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Die Konzerte Von 1981–2006
Die Konzerte von 1981–2006 Dienstag I 06. Okt 1981 W. A. Mozart: Konzert für Flöte und und Orchester Nr. 8 C-Dur KV 246 Niederländisches Kammerorchester Orchester Nr. 2 D-Dur KV 314 Konzert für Klavier und Orchester Leitung: Salvatore Accardo Nr. 9 Es-Dur KV 271 Solisten: Salvatore Accardo, Violine Mittwoch I 26. Jan 1983 Bruno Giuranna, Viola Yuval Trio Freitag I 13. April 1984 G. Rossini: Sonate für Streicher W. A. Mozart: Klaviertrio E-Dur Württembergisches Kammer- Nr. 3 C-Dur A. Vivaldi: Konzert für KV 542 M. Ravel: Klaviertrio a-Moll orchester Heilbronn Viola d’amore und Orchester d-Moll J. Brahms: Klaviertrio H-Dur op. 8 Leitung: Jörg Faerber RV 393 N. Paganini: Karneval in Solisten: Mihaela Martin, Violine Venedig A-Dur op. 10 W. A. Mozart: Donnerstag I 03. März 1983 Ludwig Güttler, Trompete Sinfonia concertante für Violine, The King’s Singers G. Ph. Telemann: Konzert für Trom- 159 Viola und Orchester Es-Dur KV 364 Consort Music von der Renaissance pete und Orchester D-Dur bis zum Pop E. Grieg: „Aus Holbergs Zeit“ Mittwoch I 03. März 1982 J. S. Bach: Konzert für Violine und Melos Quartett Donnerstag I 06. Okt 1983 Orchester d-Moll (nach BWV 1052) W. A. Mozart: Streichquartett Prazák Quartett L. Janácˇek: Suite für Streichorchester B-Dur KV 458 D. Schostakowitsch: J. Haydn: Streichquartett g-Moll T. Albinoni: Konzert für Trompete Streichquartett Nr. 8 c-Moll op. 74/3 L. Janácˇek: Streichquartett und Orchester B-Dur R. Schumann: Streichquartett A-Dur Nr. 2 „Intime Briefe“ A. Dvorˇák: op. 41/3 Streichquartett As-Dur op. -
IV. Kammermusik
IV. Kammermusik Abe, Keiko Martin Grubinger jun. / Martin Grubinger sen. / The Wave Leonhard Schmidinger / Sabine Pirker / Rainer 22. Sep. 2009 Furthner (Multipercussion), Ismael Barrios (Latin Percussion), Sebastian Lanser (Drum Set), Heiko Jung (E-Bass) The Percussive Planet Ensemble, Martin 8. Dez. 2013 Grubinger (Mulitpercussion) Martin Grubinger jun. / Martin Grubinger sen. / Prism Rhapsody Leonhard Schmidinger / Sabine Pirker / Rainer 22. Sep. 2009 Furthner (Multipercussion), Ismael Barrios (Latin Percussion), Sebastian Lanser (Drum Set), Heiko Jung (E-Bass) Abreu, Zequinha de Tico Tico (Arr.: Enrique Crespo) German Brass 27. Mai 2009 Albéniz, Isaac Granada aus Suite española, German Brass 27. Mai 2009 op. 47 (Arr.: Enrique Crespo) Tango , op. 165/2 Mischa Maisky (Violoncello), Lily Maisky 10. März 2011 (Klavier) Albioni, Tommaso Sonate in h-Moll, op. 1/8 Rinaldo Alessandrini (Leitung, Cembalo), 8. Feb. 2007 Concerto Italiano Bach, Johann Sebastian Sinfonia aus Wir danken dir, Gott, wir danken dir, BWV 29 German Brass 27. Mai 2009 (Arr.: Matthias Höfs) German Brass 14. Juni 2012 Suite Nr. 2 f. Flöte u. Streicher in h-Moll, BWV 1067 London Baroque 12. März 1991 Suite Nr. 5 f. Streicher in g- London Baroque 12. März 1991 Moll, BWV 1070 Rinaldo Alessandrini (Leitung, Cembalo), 8. Feb. 2007 Sonate in C-Dur, BWV 1037 Concerto Italiano Kontrapunkt aus Die Kunst der Minguet Quartett 8. Nov. 2012 Fuge , BWV 1080/1 Kontrapunkt aus Die Kunst der Minguet Quartett 8. Nov. 2012 Fuge , BWV 1080/3 Kontrapunkt aus Die Kunst der Minguet Quartett 8. Nov. 2012 Fuge , BWV 1080/4 Kontrapunkt aus Die Kunst der Minguet Quartett 8. Nov. 2012 Fuge , BWV 1080/10 Triosonate Nr. -
