The Baroque Violin: Technique, Sound, and Replication with a Modern Set-Up by Anne Mctighe
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1685 1759 - Violin Sonata in G HWV 358 Violin Sonata in E HWV 373 1 I. [Allegro] 1.57 20 I. Adagio 1.54 2 II. [Adagio] 0.49 21 II. Allegro 2.53 3 III. [Allegro] 2.35 22 III. Largo 1.35 .23 IV Allegro 2.47 Violin Sonata in D minor HWV 359a 4 I. Grave 2.32 Violin Sonata in G minor HWV 368 5 II. Allegro 1.43 24 I. Andante 2.19 6 III. Adagio 0.51 25 II. Allegro 2.49 . 7 IV Allegro 2.35 26 III. Adagio 2.01 .27 IV [Allegro moderato] 2.32 Violin Sonata in A HWV 361 8 I. Andante 2.26 Violin Sonata in F HWV 370 9 II. Allegro 1.54 28 I. Adagio 3.12 10 III. Adagio 0.50 29 II. Allegro 2.13 .11 IV Allegro 2.43 30 III. Largo 3.19 .31 IV Allegro 3.53 Violin Sonata in G minor HWV 364a 12 I. Larghetto 1.56 Violin Sonata in D HWV 371 13 II. Allegro 1.44 32 I. Affettuoso 3.11 14 III. Adagio 0.41 33 II. Allegro 2.57 .15 IV Allegro 2.14 34 III. Larghetto 2.46 .35 IV Allegro 3.55 Violin Sonata in A HWV 372 80.00 16 I. Adagio 1.15 17 II. Allegro 2.24 The Brook Street Band 18 III. Largo 1.14 Rachel Harris baroque violin .19 IV Allegro 2.57 Tatty Theo baroque cello · Carolyn Gibley harpsichord 2 Handel’s Violin Sonatas For a composer as well known as George Frideric Handel, the history of his violin sonatas is somewhat complicated. -
The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von
THE USE OF MULTIPLE STOPS IN WORKS FOR SOLO VIOLIN BY JOHANN PAUL VON WESTHOFF (1656-1705) AND ITS RELATIONSHIP TO GERMAN POLYPHONIC WRITING FOR A SINGLE INSTRUMENT Beixi Gao, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Julia Bushkova, Major Professor Paul Leenhouts, Committee Member Susan Dubois, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Gao, Beixi. The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument. Doctor of Musical Arts (Performance), May 2017, 32 pp., 19 musical examples, bibliography, 46 titles. Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth- century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project focuses on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time is included in this document. -
Bach & Baroque Virtuosity
Byron Schenkman Friends dec Bach & 27 Baroque Virtuosity Rachell Ellen Wong u violin Andrew Gonzalez u violoncello da spalla Byron Schenkman u harpsichord Antonio Vivaldi u 1678 - 1741 Sonata in B-flat Major, RV 47 Largo Allegro Largo Allegro Élisabeth Jacquet de la Guerre u 1665 - 1729 Suite no. 2 in G Minor Prélude Allemande Courante Courante Sarabande Gigue Gigue Menuet Jean Marie Leclair u 1697 - 1764 Ciaccona from the Sonata in G, op. 5, no. 12 Johann Sebastian Bach u 1685 - 1750 Partita in D Minor, BWV 1004 Allemanda Corrente Sarabanda Giga Ciaccona Thomas Balzar u 1630 – 1663 & Davis Mell u 1604 – 1662 Divisions on “John Come Kiss Me Now” Byron Schenkman Friends 8th Season u 3rd Concert u Bach & Baroque Virtuosity www.byronandfriends.org notes on the program By Byron Schenkman Johann Sebastian Bach’s Sonatas and Partitas for As the violin became increasingly fashionable in early unaccompanied violin are large scale works which 18th-century France, French virtuosi such as Jean- transcend the possibilities one would expect from a Marie Leclair brought a distinctly French flavor to the small instrument with just four strings and a bow. In Italian sonata form. Like many of the great French writing these masterworks Bach drew on diverse styles violinists, Leclair was also a dance master and the for inspiration, including music by contemporary ciaccona which concludes his Sonata in G Major, op. Italian violinists and French harpsichordists. 5, no. 12, is a joyful tribute to the dance. While the violin and the harpsichord are well known J. S. Bach’s Partita in D Minor begins with the four instruments of the Baroque era, the violoncello da standard movements of a French suite and concludes spalla (cello of the shoulder) is an unusual Baroque with a ciaccona of monumental proportions. -
Amherst Early Music Festival Directed by Frances Blaker
