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Handel' S Organ Concerto S Reconsidered
Handel' s Organ ConcertoConcertos s Reconsidered By NIELS KARL NIELSEN Due to the solid foundatiansfoundations provided by the research carried out by Chrysan der, W. Dean, O. E. Deutsch, J. P. Larsen, W. C. Smith and others the study of Randel'sHandel's works has been rendered much easier to-day than it was a mere twenty years ago; this, however, does not mean that all the problems have been solved. On the contrary, many still await exhaustive treatment. Whereas a vast number of books have been written ab out Randel'sHandel's vocal compositions, and the Oratorios in particular, a detailed study of his Organ Concertos, based on the autograph scores and other contemporary sources has not yet been made. Ehrlinger's dissertation 1 contains many valuable observa tions; nevertheless its importance is reduced considerably by the faetfact that he did not incorporate the original sources in his research. Accordingly, in the present study I intend to remedy this gap in our knowl edge of RandelHandel and his work, by discussing problems such as-date of composi tion-sources-original versions-style afof performance, and last but not least, the inevitable question of Randel'sHandel's borrowings. Some of these problems have of course been dealt with before, but I still find it worthwhile to try and collate as much information as possibiepossible about these aspects of Randel'sHandel's wark.work. RandelHandel embarked upon his concertos for organ and orchestra in dose con nection with his efforts to introduce the oratorio as a parallel to the produetionproduction of operas which had dominated his work in London up to the beginning of the 1730's. -
Selected Organ Works of Joseph Ahrens: a Stylistic Analysis of Freely Composed Works and Serial Compositions
Selected Organ Works of Joseph Ahrens: A Stylistic Analysis of Freely Composed Works and Serial Compositions A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music 2013 by Eun Hye Kim MM, University of Cincinnati, 2007 MM, Hansei University, 2004 BA, Seoul Jangsin University and Theological Seminary, 2002 Committee Chair: Roberta Gary, DMA Committee Member: John Deaver, DMA Committee Member: David Berry, PhD Abstract Joseph Ahrens (1904–97) was a twentieth-century German composer, virtuoso organist, and teacher. He was a professor of church music at the Berlin Academy of Music (Berlin Hochschule für Musik), organist at the Cathedral of St. Hedwig, and choir director and organist at the Salvator Church in Berlin. He contributed to twentieth-century church music, especially of the Roman Catholic Church, and composed many works for organ and various choral forces. His organ pieces comprise chorale-based pieces, free (non-chorale) works, liturgical pieces, and serial compositions. He was strongly influenced by twentieth-century German music trends such as the organ reform movement, neo-baroque style, and, in his late period, serial techniques. This document examines one freely composed work and two serial compositions by Joseph Ahrens: Canzone in cis (1944), Fantasie und Ricercare (1967), and Trilogia Dodekaphonica (1978). The purpose is to demonstrate that Ahrens’s style developed throughout his career, from a post-Wagnerian harmonic language to one that adopted twentieth-century techniques, including serialism, while retaining the use of developed thematic material and a connection to neo-baroque characteristics in terms of forms and textures. -
September Newsletter
American Guild of Organists Newsletter Utah Valley Chapter 2008-2009 September 2008 No. 3 Chapter Officers Dean’s Message Dean Mike Carson [email protected] Like you, I am looking forward with great anticipation to our chapter’s Opening Gala on September 11. Our dear friend and colleague, Dr. Parley Belnap, will receive a Sub-Dean Lifetime Service Award for his dedicated service and distinguished achievements in Gayle Farnsworth organ education. Parley is a charter member of our chapter and served as dean from [email protected] 2000-2002. In addition, we are honored to have as our guest speaker Dr. John Secretary Longhurst, a Fellow of the American Guild of Organists and long-time Tabernacle Trudy Barnes Organist from 1977 to 2007. [email protected] The semi-formal event will be held at The Chillon in Spanish Fork with a reception Newsletter Editor Carol Dean, CAGO beginning at 6:30 p.m. and a buffet dinner being served at 7:15. Lella Pomeroy will [email protected] oversee the installation of the new chapter officers for 2008-2010, followed by the presentation of the Lifetime Service Award and remarks by our guest speaker. Treasurer/Registrar Joan Barnett All members and friends of the chapter are invited to attend with their guests. [email protected] RSVP to Joan Barnett with payment of $17.50 per person by August 28. Please Website Editor call or e-mail me with questions. If for some reason you did not receive your DeeAnn Stone invitation, please forgive me and come anyway! [email protected] Historian Best regards, Florence Hawkinson [email protected] Education Mike Carson, Dean Joan Barnett, Treasurer The Chillon Lori Serr, CAGO 796-6293 (home) 621 E. -
