6 Results for : declamatory
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Public Documents Declamatory Of The Principles Of The Protestant Dissenters (1790)
Public Documents Declamatory Of The Principles Of The Protestant Dissenters (1790) ab 35.49 € als gebundene Ausgabe: . Aus dem Bereich: Bücher, English, International, Gebundene Ausgaben,- Shop: hugendubel
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Public Documents Declamatory Of The Principles Of The Protestant Dissenters (1790)
Public Documents Declamatory Of The Principles Of The Protestant Dissenters (1790) ab 22.99 € als Taschenbuch: . Aus dem Bereich: Bücher, Taschenbücher, Geist & Wissen,- Shop: hugendubel
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Oedipus der Tyrann
THE PRESENT NDR RECORDING OF 1961 CONDUCTED BY WINFRIED ZILLIG,WHO COMPOSED HIMSELF AND WAS EXCELLENTLY QUALIFIED TOINTERPRET CONTEMPORARY MUSIC,HAS HELMUT MELCHERT AND MARTHA MÖDL TAKING THE LEADING ROLES OF OEDIPUS AND JOCASTA.MELCHERT'SINTELLIGENT DECLAMATORY TECHNIQUE MADE HIM ONE OF THE MOST INFLUENTIAL AND POPULAR PERFORMERS OF 20TH CENTURY WORKS,WHICHWERE ALSO ENTHUSIASTICALLY ESPOUSED BY MARTHA MÖDL.THE UNIQUELY "TRAGIC" BRONZE TIMBRE OF HER VOICE HAD ALWAYS MADE HER A- Shop: odax
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Variations on 1930
This album is comprised of piano gems from 1927-1933 incorporating compositions ranging from Kodály's ethnic explorations to Tatum's sparkling riffs on American music theater. My inspiration came from an offhand comment while talking with my friend, Bill Bordonaro, at Bethany Church (where I am the music director and this album was recorded). Bill mentioned that the sanctuary of the church, the last part to be built, was completed in 1930 - just after the start of the Great Depression. The time frame sparked a desire in me to explore how the historical events of this period affected the music of the time in the United States and globally. The true problem was culling the great works, there is music enough for many albums but I started here. This recital was performed in Toronto, February 5, 2013 at the Richard Bradshaw Amphitheater's recital series where it received critic's pick and, subsequently, came home to Bethany Church in Chicago on May 11, 2013. Zoltan Kodály composed the piano version of Dances of Marosszék (Marosszéki táncok) in 1927 and decided it's colorful, folk-inspired music would adapt well to a full orchestration (completed in 1930). Kodály, like his compatriot and friend Bartók, devoted much time to the collection and arrangement of ethnic music. The six tunes used here were collected in Marosszék, a town in the Szekely region (formerly of eastern Hungary, currently of Romania). Kodály reveals in his notes for the orchestral version that the dances are originally from "Fairyland", otherwise known as Transylvania (Dracula and fairies...). The dances are quite a ride from heavy to creepy, finally to a swirling explosive coda. Poulenc is the perfect balm for the bombast at the end of the Kodály. The novelette in C major is the epitome of neoclassical piano beauty. Poulenc eschews his normally lush harmony for a more restrained palette which allows for the melody to come to the fore. One can almost hear Bach (C major prelude from the well-tempered clavier book 1) or Brahms (Op.117, #1) but with "Poulencian" wit. The second novelette in B flat minor is a scherzo humoresque, more typical of the whimsical side of Poulenc. I paired the novelettes with the valse-improvisation sur le nom de BACH, composed in 1932. The waltz, dedicated to Vladimir Horowitz, is a miniature with lush harmonies and wide melodic leaps, finishing with a bravura octave passage. Sergei Rachmaninoff arranged Bach's Violin partita in E Major in 1933, during a period of relatively little compositional output due to his extensive concertizing. His transcription consists of three of Bach's original six movements. Rachmaninoff follows the original Bach structure, but seamlessly fleshes the single line out for the piano in a way that is personal and satisfying. The prelude begins exactly as Bach's original with just with one line that gradually expands and finishes in a flurry of Rachmaninovian brilliance - an ending that is equal parts Bach and Rachmaninoff. The gavotte is a light, almost jazzy take on the dance with an elegant and controlled