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'Dream Job: Next Exit?'
Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices. -
An Introduction to the Annotated Bach Scores - Sacred Cantatas Melvin Unger
An Introduction to the Annotated Bach Scores - Sacred Cantatas Melvin Unger Abbreviations NBA = Neue Bach Ausgabe (collected edition of Bach works) BC = Bach Compendium by Hans-Joachim Schulze and Christoph Wolff. 4 vols. (Frankfurt: Peters, 1989). Liturgical Occasion (Other Bach cantatas for that occasion listed in chronological order) *Gospel Reading of the Day (in the Lutheran liturgy, before the cantata; see below) *Epistle of the Day (in the Lutheran liturgy, earlier than the Gospel Reading; see below) FP = First Performance Note: Some of the following material is taken from Melvin Unger’s overview of Bach’s sacred cantatas, prepared for Cambridge University Press’s Bach Encyclopedia. Copyright Melvin Unger. That overview (which is available here with the annotated Bach cantata scores) includes a bibliography. Additional, online sources include the Bach cantatas website at https://www.bach-cantatas.com/ and Julian Mincham’s website at http://www.jsbachcantatas.com/. The German Cantata Before Bach In Germany, Lutheran composers adapted the genre that had originated in Italy as a secular work intended for aristocratic chamber settings. Defined loosely as a work for one or more voices with independent instrumental accompaniment, usually in discrete sections, and employing the ‘theatrical’ style of opera, the Italian cantata it was originally modest in scope—usually comprising no more than a couple of recitative-aria pairs, with an accompaniment of basso continuo. By the 1700s, however, it had begun to include other instruments, and had grown to include multiple, contrasting movements. Italian composers occasionally wrote sacred cantatas, though not for liturgical use. In Germany, however, Lutheran composers adapted the genre for use in the main weekly service, where it subsumed musical elements already present: the concerted motet and the chorale. -
Oct 12 to 18.Txt
CLASSIC CHOICES PLAYLIST Oct. 12 - 18, 2020 PLAY DATE: Mon, 10/12/2020 6:02 AM Antonio Vivaldi Concerto for violin, 2 flutes, 2 oboes & 6:13 AM Wolfgang Amadeus Mozart Symphony No. 27 6:29 AM Arcangelo Corelli Concerto Grosso No. 6 6:44 AM Johann Nepomuk Hummel Gesellschafts Rondo 7:02 AM Michel Richard Delalande Suite No. 12 7:16 AM Muzio Clementi Piano Sonata 7:33 AM Mademoiselle Duval Suite from the Ballet "Les Génies" 7:46 AM Georg (Jiri Antonin) Benda Sinfonia No. 9 8:02 AM Johann David Heinichen Concerto for fl,ob,vln,clo,theorbo,st,bc 8:12 AM Franz Joseph Haydn String Quartet 8:31 AM Joan Valent Quatre Estacions a Mallorca 9:05 AM Ralph Vaughan Williams Symphony No. 3 9:41 AM Robert Schumann Fantasiestucke 9:52 AM Ralph Vaughan Williams Silent Noon 10:00 AM Wolfgang Amadeus Mozart LA CLEMENZA DI TITO: Overture 10:06 AM Wolfgang Amadeus Mozart Violin Sonata No. 27 10:24 AM Wolfgang Amadeus Mozart Flute & Harp Concerto (mvmt 2) 10:34 AM Wolfgang Amadeus Mozart Divertimento No. 1 10:49 AM Wolfgang Amadeus Mozart Sonata for 2 pianos 11:01 AM Mark Volker Young Prometheus 11:39 AM Georg Philipp Telemann Paris Quartet No. 2:TWV 43: a 3 12:00 PM Ludwig Van Beethoven Wellington's Victory (Battle Symphony) 12:14 PM Ludwig Van Beethoven Piano Sonata No. 6 12:28 PM Johann Strauss, Jr. Wine, Women & Song 12:40 PM John Ireland Piano Trio No. 2 12:54 PM Michael Kamen CRUSOE: Marooned 1:02 PM Mark O'Connor Trio No. -
4012476369853.Pdf