Download Booklet
Awesome Organ BEST LOVED WOLFGANG RÜBSAM 8.578179 classical organ music Awesome Organ recognise in Buxtehude’s music many 14 Widor: Symphony No. 5 in F minor, Best loved classical organ music of the elements of the ‘praeludium’ Op. 42, No. 1 – III. Toccata – Allegro style that Bach would perfect. The F How many thousands of newly-wed 1 Johann Sebastian BACH (1685–1750) 7 Charles-Marie WIDOR (1844–1937) major Prelude shows the lighter side couples have been accompanied Toccata and Fugue in D minor, 2:53 Organ Symphony No.1 in C minor, 8:20 of Buxtehude’s musical character with down the aisle by the final movement BWV 565 – Toccata Op. 13, No.1: V. Marche Pontificale a whimsical Fugue subject giving of Widor’s fifthOrgan Symphony? This Bertalan Hock • Wolfgang Rübsam (8.553859) Robert Delcamp (8.570310) the performer plenty of opportunity iconically famous work is a prime 2 Johann Sebastian BACH 8 Georg BÖHM (1661–1733) for antiphonal effects using different example of the French organ toccata Toccata and Fugue in D minor, 7:09 Prelude and Fugue in C major 5:09 divisions of the organ. form: an exuberant repeating pattern BWV 565 – Fugue Christiaan Teeuwsen (8.555857) in the manuals accompanies a bold Bertalan Hock • Wolfgang Rübsam (8.553859) 13 Dupré: Variations sur un Noël, Op. 20 – melodic line played in the pedals; a 9 Johann PACHELBEL (1653–1706) Theme and Variations I to X quieter development section follows 3 George Frideric HANDEL (1685–1759) Toccata in E minor 1:49 In 1906, Widor appointed a new before the original material returns Organ Concerto in B flat major, 5:25 Wolfgang Rübsam (8.554380) assistant at Saint-Sulpice, the precociously with even more elaborate manual Op. -
May 2012 Pp. 2-19.Indd
his second wife, the violinist Nelly Söregi soprano solo, and organ, is based on the with approximately 100 faculty members Wunderlich, in 2004. He is survived by tune Nettleton, with a new text that and 500 students. Its more than 4,000 three daughters and a stepson. celebrates the cycles of life and spirit (15 graduates work in Russia and in many Wunderlich’s early study was with his pp., softbound 8½ x 11). For informa- countries around the world. The Allen father and the local church organist. At tion: 805/682-5727; Fruhauf Music Pub- organ was installed in the newly dedicat- the age of sixteen, he was admitted to the lications, P.O. Box 22043, Santa Barbara, ed Great Hall of the conservatory. The Academy of Music in Leipzig, where he CA 93121-2043; <[email protected]>; three-manual console was fi nished to was the youngest student. While he was <www.frumuspub.net>. match the stage’s fl oor and shell, which studying with Karl Straube and Johann forms a tightly joined wooden chamber. Nepomuk David, his lifelong interest in Hal Leonard Books has published The organ also provides modern mu- the music of Max Reger began. Despite Microphones & Mixers ($39.99) by Bill sical sounds through Vista NavigatorTM. growing up and living in the tumultu- Gibson. The book is an updated sec- Other electronic musical instruments ous time between the First and Second ond edition of Book 1 in the 6-book Hal can also be fed into the organ’s audio World Wars, he held prestigious posi- Leonard Recording Method series and system by the external Expanded Audio tions and became well known for his includes a DVD ROM and online me- Capabilities (EACTM) system. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
The Diapason an International Monthly Devoted to the Organ and the Interests of Organists
THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN AND THE INTERESTS OF ORGANISTS Sixty-fourth Year~ No. 7 - Whole No. 763 J UNE. 19i3 Subscriptions .$4.00 a year - 40 cents a copy UNION SEMINARY SCHOOL OF METHODIST MUSICIANS SACRED MUSIC CONCLUDES TO MEET IN FLORIDA WITH MAY FESTIVAL SERVICE The biennial convention of the Fel· A festival service of thanksgi\,jng for Imvship of United Methodist Musicians the School of Sacred Music was held at will be held from Aug. 5 through Aug, Union Theological Seminary in New II at the Florida Southern College, York City on Sunday evening. May 6, Lakeland. Florida. The campus will pro· at 7:30 p.m. The school. which was \'ide a stimulating setting for thc con· founded in 1928 by Clarence Dickinson, l'emion. for it has become famous for concluded its distinguished forty-five its buildings designed by Frank Lloyd )'car history of training professional mu Wright. sicians for the church aher graduating Featured on this year's program will this year's class. be a con,"ocation 011 "Music and Archi· At the service, a choir of O\'er 250 tecture" under the dircction of architcct ,'Dices sang music by Parry, Brahms, Nils Schweizer, a studcnt of Frank Lloyd Haydn. Dickinson, Vaughan \\Tilliams, Wright. The com'ocation will divide in· Fc1ciano, Handel. and Bach. Since one to six groups following Mr, Schwe:zer's of the most important aspects of an ed talk. to tour six of the campus buildings. ucation at Union has been the respon· In cach building will be Ih'c music and sibility of each student to coordinate the interpreth'e slides. -
A Commanding Voice Should We Use These Marvelous, and Expen- Sive, Gifts? You May Think That the Number of Relevant Organ Works Is Small
R epertoire ities of their traditionally fully-equipped European counterparts. OK, we have the resources. How best A Commanding Voice should we use these marvelous, and expen- sive, gifts? You may think that the number of relevant organ works is small. Think Pipe organs are popping up in concert halls again. Through recordings and broadcasts, nationwide. Now—what to play on them? perhaps even more than through live per- formances, I have become aware of a con- siderable repertoire for organ-with-orches- by Michael Barone tra, not least being the three centuries of organ concertos ranging from G.F. Handel to Calvin Hampton. There’s more than just one “organ symphony,” too. And the pipe These are the best of times, or so Washington, D.C. (Aeolian-Skinner), and organ earns its place in the symphony’s they seem to those of us who relish the Milwaukee (Aeolian-Skinner/Austin) were space because it is used in core symphonic sonorous delight of a pipe organ in a con- somewhat ahead of the current surge of repertoire; who wouldn’t yearn for the surg- cert hall setting. In recent months, two activity. After a long dry spell during which ing effect of that extra octave of bass that fine American orchestras have inaugurat- too many new halls specifically omitted only the organ’s 32-foot pedal registers can ed lavish and costly new instruments: the pipe organs, most of the best recent orches- impart to a rich orchestral tapestry? Any Los Angeles Philharmonic at its eye-catch- tral performance facilities in the United conductor who attempts the final climax in ing, Frank Gehry-designed, year-old Walt States now, or soon will, match the capabil- Elgar’s Enigma Variations or Respighi’s Pines Disney Concert Hall; and the Mad- of Rome without the obbligato organ ison Symphony Orchestra, venturing presence does so at the risk of substi- a first season in its brand-new Over- tuting a mere standing ovation for a ture Hall designed by Cesar Pelli, season-ticket renewal. -
Botticelli Triptych
RESPIGHI Botticelli Triptych November 2014 6 From the President J.D. Scott Dear Friends: Since the 1920s The Philadelphia Orchestra has engaged young people, and indeed people of all ages, with the joys and thrills of orchestral music through the presentation of numerous programs. Today that tradition continues with expanded offerings, which are more important than ever. November is School Concert month at The Philadelphia Orchestra. This year’s theme, Music and Art: Instruments of Expression, explores how these two artistic forms serve as a means for understanding ourselves and the world around us. The concert, led by our new assistant conductor, Lio Kuokman, will make powerful connections between music and other creative forms in a guided tour through vibrant sounds and images. This month also brings the first of our Open Rehearsals for Students, allowing high school and college students a behind- the-scenes peek at how a concert comes together, and a rare opportunity to observe first-hand the artistic collaboration between musicians and conductors. It’s a fascinating way to get even closer to the music. From Sound All Around (our award-winning program for 3-5 year olds) to Family Concerts, from PreConcert Conversations to Free Neighborhood Concerts, PlayINs, Side-by-Side rehearsals, and LiveNote (our recently launched interactive concert guide for mobile devices), our collaborative learning offerings are a key element of the Orchestra’s mission. Our community offerings take Orchestra musicians offstage, on the road, and into the lives of music-lovers throughout the Philadelphia region, celebrating the wealth of musicianship in this area. -
Karl Straube, Old Masters and Max Reger a Study in 20Th Century Performance Practice
