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The Double Keyboard Concertos of Carl Philipp Emanuel Bach
The double keyboard concertos of Carl Philipp Emanuel Bach Item Type text; Thesis-Reproduction (electronic) Authors Waterman, Muriel Moore, 1923- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 18:28:06 Link to Item http://hdl.handle.net/10150/318085 THE DOUBLE KEYBOARD CONCERTOS OF CARL PHILIPP EMANUEL BACH by Muriel Moore Waterman A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 0 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: JAMES R. -
Keyboard Music
Prairie View A&M University HenryMusic Library 5/18/2011 KEYBOARD CD 21 The Women’s Philharmonic Angela Cheng, piano Gillian Benet, harp Jo Ann Falletta, conductor Ouverture (Fanny Mendelssohn) Piano Concerto in a minor, Op. 7 (Clara Schumann) Concertino for Harp and Orchestra (Germaine Tailleferre) D’un Soir Triste (Lili Boulanger) D’un Matin de Printemps (Boulanger) CD 23 Pictures for Piano and Percussion Duo Vivace Sonate für Marimba and Klavier (Peter Tanner) Sonatine für drei Pauken und Klavier (Alexander Tscherepnin) Duettino für Vibraphon und Klavier, Op. 82b (Berthold Hummel) The Flea Market—Twelve Little Musical Pictures for Percussion and Piano (Yvonne Desportes) Cross Corners (George Hamilton Green) The Whistler (Green) CD 25 Kaleidoscope—Music by African-American Women Helen Walker-Hill, piano Gregory Walker, violin Sonata (Irene Britton Smith) Three Pieces for Violin and Piano (Dorothy Rudd Moore) Prelude for Piano (Julia Perry) Spring Intermezzo (from Four Seasonal Sketches) (Betty Jackson King) Troubled Water (Margaret Bonds) Pulsations (Lettie Beckon Alston) Before I’d Be a Slave (Undine Smith Moore) Five Interludes (Rachel Eubanks) I. Moderato V. Larghetto Portraits in jazz (Valerie Capers) XII. Cool-Trane VII. Billie’s Song A Summer Day (Lena Johnson McLIn) Etude No. 2 (Regina Harris Baiocchi) Blues Dialogues (Dolores White) Negro Dance, Op. 25 No. 1 (Nora Douglas Holt) Fantasie Negre (Florence Price) CD 29 Riches and Rags Nancy Fierro, piano II Sonata for the Piano (Grazyna Bacewicz) Nocturne in B flat Major (Maria Agata Szymanowska) Nocturne in A flat Major (Szymanowska) Mazurka No. 19 in C Major (Szymanowska) Mazurka No. 8 in D Major (Szymanowska) Mazurka No. -
The Form of the Preludes to Bach's Unaccompanied Cello Suites
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 The orF m of the Preludes to Bach's Unaccompanied Cello Suites Daniel E. Prindle University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Composition Commons, Musicology Commons, Music Practice Commons, and the Music Theory Commons Prindle, Daniel E., "The orF m of the Preludes to Bach's Unaccompanied Cello Suites" (2011). Masters Theses 1911 - February 2014. 636. Retrieved from https://scholarworks.umass.edu/theses/636 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2011 Master of Music in Music Theory © Copyright by Daniel E. Prindle 2011 All Rights Reserved ii THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Approved as to style and content by: _____________________________________ Gary Karpinski, Chair _____________________________________ Miriam Whaples, Member _____________________________________ Brent Auerbach, Member ___________________________________ Jeffrey Cox, Department Head Department of Music and Dance iii DEDICATION To Michelle and Rhys. iv ACKNOWLEDGEMENTS First and foremost, I would like to acknowledge the generous sacrifice made by my family. -
Spread the Word • Promote the Show
Program No. 1409 3/3/2014 E. T. PAULL: Napoleon’s Last Charge –Nathan BACH: Trio Sonata No. 2 in c, BWV 526 –Edie Sibling Rivals . though Wilhelm Friedemann Bach Avakian (1928 Kimball/Cleveland High School Johnson (1998 Fisk/Furman University, Greenville, was reputed the finest organist of his era, he died penniless Auditorium, Portland, OR) Avakian Creative SC) Pipedreams Archive (r. 1/27/11) while his younger brother, Carl Philip Emmanuel Bach, Works 709-01 J. S. BACH: Prelude & Fugue in e, BWV 548 – prospered as harpsichordist to Frederick the Great and DAVID FULLER: The Fifty-Years March – Wyatt Smith (2010 Schantz/Martin Luther College, later as Music Director for the city of Hamburg. Christopher Howerther (1990 Fisk/Slee Hall, New Ulm, MN) Pipedreams Archive (r. 2/12/12) SUNY-Buffalo, NY) Pipedreams Archive W.F. BACH: Fantasie in d –Friedhelm Flamme BACH: Ricercare a 6, fr The Musical Offering, CHARLES-MARIE WIDOR: Marche Nuptiale – BWV 1079 –Michel Bouvard (1987 Kney/Uni- (2008 Hillebrand/Münsterkirche St. Alexandri, Herman van Vliet (1890 Cavaillé-Coll/St. Ouen, Einbeck, Germany) cpo 777.527 versity of St. Thomas, Saint Paul, MN) Pipedreams Rouen, France) Festivo 149 Archive (r. 3/17/13) C.P.E. BACH: Sonata No. 1 in A, Wq 70, no. 1 – J. P. SOUSA (arr. Faxon): The Stars and Stripes Roland Münch (1755 Marx/Evangelical Church Forever –Erik Suter & Scott Hanoian (Aeolian- Program No. 1412 3/24/2014 ‘Zur frohen Botschaft’, Berlin-Karlshorst, Skinner/Washington National Cathedral, DC) Conventional Wisdom: A Chicago Collection Germany) Christophorus 0110-2 WNC 501 . unique recital performances from the 2006 W.F. -