Frank Peter Zimmermann / Heinrich Schiff ECM 1912 Honegger / Martinu / Bach / Pintscher / Ravel
ECM Nicolas Gombert ECM 1884 The Hilliard Ensemble Distinguished by the deeply sonorous and often melancholy music he composed for the Court of Emperor Charles V, Gombert has rarely been so well represented on disc as by this Mass and motet selection. … The Hilliard Ensemble perform miracles in bringing out so much detail in Gombert’s lugubrious music. The selection of motets which are interspersed through the mass movements clearly demonstrate their composer’s complete commitment to dense, generally low and invariably highly contrapuntal textures. D. James Ross, Early Music Review Tigran Mansurian ECM 1895 Ars Poetica The Armenian Chamber Choir is a superbly disciplined and well integrated ensemble … There is a resonance in the Armenian language which you just do not get in Western choirs, or even Russian ones for that matter – a certain glottal openness which gives the music a timeless, ageless quality. … Lovers of beautifully composed choral music should treat themselves to this recording, and those seeking to discover a new name will not be disappointed. Dominy Clements, Music Web Der armenische Komponist Tigran Mansurian hat sich der Verse seines Landsmannes Yegishe Tcharents angenommen – Gedichten, die Mansurian in seiner Jugend für sich als Seelenreservoir entdeckte: eine geistige Liebesgeschichte und Verwandtschaft also. Mit großer Leidenschaft singt der armenische Kammerchor unter Robert Mlkeyan den „Ars Poetica“-Zyklus, kostet das dynamische Auf und Ab aus, schwelgt im homophonen, mitunter dunkel von Folklore umflorten Gestus – ganz so, wie es die Seele dieser Musik einfordert. Tilman Urbach, Fono Forum Frank Peter Zimmermann / Heinrich Schiff ECM 1912 Honegger / Martinu / Bach / Pintscher / Ravel Premier enregistrement chez ECM pour le duo Zimmermann-Schiff qui affiche une plénitude sonore souveraine, dès la Sonatine VI de Honegger. -
LBW: Public-2
Chav compositor composicao Ano Detalhes duração Intérpretes ? Cembalo nach A. Vivaldi * Abel, Carl Fried Sonate für Viola da Gamb 1723-1 5'10 Veronika Hampe - Gambe Abel, K.F. Sonate für Viola da Gamb 1723-1 Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Adson, J. Aria für Flöte und BC 2'00 (P) 1969 Discos beverly LTDA conjunto musikantiga de são paulo Adson, J. Courtly masquino ayres 3 1590-1 5'06 (P) 1968 rozenblit conjunto musikantiga de são paulo Alain, Jehan 2 Stücke für Orgel 1911-1 Marie-Claire Alain Albéniz, I. Danzas españolas Op.37 1860-1 2-Tango; 2' Nr. ?? Tango 3-Malagueña Nr. 2: Pepe und Celin Romero - Gitarre Nr. 3: Pepe und Celin Romero - Gitarre Albéniz, I. Estudio sem luz 1860-1 3' Albéniz, I. Suite Española Op. 47 1860-1 Für Orchester 37'16 5. Asturias gesetzt von Rafael Frühbeck de Burgos 1. Granada (Serenata); 2. Cataluna (Curranda); 3. Sevilla; 4. Cádiz (Saeta); 5. Astúrias (arr. A. Segovia) (Leyenda); 6.Aragon (Fantasia); 7.Castilla (Sequidillas); 8. Cuba (Nocturno) Chav compositor composicao Ano Detalhes duração Intérpretes Orchesterzusatz: 8. Cordoba Nr. 1 Granada: Pepe und Celin Romero - Gitarre Nr. 1 Granada (5'20) : Julien Bream - Gitarre (P) 1968 DECCA Reihenfolge: 7, 5, 6, 4, 3, 1, 2, 8 New Philharmonia Rafael Frühbeck de Burgos Albicastro, H. Concerto Op. 7 Nr. 6 F-Du 1659-1 9'20 Süsdwestdeutsches Kammerorchester Pforzheim Leitung: Paul Angerer Albinoni, T. -