Mein Sonatenalbum Christoph Förster (1693-1745) Johann Sigismund Weiss (um 1690-1737) Sonata c-Moll · C minor Sonata B-Dur · B flat major 1 [Adagio] 1:33 16 Andante 1:59 2 Allegro 1:13 17 Allegro 2:34 3 [Adagio] 2:29 18 Adagio 2:00 4 Gigue 1:29 19 Vivace 3:49 20 Presto 2:06 William Babell (um 1690-1723) Georg Friedrich Händel (1685-1759) Sonata Nr. 11 g-Moll · G minor 5 Adagio 3:03 Sonata F-Dur HWV 363a 21 Adagio 1:51 6 Vivace 1:20 22 Allegro 1:58 7 Allegro 1:18 23 Adagio 2:22 24 Bourrée angloise 1:02 „Signor Bach“ (Johann Jacob Bach?) 25 Menuet 1:18 Sonata c-Moll · C minor 8 Andante 2:26 William Babell 9 Allegro 2:36 Sonata Nr. 12 c-Moll · C minor 10 Adagio 1:29 26 Adagio 2:04 11 Vivace 3:09 27 Vivace 0:45 Johann Georg Linike (ca. 1680-1762) Gottfried August Homilius (1714-1785) Sonata F-Dur · F major Sonata à Oboe solo col Basso HoWV XI.1 12 Adagio 2:36 28 Adagio 2:03 13 Allegro 2:43 29 Allegro assai 2:37 14 Largo 2:49 30 Amoroso 1:18 15 Allegro 3:25 31 Vivace 1:54 KARLA SCHRÖTER Barockoboe Ensemble CONCERT ROYAL Köln Die Oboensonate im 18. Jahrhundert sowie über Choral-Knaben. Sein kompositorisches Schaffen umfasst zahlreiche Kirchenkantaten, Psalm- und Sanctus- Alle auf dieser CD eingespielten Sonaten für Oboe und Vertonungen, eine Messe und reichlich Instrumentalmusik, Basso continuo dürften in der ersten Hälfte des 18. -
Our Lady of Guadalupe Church 900 West La Habra Boulevard ● La Habra, California 90631
Our Lady of Guadalupe Church 900 West La Habra Boulevard ● La Habra, California 90631 Sunday Masses / Misas Dominicales Saturday Anticipatory / Sábado Anticipatoria 5:30 p.m.—English 7:00 p.m.—Español Sunday / Domingo: 6:30 a.m.—English 11:15 a.m.—English 7:45 a.m.—Español 1:00 p.m.—Español 9:30 a.m.—English 5:30 p.m.—English (Youth) Weekday Masses / Misas entre Semana: Monday/Lunes: 7:45 a.m.—English 5:30 p.m.—English Tuesday/Martes: 7:45 a.m.—English Wednesday/Miércoles: 7:45 a.m.—English 5:30 p.m.—English Thursday/Jueves: 7:45 a.m.—English Friday/Viernes: 7:45 a.m.—Español 5:30 p.m.—English Confessions / Confesiones: Saturday/Sábado: 4:00 p.m. Monday/Lunes: 8:15 a.m. December 17, 2017 Third Sunday of Advent Parish Staff / Personal Parroquial (562) 691-0533 olglahabra.org Rev. Edward Becker, Pastor Parish Office Hours / Rev. Benjamin Hoang, Parochial Vicar Horario de la Oficina Parroquial: Rev. Ruben Ruiz, Parochial Vicar Monday—Thursday: 8:30 am—7:30 pm Rev. Msgr. Justin MacCarthy, Pastor Emeritus de Lunes a Jueves Deacon José Luís Rodriguez, Deacon Friday & Saturday: 8:30 am—5:30 pm Deacon José Manuel Chavez, Deacon Viernes y Sábado Sunday / Domingo: 8:30 am—1:00 pm Scott Miller, Business Manager Doris von Rotz, Liturgy Director and Communications Adoration of the Blessed Sacrament: Director First weekday of each month Stephanie Ruiz, Director of Faith Formation for Pre- Adoración de la Santísimo Sacramento: school and Elementary Primer día laborable de cada mes Ray Hernandez, Youth Minister and Director of Faith For Baptisms, Weddings, Funerals and other Sacra- Formation for Junior High, High School and Young ments, please check the parish website or call the Adults parish office for more information. -
The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-Flat Major (BWV 243A)*
The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-flat Major (BWV 243a)* By Robert M. Cammarota Apart from changes in tonality and instrumentation, the two versions of J. S. Bach's Magnificat differ from each other mainly in the presence offour Christmas interpolations in the earlier E-flat major setting (BWV 243a).' These include newly composed settings of the first strophe of Luther's lied "Vom Himmel hoch, da komm ich her" (1539); the last four verses of "Freut euch und jubiliert," a celebrated lied whose origin is unknown; "Gloria in excelsis Deo" (Luke 2:14); and the last four verses and Alleluia of "Virga Jesse floruit," attributed to Paul Eber (1570).2 The custom of troping the Magnificat at vespers on major feasts, particu larly Christmas, Easter, and Pentecost, was cultivated in German-speaking lands of central and eastern Europe from the 14th through the 17th centu ries; it continued to be observed in Leipzig during the first quarter of the 18th century. The procedure involved the interpolation of hymns and popu lar songs (lieder) appropriate to the feast into a polyphonic or, later, a con certed setting of the Magnificat. The texts of these interpolations were in Latin, German, or macaronic Latin-German. Although the origin oftroping the Magnificat is unknown, the practice has been traced back to the mid-14th century. The earliest examples of Magnifi cat tropes occur in the Seckauer Cantional of 1345.' These include "Magnifi cat Pater ingenitus a quo sunt omnia" and "Magnificat Stella nova radiat. "4 Both are designated for the Feast of the Nativity.' The tropes to the Magnificat were known by different names during the 16th, 17th, and early 18th centuries. -