NOVEMBER 2020 COMPLIMENTARY GUIDE Catskillregionguide.Com
Catskill Mountain Region NOVEMBER 2020 COMPLIMENTARY GUIDE catskillregionguide.com WELCOME HOME TO THE CATSKILL MOUNTAINS! With a Special Section: Visit Woodstock November 2020 • GUIDE 1 2 • www.catskillregionguide.com IN THIS ISSUE www.catskillregionguide.com VOLUME 35, NUMBER 11 November 2020 PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Barbara Cobb Steve Friedman CONTRIBUTING WRITERS & ARTISTS Benedetta Barbaro, Darla Bjork, Rita Gentile, Liz Innvar, Joan Oldknow, Jeff Senterman, Sarah Taft, Margaret Donsbach Tomlinson & Robert Tomlinson ADMINISTRATION & FINANCE Candy McKee On the cover: The Ashokan Reservoir. Photo by Fran Driscoll, francisxdriscoll.com Justin McGowan & Emily Morse PRINTING Catskill Mountain Printing Services 4 A CATSKILLS WELCOME TO THE GRAF PIANO DISTRIBUTION By Joan Oldknow & Sarah Taft Catskill Mountain Foundation 12 ART & POETRY BY RITA GENTILE EDITORIAL DEADLINE FOR NEXT ISSUE: November 10 The Catskill Mountain Region Guide is published 12 times a year 13 TODAY BUILDS TOMORROW: by the Catskill Mountain Foundation, Inc., Main Street, PO Box How to Build the Future We Want: The Fear Factor 924, Hunter, NY 12442. If you have events or programs that you would like to have covered, please send them by e-mail to tafts@ By Robert Tomlinson catskillmtn.org. Please be sure to furnish a contact name and in- clude your address, telephone, fax, and e-mail information on all correspondence. For editorial and photo submission guidelines 14 VISIT WOODSTOCK send a request via e-mail to [email protected]. The liability of the publisher for any error for which it may be held legally responsible will not exceed the cost of space ordered WELCOME HOME TO THE CATSKILL MOUNTAINS! or occupied by the error. -
Harpsichord Suite in a Minor by Élisabeth Jacquet De La Guerre
Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar by David Sewell A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2019 by the Graduate Supervisory Committee: Frank Koonce, Chair Catalin Rotaru Kotoka Suzuki ARIZONA STATE UNIVERSITY December 2019 ABSTRACT Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B. i ACKNOWLEDGMENTS I would like to express my great appreciation to Professor Frank Koonce for his support and valuable advice during the development of this research, and also to the members of my committee, Professor Catalin Rotaru and Dr. -
The Keyboad Sonatas of Domenico Scalatti and Eighteenth-Centuy Musical Style
THE KEYBOAD SONATAS OF DOMENICO SCALATTI AND EIGHTEENTH-CENTUY MUSICAL STYLE W. DEAN SUTCLIFFE St Catharine’sCollege, Cambridge published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge CB2 1RP, United Kingdom cambridge university press The Edinburgh Building, Cambridge, CB2 2RU, 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 Cambridge University Press 2003 Thisbook isin 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 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Bembo 11/13 pt. System LATEX2ε [TB] A catalogue record for this book is available from the British Library ISBN 0 521 48140 6 hardback CONTENTS Preface page vii 1 Scarlatti the Interesting Historical Figure 1 2 Panorama 26 Place and treatment in history 26 The dearth of hard facts29 Creative environment 32 Real-life personality 34 The panorama tradition 36 Analysis of sonatas 38 Improvisation 40 Pedagogy 41 Chronology 43 Organology 45 Style classification 49 Style sources 54 Influence 55 Nationalism I 57 Nationalism II 61 Evidence old and new 68 3 Heteroglossia 78 An open invitation to the ear: topic and genre 78 A love-hate relationship? -
Inquiry Into J.S. Bach's Method of Reworking in His Composition of the Concerto for Keyboard, Flute and Violin, Bwv 1044, and Its
INQUIRY INTO J.S. BACH'S METHOD OF REWORKING IN HIS COMPOSITION OF THE CONCERTO FOR KEYBOARD, FLUTE AND VIOLIN, BWV 1044, AND ITS CHRONOLOGY by DAVID JAMES DOUGLAS B.A., The University of British Columbia, 1994 A THESIS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming tjjfe required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1997 © David James Douglas, 1997 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ZH t/S fC The University of British Columbia Vancouver, Canada Date . DE-6 (2788) Abstract Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional activity. -