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Werner-B02c[Erato-10CD].Pdf
Johann Sebastian Bach (1685-1750) The Cantatas, Volume 2 Heinrich Schütz Choir, Heilbronn Pforzheim Chamber Orchestra Württemberg Chamber Orchestra (B\,\1/ 102, 137, 150) Südwestfunk Orchestra, Baden-Baden (B\,\ry 51, 104) Fritz Werner L'Acad6mie Charles Cros, Grand Prix du disque (BWV 21, 26,130) For complete cantata texts please see www.bach-cantatas.com/IndexTexts.htm cD t 75.22 Ich hatte viel Bekümmernis, BWV 2l My heart and soul were sore distrest . Mon cceur ötait plein d'ffiiction Domenica 3 post Trinitatis/Per ogni tempo Cantata for the Third Sunday after Trinity/For any time Pour le 3n"" Dimanche aprös la Trinitö/Pour tous les temps Am 3. Sonntag nachTrinitatis/Für jede Zeit Prima Parte 0l 1. Sinfonia 3.42 Oboe, violini, viola, basso continuo 02 2. Coro; Ich hatte viel Bekümmernis 4.06 Oboe, violini, viola, fagotto, basso continuo 03 3. Aria (Soprano): Seufzer, Tränen, Kummer, Not 4.50 Oboe, basso continuo ) 04 4. Recitativo (Tenore): Wie hast du dich, mein Gott 1.50 Violini, viola, basso continuo 05 5. Aria (Tenore): Bäche von gesalznen Zähren 5.58 Violini, viola, basso conlinuo 06 6. Coro: Was betrübst du dich, meine Seele 4.35 Oboe, violini, viola, fagotto, basso continuo Seconda Parte 07 7. Recitativo (Soprano, Basso): Ach Iesu, meine Ruh 1.38 Violini, viola, basso continuo 08 8. Duetto (Soprano, Basso): Komm, mein Jesu 4.34 Basso continuo 09 9. Coro: Sei nun wieder zufrieden 6.09 Oboe, tromboni, violini, viola, fagotto, basso continuo l0 10. Aria (Tenore): Erfreue dich, Seele 2.52 Basso continuo 11 11. -
Sacred & Secular Vocal
SACRED & SECULAR VOCAL SACRED WORKS BACH 333 BACH 1 2 BACH 333 SACRED WORKS SACRED AND SECULAR VOCAL Tracklists Chorales 2 Magnificat, Motets, Masses, Passions, Oratorios 16 Secular Cantatas 68 Vocal Traditions 92 Sung texts Chorales 160 Magnificat, Motets, Masses 205 St John Passion 214 St Matthew Passion 234 Easter Oratorio 263 Ascension Oratorio 265 Christmas Oratorio 268 Secular Cantatas 283 CD 49 68:51 4-Part Chorales Sung texts pp. 160–174 1 Was Gott tut, das ist wohlgetan BWV 250 0:53 2 Sei Lob und Ehr dem höchsten Gut BWV 251 0:53 3 Nun danket alle Gott BWV 252 0:52 Kölner Akademie | Michael Alexander Willens conductor 4 Ach bleib bei uns, Herr Jesu Christ BWV 253 0:38 5 Ach Gott, erhör mein Seufzen und Wehklagen BWV 254 0:48 6 Ach Gott und Herr BWV 255 0:36 7 Ach lieben Christen, seid getrost BWV 256 0:57 Augsburger Domsingknaben | Reinhard Kammler conductor CHORALES Claudia Waßner organ 8 Wär Gott nicht mit uns diese Zeit BWV 257 0:55 9 Wo Gott der Herr nicht bei uns hält BWV 258 0:56 Vocalconsort Berlin | Daniel Reuss conductor Ophira Zakai lute | Elina Albach organ BACH 333 BACH 4 10 Ach, was soll ich Sünder machen BWV 259 0:55 11 Allein Gott in der Höh sei Ehr BWV 260 0:56 12 Allein zu dir, Herr Jesu Christ BWV 261 1:13 13 Alle Menschen müssen sterben BWV 262 0:57 14 Alles ist an Gottes Segen BWV 263 0:42 15 Als der gütige Gott BWV 264 1:22 16 Als Jesus Christus in der Nacht BWV 265 1:42 17 Als vierzig Tag nach Ostern warn BWV 266 0:48 18 An Wasserflüssen Babylon BWV 267 1:23 19 Auf, auf, mein Herz, und du mein ganzer Sinn -
Franz Schubert Streichquartette C-Moll, D 703 „Quartettsatz“, C-Dur, D 46 Und A-Moll, D 804 „Rosamunde“