Musiker-Migration Und Musik-Transfer Zwischen Böhmen Und Sachsen Im 18
Musiker-Migration und Musik-Transfer zwischen Böhmen und Sachsen im 18. Jahrhundert Bericht über das Internationale Symposium vom 7. bis 9. November 2008 Herausgegeben von Hans-Günter Ottenberg und Reiner Zimmermann Redaktion: Klaus Burmeister 1 Inhalt Zum vorliegenden Band 3 Programmflyer 2008 6 Grußwort des Schirmherrn 9 Grußwort des Veranstalters 10 Verzeichnis der mit Abkürzungen zitierten Literatur 12 Verzeichnis der benutzen Bibliothekssigel 14 Armin Schmid, Regensburg Johann Christoph Kridel (Rumburg 1672–1733) und seine Kantaten-Sammlung Neu-eröffnetes Blumen-Gärtlein (Bautzen 1706) 15 Michaela Freemanová, Prag Johann Adolf Hasse’s oratorios in the Bohemian Lands 28 Klaus-Peter Koch, Bergisch Gladbach Böhmische Musiker waren im Sachsen des 18. Jahrhunderts nicht nur in Dresden. Anmerkungen zur böhmischen Musiker-Migration 39 Hrosvith Dahmen, Dresden Zur Prager-Dresdner Kirchenmusik unter besonderer Berücksichtigung der Messen von František Xaver Brixi 51 Marc Niubo, Prag The Italian Opera between Prague and Dresden in the Second Half of the Eighteenth Century 58 Daniela Philippi, Frankfurt/Main Zur Überlieferung der Werke Christoph Willibald Glucks in Böhmen, Mähren und Sachsen 74 Hans-Günter Ottenberg, Dresden Instrumentalwerke böhmischer Komponisten in der Dresdner Hofmusik des 18. Jahrhunderts – Repertoireschwerpunkte, Stilistik, Überlieferungswege, Aufführungspraxis 83 Jiří Mikuláš, Prag Der Prager Komponist Vinzenz Maschek (1755–1831) und Sachsen 103 Undine Wagner, Chemnitz Böhmen – Polen – Sachsen – Preußen. Franz Benda und seine Beziehungen zu Mitgliedern der Dresdner Hofkapelle 110 Roland Bienert, Berlin In der Ferne heimatverbunden? Die böhmischen Quellen zu Antonio Rosettis Kirchenmusik 126 2 Zum vorliegenden Band Zu den interessantesten Fragen der Musikgeschichtsschreibung zählen solche nach dem kulturellen Austausch über politische, konfessionelle, Zoll- und Währungsgrenzen hinweg. -
Gesungene Aufklärung
Gesungene Aufklärung Untersuchungen zu nordwestdeutschen Gesangbuchreformen im späten 18. Jahrhundert Von der Carl von Ossietzky Universität Oldenburg – Fachbereich IV Human- und Gesellschaftswissenschaften – zur Erlangung des Grades einer Doktorin der Philosophie (Dr. phil.) genehmigte Dissertation von Barbara Stroeve geboren am 4. Oktober 1971 in Walsrode Referent: Prof. Dr. Ernst Hinrichs Korreferent: Prof. Dr. Peter Schleuning Tag der Disputation: 15.12.2005 Vorwort Der Anstoß zu diesem Thema ging von meiner Arbeit zum Ersten Staatsexamen aus, in der ich mich mit dem Oldenburgischen Gesangbuch während der Epoche der Auf- klärung beschäftigt habe. Professor Dr. Ernst Hinrichs hat mich ermuntert, meinen Forschungsansatz in einer Dissertation zu vertiefen. Mit großer Aufmerksamkeit und Sachkenntnis sowie konstruktiv-kritischen Anregungen betreute Ernst Hinrichs meine Promotion. Ihm gilt mein besonderer Dank. Ich danke Prof. Dr. Peter Schleuning für die Bereitschaft, mein Vorhaben zu un- terstützen und deren musiktheoretische und musikhistorische Anteile mit großer Sorgfalt zu prüfen. Mein herzlicher Dank gilt Prof. Dr. Hermann Kurzke, der meine Arbeit geduldig und mit steter Bereitschaft zum Gespräch gefördert hat. Manche Hilfe erfuhr ich durch Dr. Peter Albrecht, in Form von wertvollen Hinweisen und kritischen Denkanstößen. Während