development and good use of contrast between piano registers. The gigue is contrapuntally dense and adds a fuller bass line. The three character pieces of Benjamin Britten were composed when he was 17 in his first semester at the Royal Conservatory. I describe the three pieces as restless arioso, bittersweet lullaby, and moto perpetuo - Britten lists only the tempo markings and dedications (informally to his school friends). When selecting these pieces, I played them for my musician friends and asked them to guess the composer/school in which they were composed. Invariably, the response was that the composer was French, and there was always great surprise when I revealed Britten as the composer. Fleurs de France are 8 miniatures that were composed in 1930 by one of Les Six - the only female composer, Germaine Tailleferre. The pieces are spare and concise, yet poignant and fluid. Tailleferre created these pieces in the midst of her most fruitful period of composition. Most of the pieces have a simple ABA form which is elegantly obscured by simple changes in harmonization and figuration. Each piece describes a flower: Jasmin de Provence, Coquelicot de Guyenne, Rose d'Anjou, Tournesol du Languedoc, Anthémis du Roussillon, Lavandin de Haute-Provence, Volubilis de Béarn, and Bleuet de Picardie. Copland's Piano Variations stands as a stark and stentorian presence between his earlier jazz influenced works and later populist works. I became acquainted with the work from my teacher in high school, Dan Plante. He recommended that I learn the variations for my senior recital. Always up for a challenge, I fell in love with the work. The economy of means, development, and declamatory piano writing resonated with me. The work became the backbone of many of my concerts. As I was researching these liner notes and the lectures I gave surrounding the recital, I came across this article that Leonard Bernstein wrote about the Variations contextualizing the piece and it's composer: In the fall of 1937 I had just begun my junior year at Harvard. Although I had never seen Copland, I had long adored him through his music. He was the composer who would lead American music out of the wilderness, and I pictured him as a cross between Walt Whitman and an Old Testament prophet, bearded and patriarchal. I had dug up and learned as much of his music as I could find, the Piano Variations had virtually become my trademark. I was crazy about them then--and I still find them marvelous today--but in those days, I especially enjoyed disrupting parties with the work. It was the furthest you could go in avant-garde 'noise,' and I could be relied upon to empty any room in Boston within three minutes by sitting down at the piano and starting it. The theme of the Piano Variations is made up of intentionally dissonant intervals, illustrating a tension between the major and minor thirds. The theme is declaimed in single notes using sympathetic vibrations to create ghostly sonic "after-images". Twenty variations follow, concluding with a massive rhythmically unsettled coda. Out of avant garde and swing emerged perhaps the greatest pianist of the 20th century, Art Tatum. His technique was a thing of beauty, impeccable and unimpeded. His style was absolutely his own: rococo, baroque, ornamental, witty and fast ... outrageously fast ... and he played this way mostly blind (cataracts at birth, assaulted in 1930). In 1993, J. A. Bilmes, an MIT student, invented a term that is now in common usage in the field of computational musicology: the Tatum. It means "the smallest perceptual time unit in music" and is a tribute to Tatum's pianistic velocity. He took stride piano and stretched it in every direction, improvising ornate cadenzas á la Liszt and making free use of colorful harmonic substitution. He was one of the major inspirers of bebop and many of the luminaries of the classical music world were avid admirers of Art Tatum's playing, in particular, Horowitz. At one point, Horowitz, so impressed by Art Tatum's playing, composed a set of virtuosic variations on Tea for Two, which he played Art Tatum. Tatum said "very good, I enjoyed it". Tatum then sat down and played his own set variations. Horowitz, stunned at the brilliance of Tatum's performance, asked "when did you come up with this?" Tatum said "Oh, I was just improvising". Horowitz then threw out his manuscript and vowed never to play Tea for Two in public again. There is debate over whether or not this story is true, regardless, it's a great story and shows the extent to which Art Tatum was admired by his virtuosic pianist peers. An album like this does not simply rise out of the ether and is not a solo creation. I am deeply indebted to the many individuals who helped make this happen: Nina Draganic, who programmed this recital in Toronto and came up with the catchy title, Bethany United Church of Christ and pastor Bill Bor- Shop: odax