Franz Schubert Streichquartette c-Moll, D 703 „Quartettsatz“, C-Dur, D 46 und a-Moll, D 804 „Rosamunde“ Klenke Quartett Franz Schubert (1797–1828) Klenke Quartett Annegret Klenke, Violine · Beate Hartmann, Violine Yvonne Uhlemann, Viola · Ruth Kaltenhäuser, Violoncello Streichquartett c-Moll, D 703 „Quartettsatz“ (1820) 01 Allegro assai . (08'43) Streichquartett C-Dur, D 46 (1813) 02 Adagio – Allegro con moto . (08'20) 03 Andante con moto . (04'55) 04 Menuetto. Allegro . (04'13) 05 Allegro . (04'46) Streichquartett a-Moll, D 804 „Rosamunde“ (1824) 06 Allegro ma non troppo . (13'24) 07 Andante . (07'01) 08 Menuetto. Allegretto . (03'32) 09 Allegro moderato . (07'14) Gesamtspielzeit . (65'13) 4 Musiker der Zukunft in der Autostadt in Wolfsburg eit 2006 bereichern die klassischen Sonntagsmatineen die Movimentos Festwo- chen. Gleich in der ersten Veranstaltung setzte die Autostadt den Akzent, der zum Markenzeichen der Reihe wurde: Klassisch-Wohlvertrautes in der aufregenden S Darstellung junger Musiker mit dem Kompromisslos-Neuen zu verbinden. Hinzu kam der Wunsch, die Sonntagskonzerte durch eine CD-Reihe einem breiten Publikum zu- gänglich zu machen. Damit bot die Autostadt den jungen Musikern etwas, was ihnen kaum ein Major-Label geben konnte: „Zeit und die Freiheit, die persönliche Vorstellung von einem Werk in Ruhe zu entwickeln“, wie der Oboist Ramón Ortega Quero sagt. Die Förderung jun- ger, hoch talentierter Musiker als eine Art mäzenatische Ermutigung für die Zukunft ist der Gedanke und das Ziel der Reihe. In Gesprächskonzerten, einem weiteren Format klas- sischer Musik in der Autostadt, kommen etablierte und international erfolgreiche Musiker wie Christine Schäfer, Anna Prohaska, Wolfgang Rihm, Jörg Widmann u.v.m. -
Tell Ye Your Children
Tell Ye Your Children… Your Ye Tell Tell Ye Your Children… STÉPHANE BRUCHFELD AND PAUL A. LEVINE A book about the Holocaust in Europe 1933-1945 – with new material about Sweden and the Holocaust THE LIVING HISTORY FORUM In 1997, the former Swedish Prime Minister Göran Persson initiated a comprehensive information campaign about the Holocaust entitled “Living History”. The aim was to provide facts and information and to encourage a discussion about compassion, democracy and the equal worth of all people. The book “Tell Ye Your Children…” came about as a part of this project. The book was initially intended primarily for an adult audience. In 1999, the Swedish Government appointed a committee to investigate the possibilities of turning “Living History” into a perma- nent project. In 2001, the parliament decided to set up a new natio- nal authority, the Living History Forum, which was formally establis- hed in 2003. The Living History Forum is commissioned to work with issues related to tolerance, democracy and human rights, using the Holocaust and other crimes against humanity as its starting point. This major challenge is our specific mission. The past and the pre- sent are continuously present in everything we do. Through our continuous contacts with teachers and other experts within education, we develop methods and tools for reaching our key target group: young people. Tell Ye Your Children… A book about the Holocaust in Europe 1933–1945 – THIRD REVISED AND EXPANDED ENGLISH EDITION – STÉPHANE BRUCHFELD AND PAUL A. LEVINE Tell Ye Your -