der Beschäftigung mit den Gesangbüchern der Aufklärung waren zahlreiche Gespräche mit den Stipendiaten des Graduiertenkollegs „Geistliches Lied und Kirchenlied interdisziplinär“ unschätzbar wichtig. Stellvertretend für einen inten- siven, inhaltlichen Austausch seien Dr. Andrea Neuhaus und Dr. Konstanze Grutschnig-Kieser genannt. Dem Evangelischen Studienwerk Villigst und der Deutschen Forschungsge- meinschaft danke ich für ihre finanzielle Unterstützung und Förderung während des Entstehungszeitraums dieser Arbeit. Ich widme diese Arbeit meinen Eltern, die dieses Vorhaben über Jahre bereit- willig unterstützt haben. -
Hymnody of Eastern Pennsylvania German Mennonite Communities: Notenbüchlein (Manuscript Songbooks) from 1780 to 1835
HYMNODY OF EASTERN PENNSYLVANIA GERMAN MENNONITE COMMUNITIES: NOTENBÜCHLEIN (MANUSCRIPT SONGBOOKS) FROM 1780 TO 1835 by Suzanne E. Gross Dissertation submitted to the Faculty of the Graduate School of The University of Maryland in partial fulfillment of the requirements for the degree of Doctor of Philosophy 1994 Advisory Committee: Professor Howard Serwer, Chairman/Advisor Professor Carol Robertson Professor Richard Wexler Professor Laura Youens Professor Hasia Diner ABSTRACT Title of Dissertation: HYMNODY OF EASTERN PENNSYLVANIA GERMAN MENNONITE COMMUNITIES: NOTENBÜCHLEIN (MANUSCRIPT SONGBOOKS) FROM 1780 TO 1835 Suzanne E. Gross, Doctor of Philosophy, 1994 Dissertation directed by: Dr. Howard Serwer, Professor of Music, Musicology Department, University of Maryland, College Park, Maryland As part of an effort to maintain their German culture, the late eighteenth-century Mennonites of Eastern Pennsylvania instituted hymn-singing instruction in the elementary community schoolhouse curriculum. Beginning in 1780 (or perhaps earlier), much of the hymn-tune repertoire, previously an oral tradition, was recorded in musical notation in manuscript songbooks (Notenbüchlein) compiled by local schoolmasters in Mennonite communities north of Philadelphia. The practice of giving manuscript songbooks to diligent singing students continued until 1835 or later. These manuscript songbooks are the only extant clue to the hymn repertoire and performance practice of these Mennonite communities at the turn of the nineteenth century. By identifying the tunes that recur most frequently, one can determine the core repertoire of the Franconia Mennonites at this time, a repertoire that, on balance, is strongly pietistic in nature. Musically, the Notenbüchlein document the shift that occured when these Mennonite communities incorporated written transmission into their oral tradition. -
Anmerkungen Einleitung
),- 7dc[hakd][d ;_db[_jkd] 1 Erdmann Neumeister hatte in Leipzig Poetik-Vorlesungen gehalten, die er Hu- nold zur Verfügung stellte, da er sie als Pfarrer nicht selbst publizieren wollte. Hunold bringt diese Poetik unter seinem Pseudonym Menantes 1707 erstmals heraus. Menan- tes: Die Allerneueste Art, zur Reinen und Galanten Poesie zu gelangen. Allen Edlen und die- ser Wissenschafft geneigten Gemühtern, zum vollkommenen Unterricht, mit überaus deutlichen Regeln und angenehmen Exempeln ans Licht gestellet. Hamburg 1728/1707. Siehe das ge- samte Kapitel XIX. Von der Opera. S. 394–414, hier S. 412. Zur Würdigung und Analy- se dieser Poetik siehe Viswanathan, Ute-Maria Suessmuth: Die Poetik Erdmann Neu- meisters und ihre Beziehung zur barocken und galanten Dichtungslehre. University of Pittsburgh 1989, S. 86f. Im Folgenden werden die Quellentexte bei der Erstzitation aus- führlich mit bibliographischen Angaben versehen, danach gibt es Kurztitel. 2 Neumeister hat das Libretto von Thomas Corneille zur Oper Bellerophon Paris 1679 übersetzt. Diese Übersetzung haben Hunold und Barthold Feind rezipiert, die beide zwischen 1702 und 1706 in Hamburg in derselben Wohnung lebten. Zu dieser Zeit war Hunold im Besitz von Neumeisters Manuskript. Vgl. Viswanathan, 1989, S. 92f und FN 108, S. 144. Feind arbeitete Bellerophon um zu einer Huldigungsoper an- lässlich der Hochzeit des preußischen Königs Friedrichs I. mit der Mecklenburgischen Prinzessin Sophie Louise. D-Hs 124 in MS 639/3:7. Vgl. Marx, Hans Joachim; Schrö- der, Dorothea: Die Hamburger Gänsemarkt-Oper. Katalog der Textbücher (1678– 1748). Laaber 1995, S. 80. 3 Vgl. Martens, Wolfgang: Die Botschaft der Tugend. Die Aufklärung im Spiegel der deutschen Moralischen Wochenschriften. -