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Schlüren/Symphonia Momentum: Declamatory Counterpoint
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Keyboard Music of Girolamo Frescobaldi
Girolamo Frescobaldi (1583-1643) is considered one of the founding fathers of solo Italian keyboard music. By the age of 14, he was somewhat of a child prodigy and was listed in 1597 as organist of the Ferrarese Accademia della Morte as successor to Ercole Pasquini. His teacher was the famous Luzzasco Luzzaschi, then ducal organist and composer under Alfonso II d'Este. By age 25, Frescobaldi embarked on what was to be a lifetime career in Rome when he was appointed organist at St. Peter's Basilica. Thousands of people were reported to have witnessed his first performance. Like many musicians today, Frescobaldi often held several jobs at once: freelancing in Rome and teaching harpsichord and organ to many students, most notably to the family members of Enzo Bentivoglio, the noble household in which he was in service. In 1613, Bentivoglio said "Sr. Girolamo came here, but now he does not come here at all ... The poor man is half crazy as it seems to me." Between 1610-13 Frescobaldi entered into the service of Cardinal Pietro Aldobrandini. Aside from a brief visit back to Mantua, he remained there until his move to Florence (1628-34), where he was employed at the Medici court as one of it's most highly paid musicians. He returned to Rome in 1634 under the patronage of Pope Urban VIII and remained there until his death in 1643. Throughout his life, Frescobaldi enjoyed sophisticated patronage and was praised by well-known musicians and theorists, such as Adriano Banchieri and Marin Mersenne, among others. As a continuo player, he played with the famous castrati Loreto Vittori and Marc Antonio Pasqualini, and he performed in the Lenten services at the Oratorio del Crocifisso. His musical output showed an overwhelmingly large focus on keyboard music. He achieved a reputation not only for his compositional talents but also for his brilliant improvisatory skills, virtuoso playing, contrapuntal mastery, and general inventiveness. Frescobaldi was both influenced by and influential upon the seconda pratica, known chiefly for it's renewal of ancient rhetoric and oratory through music. Composers of this "nuova maniera," such as Claudio Monteverdi, Giulio Caccini, Jacopo Peri, and Sigismondo D'India, advocated the clear delivery of text through the use of declamatory rhythms, expressive dissonances, startling chromatic lines, and shocking contrasts of rhythm and harmony. Frescobaldi's keyboard works exemplify this vocal practice. In particular, we see this type of prosaic freedom in his toccatas. In many ways, they reveal a musical narrative without a text, a kind of instrumental recitative. He compared the performances of these pieces to a modern madrigal, playing "now languidly, now quickly, sustaining it according to feelings and words." Plentiful are the dramatic mood changes, sudden cadential flourishes, and spicy harmonic surprises. From one measure to the next, he shifts from free passagework to more rhythmical, imitative writing. In the foreword to Book I of his Toccata e partite d'intavolatura di cimbalo et organo, published in 1615 and later expanded in 1637, he tells us: "Li cominciamenti delle toccate sieno fatte adagio, et arpeggiando è così nelle ligature o vero durezze, come anche nel mezzo del opera si batteranno insieme, per non lasciar voto l'istromento, il qual battimento ripiglierassi à beneplacito di chi suona." The beginnings of the toccatas should be played adagio and arpeggiated. The same applies to the suspensions [or held chords] or dissonances, which also in the middle of the piece are to be played together in order not to leave the instrument empty [i.e., not to let the sound die