Amherst Early Music Festival Directed by Frances Blaker July 8-15, and July 15-22 Connecticut College, New London CT Music of France and the Low Countries Largest recorder program in U.S. Expanded vocal programs Renaissance reeds and brass New London Assembly Festival Concert Series Historical Dance Viol Excelsior www.amherstearlymusic.org Amherst Early Music Festival 2018 Week 1: July 8-15 Week 2: July 15-22 Voice, recorder, viol, violin, cello, lute, Voice, recorder, viol, Renaissance reeds Renaissance reeds, flute, oboe, bassoon, and brass, flute, harpsichord, frame drum, harpsichord, historical dance early notation, New London Assembly Special Auditioned Programs Special Auditioned Programs (see website) (see website) Baroque Academy & Opera Roman de Fauvel Medieval Project Advanced Recorder Intensive Ensemble Singing Intensive Choral Workshop Virtuoso Recorder Seminar AMHERST EARLY MUSIC FESTIVAL FACULTY CENTRAL PROGRAM The Central Program is our largest and most flexible program, with over 100 students each week. RECORDER VIOL AND VIELLE BAROQUE BASSOON* Tom Beets** Nathan Bontrager Wouter Verschuren It offers a wide variety of classes for most early instruments, voice, and historical dance. Play in a Letitia Berlin Sarah Cunningham* PERCUSSION** consort, sing music by a favorite composer, read from early notation, dance a minuet, or begin a Frances Blaker Shira Kammen** Glen Velez** new instrument. Questions? Call us at (781)488-3337. Check www.amherstearlymusic.org for Deborah Booth* Heather Miller Lardin* Karen Cook** Loren Ludwig VOICE AND THEATER a full list of classes by May 15. Saskia Coolen* Paolo Pandolfo* Benjamin Bagby** Maria Diez-Canedo* John Mark Rozendaal** Michael Barrett** New to the Festival? Fear not! Our open and inviting atmosphere will make you feel at home Eric Haas* Mary Springfels** Stephen Biegner* right away. -
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F. -
A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia
University of South Carolina Scholar Commons Theses and Dissertations 2018 A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Chang, C.(2018). A Guide for Playing the Viola Without a Shoulder Rest. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5036 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A Guide for Playing the Viola Without a Shoulder Rest by Chin Wei Chang Bachelor of Music National Sun Yat- sen University, 2010 Master of Music University of South Carolina, 2015 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2018 Accepted by: Daniel Sweaney, Major Professor Kunio Hara, Committee Member Craig Butterfield, Committee Member Ari Streisfeld, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Chin Wei Chang, 2018 All Rights Reserved ii DEDICATION This dissertation is dedicated to my dearest parents, San-Kuei Chang and Ching-Hua Lai. Thank you for all your support and love while I have pursued my degree over the past six years. iii ACKNOWLEDGMENTS I truly appreciate the director of the dissertation, Dr. Daniel Sweaney, for his advice, inspiration, and continuous encouragement over the past four years. -
The Tardy Recognition of J.S. Bach's Sonatas and Partitas for Violin Solo
City University of New York (CUNY) CUNY Academic Works Publications and Research York College 2011 The Tardy Recognition of J.S. Bach's Sonatas and Partitas for Violin Solo Di Su York College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/yc_pubs/5 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] # ] # S # ! " # $% & " % # %% ' The ASTA String Curriculum is a groundbreaking publication that will help establish string-specific standards and guidelines to further develop and enrich programs. Purchase your copy through ASTA’s publishing partner at Alfred.com. The Tardy Recognition of J.S. Bach’s Sonatas and Partitas for Violin Solo () !"#$%% Introduction of the first complete edition indicates so. In fact, the rapid string J. S. Bach’s Sonatas and Partitas for Violin Solo (BWV 1001- crossing passages in the Preludio of Partita No. 3 in E Major are 1006) are among the most important masterpieces in the litera- a fine example of a perpetual motion exercise. Bach wrote a good ture of violin music.1 They are included in standard repertoire number of teaching pieces during Cöthen period, most notably for serious violin students; they are frequently performed in solo Clavier-Buchlein for W. F. Bach and The Well-Tempered Clavier. He recitals; they are recorded by numerous virtuosi; and they are re- was a teacher “with an urge born of the Lutheran duty to instruct quired in major violin competitions. -
Historical Performance) 1