Expanding the Choral Conductor's Horizon
ABSTRACT Title of Dissertation: EXPANDING THE CHORAL CONDUCTOR’S HORIZON: THE APPLICATION OF SELECTED LITERARY THEORIES TO THE PROCESS OF CHORAL SCORE STUDY Gary B. Seighman, Doctor of Musical Arts, 2009 Dissertation directed by: Professor Edward Maclary School of Music The main premise of this document is that the various movements associated with literary theory can provide unique interpretative insights for the modern choral conductor during score study. Traditionally, score study involves making performance decisions based upon formal analysis, study of performance practices, examination of historical and stylistic information, and practical ensemble considerations. By adopting a stance that also acknowledges elements offered by literary theory, the conductor can begin to uncover those elements in the music that maximize the potential for the singer to have a meaningful musical experience. Literary theory deals critically with the process of interpretation and focuses especially on the relationship between the literary text and the reader. On one end of the literary theory spectrum, formalist studies of interpretation place value only on the words and notes and their grammatical relationship with one another while ignoring historical information as a determinant source for meaning. On the other end, Reader-Response Criticism focuses on the attributes of the reader, understood as part of the culture he belongs to, and through his personal background and experiences. Many branches of theory are located in the middle and consider how the properties of a text fuse with a reader’s expectations and guide him to a particular interpretation. The adaptation of these theories to music is not new, as shown by the sizeable corpus of books and articles devoted to musico-literary studies. -
JEFFREY THOMAS Music Director
support materials for our recording of JOSEPH HAYDN (732-809): MASSES Tamara Matthews soprano - Zoila Muñoz alto Benjamin Butterfield tenor - David Arnold bass AMERICAN BACH SOLOISTS AMERICAN BACH CHOIR • PACIFIC MOZART ENSEMBLE Jeffrey Thomas, conductor JEFFREY THOMAS music director Missa in Angustiis — “Lord Nelson Mass” soprano soloist’s petition “Suscipe” (“Receive”) is followed by the unison choral response “deprecationem nostram” (“our Following the extraordinary success of his two so- prayer”). journs in London, Haydn returned in 1795 to his work as Kapellmeister for Prince Nikolas Esterházy the younger. The Even in the traditionally upbeat sections of the liturgy, Prince wanted Haydn to re-establish the Esterházy orchestra, the frequent turns to minor harmonies invoke the upheaval disbanded by his unmusical father, Prince Anton. Haydn’s re- wrought by war and disallow a sense of emotional—and au- turn to active duty for the Esterházy family did not, however, ditory—complacency. After the optimistic D-major opening signify a return to the isolated and static atmosphere of the of the Gloria, for example, the music slips into E minor at the relatively remote Esterházy palace, which had been given up words “et in terra pax hominibus” (“and peace to His people after the elder Prince Nikolas’s death in 1790. Haydn was now on earth”); throughout the section, D-minor inflections cloud able to work at the Prince’s residence in Vienna for most of the laudatory mood of the first theme and the text in general. the year, retiring to the courtly lodgings at Eisenstadt during The Benedictus is even more startling.