Major Bb Major Written One Octave Scale and Arpeggio b &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ ˙ Full Range Scale œ œ œ œ œ b œ œ œ œ œ œ œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w Scale in Thirds œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ -
London's Symphony Orchestra
London Symphony Orchestra Living Music Sunday 7 May 2017 7pm Barbican Hall SHOSTAKOVICH SYMPHONY NO 15 Mussorgsky arr Rimsky-Korsakov Prelude to ‘Khovanshchina’ Tchaikovsky Violin Concerto INTERVAL London’s Symphony Orchestra Shostakovich Symphony No 15 Sir Mark Elder conductor Anne-Sophie Mutter violin Concert finishes approx 9.10pm Generously supported by Celia & Edward Atkin CBE 2 Welcome 7 May 2017 Welcome Living Music Kathryn McDowell In Brief A warm welcome to this evening’s LSO concert at BMW LSO OPEN AIR CLASSICS 2017 the Barbican, where we are joined by Sir Mark Elder for an all-Russian programme of works by Mussorgsky, The London Symphony Orchestra, in partnership with Tchaikovsky and Shostakovich. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar The concert opens with the prelude to Mussorgsky’s Square on Sunday 21 May, the sixth concert in the opera Khovanshchina, in an arrangement by fellow Orchestra’s annual BMW LSO Open Air Classics Russian composer, Rimsky-Korsakov. Then we are series, free and open to all. delighted to see Anne-Sophie Mutter return as the soloist in Tchaikovsky’s Violin Concerto, before lso.co.uk/openair Sir Mark Elder concludes the programme with Shostakovich’s final symphony, No 15. LSO WIND ENSEMBLE ON LSO LIVE I hope you enjoy the performance. I would like to take this opportunity to welcome Celia and The new recording of Mozart’s Serenade No 10 Edward Atkin, and to thank them for their generous for Wind Instruments (‘Gran Partita’) by the LSO support of this evening’s concert. -
Tchaikovsky Violin Concerto
Tchaikovsky Violin Concerto Friday, January 12, 2018 at 11 am Jayce Ogren, Guest conductor Sibelius Symphony No. 7 in C Major Tchaikovsky Concerto for Violin and Orchestra Gabriel Lefkowitz, violin Tchaikovsky Violin Concerto For Tchaikovsky and The Composers Sibelius, these works were departures from their previ- ous compositions. Both Jean Sibelius were composed in later pe- (1865—1957) riods in these composers’ lives and both were pushing Johan Christian Julius (Jean) Sibelius their comfort levels. was born on December 8, 1865 in Hämeenlinna, Finland. His father (a doctor) died when Jean For Tchaikovsky, the was three. After his father’s death, the family Violin Concerto came on had to live with a variety of relatives and it was Jean’s aunt who taught him to read music and the heels of his “year of play the piano. In his teen years, Jean learned the hell” that included his disas- violin and was a quick study. He formed a trio trous marriage. It was also with his sister older Linda (piano) and his younger brother Christian (cello) and also start- the only concerto he would ed composing, primarily for family. When Jean write for the violin. was ready to attend university, most of his fami- Jean Sibelius ly (Christian stayed behind) moved to Helsinki For Sibelius, his final where Jean enrolled in law symphony became a chal- school but also took classes at the Helsinksi Music In- stitute. Sibelius quickly became known as a skilled vio- lenge to synthesize the tra- linist as well as composer. He then spent the next few ditional symphonic form years in Berlin and Vienna gaining more experience as a composer and upon his return to Helsinki in 1892, he with a tone poem.