away]. Reiterating the notes may be repeated at the player's discretion. The term adasio (adagio) also appears in Frescobaldi's Fiori musicali (1635). The word suggests playing at ease and freely, in a more prose-like manner than in other more metrical sections. As he instructs the performer to be flexible with the tempos within the toccatas, he also advises the player to choose broad tempos for expressive passages and in runs, to play slowly and arpeggiated in the opening chords, and to pause at the ends of trills, runs, or when the mood deems appropriate. When playing sixteenth notes with both hands, he tells us to pause on the preceding note, even if it is a short note, and "then play the passage resolutely in order to show off the agility of the hands." Above all, he remarks that one should use good taste and judgment. More straightforward in form are Frescobaldi's canzonas and capriccios. Although they are somewhat similar in their sectional structure and multiple meter changes, their origins differ. The baroque canzona was an instrumental piece of music derived from the vocal chanson, described by Michael Praetorius in his Syntagma musicum (iii, p.19) as a series of short fugues for approximately four to eight parts (instruments). Many examples of the solo canzona were arrangements of polyphonic vocal works, including elaborated transcriptions of chansons, such as those by Andrea Gabrieli. Tarquinio Merulo was one of the first to write a canzona not based on vocal models but on other ensemble pieces. Vincenzo Pellegrini wrote canzonas for keyboard that were sectional with contrasting speeds and meters, although the sections were not always based on the same material. Ascanio Mayone and Giovanni Maria Trabaci were more influential upon motif-based canzonas, issuing the term "variation canzona." Frescobaldi's canzonas lean towards this variation technique. Capriccios, like the canzona model, are lengthy compositions that are subdivided into contrasting sections, often juxtaposing passages in the fantastical style of the toccata with dance-like rhythms in major keys. From Frescobaldi's own advice preceding the Capricci, we learn that, "One must commence with the beginnings slowly in order to give great spirit and beauty to the following passages, and, in the cadences, sustain them before the next passage begins, in triple and sesquialtera meters, if in a major key, they should be played adagio, and, if in minor, more quickly, if there are three quarter-notes, play them even quicker yet, if there are six quarter-notes, they must be given their time by walking the beat rapidly. At certain dissonances, one should stay there and play the chord as an arpeggio so they will be more spirited than the next passage. I say this modestly, for I place myself before the good judgment of scholars." Certain Capricci make use of popular melodies known throughout Italy, such as Bassa Fiamenga and Spagnoletta. Praetorius called the keyboard capriccio a "phantasia subitanea" ("a sudden whim"). He writes, "One takes a subject but deserts it for another whenever it comes into his mind to do so. One can add, take away, digress, turn, and direct the music as one wishes, but while one is not strictly bound by the rules, one ought not go too much out of the mode." These comments are descriptive of Frescobaldi's toccatas as well. In 1624, Frescobaldi said about his own capricci, "In those passages which do not seem to conform to the rules of counterpoint, the player should seek out the affect and the composer's intentions." Frescobaldi's partitas are essays in the art of variations upon popular ground bass or melodic and harmonic patterns, such as Monicha, Ruggiero, Romanesca, and the Chaconne and Passacaglia. Monicha (also monica or monaca) was a popular Italian song from the early 1600s. The opening line laments a young girl forced to become a nun, hence the minor mode and sad quality of the tune. Frescobaldi composed two sets of variations on this theme: Partite sopra l'Aria di Monicha (6 variations in 1615 and 11 in 1637, including some from the earlier set) and a Messa [to be performed during mass] sopra l'Aria della Monica. The Ruggiero, like the Romanesca, was used for dances, instrumental variations, and for singing Italian poetry, especially those with rhyme schemes in ottav- Shop: odax
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