Karl Straube, Old Masters and Max Reger A Study in 20th Century Performance Practice By Bengt Hambraeus In 1904, the German organist Karl Straube published Alte Meister, an anthology in two volumes of organ music from the 17th and early 18th centuries (Peters 3065 a/b). The second of these volumes was replaced in 1929 with two new ones, with the same title (Peters 4301 a/b). The 3065a volume, which is still available, bears the dedication “Dem jungen Meister Max Reger”, This dedication can be understood in two ways. Either: to a young master composer being on a par with his classical colleagues from past centuries; or: to a young promising composer (Reger, by then 31 years old, had already written many of his most important organ works). We do not have to speculate about the intention of the dedication as such, only observe it in relation to three facts: (i) Both Straube and Reger were born in the same year (1873) and thus belong to the same generation; Reger died in 1916, Straube in 1950; since 1903 Straube had held different positions at the Thomas Church in Leipzig, until 1918 as an organist, and subsequently as choral director; furthermore he had been teaching the organ at the Leipzig Music Conservatory since 1907. (2) Since the beginning of the century, Straube had published a few practical editions of old and more recent organ music. Among the latter, we find his alternative versions to some already printed organ works by Reger. His various editions can easily allow us to understand how he himself may have performed the music, and how and why his interpretations became trendsetters for many of his students. -
A Repertoire Guide to Composers Whose Anniversaries Fell in 2016
COMPOSER ANNIVERSARIES IN 2016 John Collins, Worthing Editor’s note: a shortened version of this article was published in British Clavichord Society Newsletter 64, February 2016. Copyright remains with the author, who is happy for excerpts to be used provided that the source is duly acknowledged. For permission to use the document in its entirety, please contact the author directly. There are several composers whose anniversaries can be commemorated in 2016, albeit some of the dates are not known for certain. Some of the composers listed here will need no introduction but there are also several less well-known names whose compositions are well worth exploring. I have omitted composers whose surviving pieces are clearly intended for organ only. No claim is made for completeness (some composers with only a very small number of surviving pieces have not been included), and there is no guarantee that every edition mentioned here is in print. There may well also be editions by other publishers, and it could be worth searching online booksellers for copies. Publishers’ catalogue numbers are given here where possible; websites are listed here. An increasing number of pieces, ranging from complete original publications or manuscripts (which present the usual problems of multiple clefs as well as original printers’ errors) to modern versions of complete or individual works, are to be found on various free- download sites, most notably IMSLP; however, the accuracy of some modern typesettings is highly questionable, and all should be treated with caution. Antonio de Cabezón (1510–66) was organist to the Holy Roman Emperor Charles V and one of the most important Spanish composers of the sixteenth century. -
The Life of Bach
The life of Bach Peter Williams published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge, cb22ru,UK 40 West 20th Street, New York, ny 10011–4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Peter Williams 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Printed in the United Kingdom at the University Press, Cambridge Typeface FF Quadraat 9.75/14 pt. System LATEX2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Williams, Peter F. The life of Bach / Peter Williams. p. cm. – (Musical lives) Includes bibliographical references and index. ISBN 0–521–82636–5 1. Bach, Johann Sebastian, 1685–1750. 2. Composers – Germany – Biography. I. Title. II. Series. ml410.b1w71 2003 780.92–dc21 2003055080 [b] isbn 0 521 82636 5 hardback isbn 0 521 53374 0 paperback contents List of illustrations vi Acknowledgments viii Introduction 1 1 Early years, 1685–1703 5 2 First appointments, 1703–1708 25 3 Weimar, 1708–1717 45 4Cothen,¨ 1717–1723 76 5 Leipzig, the first decade 99 6 Leipzig, the second decade 125 7 Leipzig, the final years, and the first personal descriptions 137 Appendix 1: a sample hypothesis 196 Appendix 2: some terms 203 List of references 206 BWV index 209 Index of names 212 v illustrations 1 Map of northern Germany in the time of J.