American Choral Review
AMERICAN CHORAL REVIEW JOURNAL OF THE AMERICAN CHORAL FOUNDATION, INC. VOLUME XXIV • NUMBER 4 • OCTOBER. !982 AMERICAN CHORAL REVIEW ALFRED MANN, Editor ALFREDA HAYS, Assistant .t,'ditor Assor:iate Fditors ED\VARD TAT:\! ALI. CAl\'BY A.:\DRE\V c. ~1L\'OR RICIIARD jACKSON .lv1ARTI:"-; PICKER jAMES \!CC~W jACK RAMEY The AMERICAN CHORAL REVJF.\V is published quarterly as the official journal of The American Choral Foundation, Inc. The Foundation also publishes a supplemen tary Research :Yicmorandurn Series and maintains a reference library of current publications of choral works. Membership in The American Choral Foundation is available for an annual contribution of $22.50 and includes subscriptions to the AMERICAN CHORAL REVIHV and the Research Memorandum Series and use of the Foundation's Advisory Services Division and reference library. All contributions arc tax deductible. Back issues of the AMERICAN CHORAL REVIE\V are available to members at $2.25; back issues of the Research Memorandum Series at $1.50. Bulk prices ·will be quoted on request. Through affiliation with the American Choral Directors Association the Founda tion offers membership to American Choral Directors 1\ssociation members at a reduced contribution amount. Please consult the boxed announcement. on the inside back cover for details. TilE AM~RICA'\1 CHORA._L FOLNDATION, INC. SHEI.DON SOFI· ER. AdministratirN Dirrclor 13 VVest 56th Street Ne>v York, 1'\ew York 10019 Editorial Address 215 Kent Place Boulevard Summit, New Jersey 07901 Material submitted for publication should he sent in duplicate to the editorial address. All typescripts should be double-spaced and have ample margins. -
String Quartets Dmitri Shostakovich
Rezension für: Andreas Willwohl Dmitri Shostakovich: The Complete String Quartets Dmitri Shostakovich 5CD aud 21.411 schallplattenmann.de 04.04.2011 (Sal Pichireddu - 2011.04.04) Dmitri Shostakovich / Mandelring Quartett "Complete String Quartets" Dmitri Shostakovich / Mandelring Quartett Full review text restrained for copyright reasons. theartsdesk.com Saturday, 30 April 2011 (Graham Rickson - 2011.04.30) Classical CDs Weekly: Górecki, Haydn, Shostakovich, Second Viennese School Shostakovich: Complete String Quartets Mandelring Quartet (Audite) These are wonderful performances. The Mandelring Quartet don’t overplay the savagery and shocks - their approach is lyrical, sane and effortlessly musical. They can deploy the big guns when necessary – the second movement of the 10th quartet is a good example – but they always care about the line, the musical argument. You’re not lectured or shouted at, but drawn in. Shostakovich’s quartets plot an interesting trajectory, from the superficially lightweight First of 1938 to the death-haunted 15th completed in 1974. The last works have their profoundly depressing moments, but these players accentuate the glimpses of light – the powerful, defiant major coda to the 12th or the radiant harmonic language of the 14th. There’s a body and lack of shrillness to the string sound – helped by nicely nourished viola and cello tone, so that the more aggressive climaxes don’t sound like offcuts from Bernard Hermann’s Psycho soundtrack. It’s hard to single out the highlights, but both the Fifth and Sixth quartets with their blend of desperation, wistfulness and hard-earned joy nearly reduced me to tears. I was gripped as these players moved from the Third quartet’s jaunty Fawlty Towers-style opening to far darker, more probing territory. -
Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music Jacobus Kloppers
Document generated on 09/27/2021 11:47 p.m. Man and Nature L'homme et la nature Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music Jacobus Kloppers Volume 3, 1984 URI: https://id.erudit.org/iderudit/1011830ar DOI: https://doi.org/10.7202/1011830ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 0824-3298 (print) 1927-8810 (digital) Explore this journal Cite this article Kloppers, J. (1984). Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music. Man and Nature / L'homme et la nature, 3, 131–162. https://doi.org/10.7202/1011830ar Copyright © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 9. Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music1 This paper illustrates certain communicative devices in Bach's organ music. Such devices are usually designated by the term 'symbol.' This term is employed in the present paper in the broadest sense; it denotes a means to communicate something — directly and indirectly. -
AMS Rochester 2017 Abstracts Thursday Afternoon
American Musicological Society & Abstracts Program 2017 Rochester Richard Strauss – Werke – Kritische Ausgabe (RSW) Published by the Richard Strauss Verlag in collaboration with Boosey & Hawkes, Edition Peters Group and Schott Music This series provides the first scholarly edition of the composer’s complete musical oeuvre. All compositions in major genres: the complete stage works, orchestral works, lieder and songs (with piano and orchestral accompaniment) and chamber music, are newly edited. Different versions and fragments along with documentation of the sources, the genesis of individual works and performance variations authorized by the composer are included. The edition consists of printed musical volumes with critical reports and is supplemented by an online platform featuring text comparisons and annotations. SERIES I: STAGE WORKS – 18 volumes in 28 SERIES II: VOCAL MUSIC FOR ONE VOICE – 9 volumes SERIES III: SYMPHONIES AND TONE POEMS – 12 volumes SERIES IV: SMALL ORCHESTRAL WORKS AND WORKS FOR WINDS – 5 volumes SERIES V: CONCERTOS – 3 volumes SERIES VI: CHAMBER MUSIC – 5 volumes Recently Published: MacMacbeth, Op. 23 : 2. und 3 Fassung / edited by Stefan Schenk and Walter Werbeck. Lieder Mit Klavierbegleitung, Op. 10 Bis Op. 29 / edited by Andreas Pernpeintner. 15% off retail prices for full subscriptions to the entire series 10% off retail prices for partial subscriptions 26362 Ruether Ave. American Musicological Society Santa Clarita, CA 91350 Tel: 661•250•7189 Rochester Fax: 661•250•7195 www.tfront.com 9–12 November 2017 [email protected] Program & Abstracts g Program and Abstracts of Papers Read at the American Musicological Society Eighty-third Annual Meeting 9–12 November 217 Rochester Riverside Convention Center Radisson and Hyatt Hotels Rochester, New York g AMS 2017 Annual Meeting Edited by Jonathan Glixon Local Arrangements Liaison Michael Alan Anderson Performance Committee Christina Baade, Chair, Michael Alan Anderson, Laurie Stras, Steven Zohn Program Committee Jonathan Glixon, Chair, Thomas Christensen, Carol A.