PY.380 (Historical Performance) 1 PY.380.434. Lute Literature & Notation 2. 2 Credits. PY.380 (HISTORICAL Intensive study of repertoire and genres for Renaissance lute and vihuela through listening, transcribing, and performance of selected works from PERFORMANCE) French, Italian, and German tablatures. Works of Francesco da Milano and John Dowland will be a main focus. Required for MM guitar majors. PY.380.315. Continuo 1: Figured Bass. 2 Credits. Area: P, Y Designed to develop the skill of continuo playing, fluent reading and PY.380.435. Viola da Gamba Literature. 1 Credit. improvising from a figured bass, this course uses exercises and repertoire A chronological survey of the viola da gamba and its literature from in a cumulative approach. Open to all qualified keyboard students as well the 16th to 18th centuries. The class will be an opportunity to become as non-keyboard students with proficient keyboard skills and permission familiar with a rich repertoire little known to non- specialists, and to of the instructor. learn about how the world of the baroque era relates to our own. No prior Area: P, Y experience in historical performance is required. Prerequisite: History of PY.380.337. Baroque Violin/Viola Class. 1 Credit. Music 1, 2, or permission of instructor. An introduction to the playing of early repertoire on period violin or viola Prerequisite(s): Undergrads need PY.610.321[C] OR PY.610.322[C] in order and bow. The student will learn the basics of baroque technique and will to enroll. Grads need to have passed the Musicology Proficiency exam or be introduced to a range of music, from early Baroque to early Classical, passed the music history review course. -
Download Program
Byron Schenkman Friends season five 2017-2018 2017-2018 season Welcome to the fifth season ofByron Schenkman & Friends! 2017 has been a challenging year for many of us. I am very grateful for the power of music to bring us together in community, for healing and for joy. This season our repertoire ranges from early 17th- century canzonas by Girolamo Frescobaldi and Claudia Francesca Rusca to masterpieces of 19th-century Romanticism by Robert and Clara Schumann, with Corelli, Vivaldi, Handel, Mozart, Beethoven, Schubert, and more in between. May this wonderful music nourish our minds, hearts, and souls, giving us the strength to continue moving joyfully forward! byron schenkman, artistic director page 3 Byron Schenkman & Friends announces a new CD R The Art of the Harpsichord Byron Schenkman on eight historical harpsichords in the National Music Museum Available at www.byronschenkman.com Photo: Tony Jones, National Music Museum contents Oct 15 Bach Double Harpsichord Concertos program & notes ..................................... 6-7 Nov 12 Schumann: The Poet Speaks program & notes ..................................... 8-9 Dec 28 An Evening of Viennese Classics program & notes ................................... 12-13 BISCHOFBERGER Feb 18 Handel: From theWar of Love VIOLINS program & notes ................................... 14-15 Mar 18 Beethoven: Kreutzer and Pathétique Sonatas Professional Repairs, program & notes ...................................18-19 Appraisals, & Sales April 22 Vivaldi and the High Baroque 1314 E. John St. program & notes .................................. 20-21 Seattle, WA 206-324-3119 musician bios ............................................................ 22-26 www.bviolinsltd.com page 4 Thank you for joining us for this Fifth Byron Schenkman & Friends Season of Byron Schenkman & Friends! Your support makes all 2017-2018 this wonderful and inspirational music possible. -
The Art Behind the Baroque Violin
Syracuse University SURFACE Syracuse University Honors Program Capstone Syracuse University Honors Program Capstone Projects Projects Spring 5-2016 The Art Behind the Baroque Violin Carolyn Goldstein Follow this and additional works at: https://surface.syr.edu/honors_capstone Part of the History of Art, Architecture, and Archaeology Commons, and the Theatre and Performance Studies Commons Recommended Citation Goldstein, Carolyn, "The Art Behind the Baroque Violin" (2016). Syracuse University Honors Program Capstone Projects. 