Raff's Arragement for Piano of Bach's Cello Suites
Six Sonatas for Cello by J.S.Bach arranged for the Pianoforte by JOACHIM RAFF WoO.30 Sonata No.1 in G major Sonate No.2 in D minor Sonate No.3 in C major Sonate No.4 in E flat major Sonate No.5 in C minor Sonate No.6 in D major Joachim Raff’s interest in the works of Johann Sebastian Bach and the inspiration he drew from them is unmatched by any of the other major composers in the second half of the 19th century. One could speculate that Raff’s partiality for polyphonic writing originates from his studies of Bach’s works - the identification of “influenced by Bach” with “Polyphony” is a popular idea but is often questionable in terms of scientific correctness. Raff wrote numerous original compositions in polyphonic style and used musical forms of the baroque period. However, he also created a relatively large number of arrangements and transcriptions of works by Bach. Obviously, Bach’s music exerted a strong attraction on Raff that went further than plain admiration. Looking at Raff’s arrangements one can easily detect his particular interest in those works by Bach that could be supplemented by another composer. Upon these models Raff could fit his reverence for the musical past as well as exploit his never tiring interest in the technical aspects of the art of composition. One of the few statements we have by Raff about the basics of his art reveal his concept of how to attach supplements to works by Bach. Raff wrote about his orchestral arrangement of Bach’s Ciaconna in d minor for solo violin: "Everybody who has studied J.S. -
The News Magazine of the University of Illinois School of Music from the Dean
WINTER 2012 The News Magazine of the University of Illinois School of Music From the Dean On behalf of the College of Fine and Applied Arts, I want to congratulate the School of Music on a year of outstanding accomplishments and to WINTER 2012 thank the School’s many alumni and friends who Published for alumni and friends of the School of Music at the University of Illinois at Urbana-Champaign. have supported its mission. The School of Music is a unit of the College of Fine and Applied Arts at the University of Illinois at Urbana-Champaign and has been an accredited institutional member of the National While it teaches and interprets the music of the past, the School is committed Association of Schools of Music since 1933. to educating the next generation of artists and scholars; to preserving our artistic heritage; to pursuing knowledge through research, application, and service; and Karl Kramer, Director Joyce Griggs, Associate Director for Academic Affairs to creating artistic expression for the future. The success of its faculty, students, James Gortner, Assistant Director for Operations and Finance J. Michael Holmes, Enrollment Management Director and alumni in performance and scholarship is outstanding. David Allen, Outreach and Public Engagement Director Sally Takada Bernhardsson, Director of Development Ruth Stoltzfus, Coordinator, Music Events The last few years have witnessed uncertain state funding and, this past year, deep budget cuts. The challenges facing the School and College are real, but Tina Happ, Managing Editor Jean Kramer, Copy Editor so is our ability to chart our own course. The School of Music has resolved to Karen Marie Gallant, Student News Editor Contributing Writers: David Allen, Sally Takada Bernhardsson, move forward together, to disregard the things it can’t control, and to succeed Michael Cameron, Tina Happ, B. -
Rethinking J.S. Bach's Musical Offering
Rethinking J.S. Bach’s Musical Offering Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Anatoly Milka All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3706-4 ISBN (13): 978-1-5275-3706-4 TABLE OF CONTENTS List of Figures........................................................................................... vii List of Schemes ....................................................................................... viii List of Music Examples .............................................................................. x List of Tables ............................................................................................ xii List of Abbreviations ............................................................................... xiii Preface ...................................................................................................... xv Introduction ............................................................................................... -
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.