986. https://surface.syr.edu/honors_capstone/986 This Honors Capstone Project is brought to you for free and open access by the Syracuse University Honors Program Capstone Projects at SURFACE. It has been accepted for inclusion in Syracuse University Honors Program Capstone Projects by an authorized administrator of SURFACE. For more information, please contact [email protected]. © Carolyn Elizabeth Goldstein !ii Abstract Since the age of three, I have been playing the violin; however, I was uninformed about the history of the violin or how the instrument works in a mechanical sense. Inspired by my love of the music of the 1700s, I chose to study how violins were made, how their physical properties affected performance practice, and how to play Baroque violin—a project that allowed me to combine elements of my two majors, Music History and Cultures and Violin Performance. I narrowed my area of focus to the late Baroque (1700-1730) because renowned violin-maker Antonio Stradivari was considered to be in his prime during those years. During the late Baroque period, the design of the violin significantly changed, and one of the questions I investigated in this paper is who initiated the changes in violin design, the performer or the luthier (violin- maker), a topic I researched during a research trip to Italy in the summer of 2015. -
PHILHARMONIA CHAMBER PLAYERS: BAROQUE TREASURES March 14, 2014 - Wheeler Theater - 7:30 P.M
CENTRUM PRESENTS “CLASSICS IN CONTEXT” - 2013/14 CHAMBER MUSIC SERIES PHILHARMONIA CHAMBER PLAYERS: BAROQUE TREASURES March 14, 2014 - Wheeler Theater - 7:30 p.m. Centrum’s Baroque Treasures concert is generously sponsored by Leah Mitchell and Nancy McLachlan BAROQUE TREASURES: BACH, HANDEL & VIVALDI PHILHARMONIA CHAMBER PLAYERS Sherezade Panthaki, soprano / Stephen Schultz, flute / Marc Schachman, oboe Kati Kyme & Lisa Weiss, violins / Anthony Martin, viola / William Skeen, violoncello Hanneke van Proosdij, harpsichord Georg Phillip Telemann (1681-1767) Trio Sonata in E minor from Tafelmusik II Affetuoso - Allegro - Dolce - Vivace Antonio Vivaldi (1678-1741) Concerto for Flute Op. 10, No. 3 in D major, “Il Gardellino” Allegro - Cantabile - Allegro Benedetto Marcello (1686-1739) Concerto for Oboe in D minor Andante spiccato - Adagio - Presto George Frideric Handel (1685-1759) Trio Sonata Op. 5, No. 4 in G major Allegro - A tempo ordinario - Allegro non presto - Passacaille Gigue: Presto Menuet: Allegro moderato - INTERMISSION - Johann Sebastian Bach (1685-1750) Orchestral Suite No. 3 in D major, BWV 1068 Air Johann Sebastian Bach (1685-1750) Cantata “O! angenehme Melodei!” BWV 210a Length of performance is approximately two hours. Latecomers will be seated during suitable intervals in the program. The use of cameras or recording devices of any kind is strictly prohibited. Please turn off your digital alarms or cellular telephones before the performance begins. At first glance the sequence of pieces in today’s chamber music program suggests a pleasing assortment, a chocolate box of Baroque favorites, offering a miscellany of familiar composers to sample. But there is a hidden ingredient linking the pieces you will hear, derived from the cosmopolitan nature of the musical styles of the early 18th century and how they were ab- sorbed and combined by the greatest musical confectioner of them all, J. -
OPUS Metrical Dissonances in the Baroque Minuet
OPUS v. 26 n. 3 set/dez. 2020 DOI 10.20504/opus2020c2607 1 Metrical Dissonances in the Baroque Minuet: Theory and Practice Eduardo Sola Chagas Lima (Burman University, Lacombe, Canada) Abstract: The present paper serves a theoretical as well as a musicological purpose in addressing metrical dissonances in the multifaceted act of Baroque dance music. In identifying the centrality of the minuet in eighteenth-century repertoire as a capital example of the aesthetic style of the time, this article discusses its complex metrical structure in the integrative art of music and dance. By way of established analytical tools designed by contemporary theorists (KREBS, 1999; LERDAHL; JACKENDOFF, 1983; LITTLE; JENNE, 2001) the minuet’s metrical dissonances are systematically analyzed. The complex metrical structure of the minuet is then discussed in light of its practical implications for today’s performance scene. Such a discussion illuminates the need for mutuality between theory and practice in an intentional endeavour to reconcile and, therefore, better understand the historically segregated arts of music and dance in the performance of Baroque repertoire. Keywords: Metrical dissonances; metrical structure; baroque dance; minuet. Dissonâncias métricas no minueto barroco: teoria e prática Resumo: O presente artigo tem um propósito tanto teórico quanto musicológico em sua abordagem de dissonâncias métricas no ato multifacetado da música e dança barroca. Ao identificar a centralidade do minueto no repertório barroco do século XVIII como um exemplo notório da estética da época, este artigo discute a sua complexa estrutura métrica no que tange à arte integrativa da música e dança. Por meio de ferramentas analíticas desenvolvidas por teóricos contemporâneos (KREBS, 1999.