Browsing by Subject "Mozart, Wolfgang Amadeus"
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Item DMA recitals(2011-05) Vacarciuc, Natalia; Lastrapes, Jeffrey N.; Skerik, Renee P.; Gilbert, John H.1. J.S. Bach; L. van Beethoven; D. Shostakovich; G. Faure. 2. J.S. Bach; M. Ravel; S. Barber; A. Piazzola. 3. F. Mendelssohn; L. Boccherini; G. Rossini; G. Crumb; C. Debussy. 4. W. A. Mozart; A. Piazzola; G. Faure.Item DMA rectals(2011-05) Martinez, Everaldo O.; Gilbert, John H.; Skerik, Renee P.; Morton, Mark1. J.S. Bach; D. Milhaud; J. Brahms. 2.P. Hindemith; M. Ravel; W.A. Mozart. 3. J.S. Bach; E. Ysaye; E. Martinez. 4. W.A. Mozart; A. Piazzola; G. Faure.Item M.M. recitals(2012-05) Mazzucco, Rachel; Baber, Gail; Smith, Angela M.; Santa, Matthew1. Prelude in E minor by J. S. Bach 2. Sicilliano by J.S. Bach 3. Sarabanda e Toccata by Nino Rota 4. Legende by Renie 5. Nocture by Hovhaness 6. Sonata for flute, viola, and harp by Debussy 7. Brazilian Folk Dance: Danca a Lua Crescente by Sclater 8. Improptu by Faure 9. A Ceremony of Carols: There is no Rose, Interlude, Spring Carol, and This Litle Babe by Britten 10. Concerto for flute and harp by MozartItem Masters recital I & II(2012-05) Rogers, Jeremy1. Espana 2. En Roret 3. Morceau de Concert 4. Call and Response 5. Humoreske 6. Concerto No. 1 7. Intermezzo 8. Valse Triste 9. Romance 10. Nocturne 11. Parable 12. Concerto No. 4 13. Concerto for Horn and StringsItem Missa Brevis for Mixed Chorus, Piano, Organ, and Timpani(2009-05) Bruelhart, Benjamin; Appledorn, Mary J. V.; Fischer, Peter; Hollins, John S.; Rogers, LisaThe Missa Brevis is a choral work for mixed chorus (divisi) accompanied by piano, organ, and timpani. The term Missa Brevis (Latin: short mass) was first used during the fifteenth and sixteenth centuries in which all the movements of the Mass Ordinary were short. During the seventeenth and eighteenth centuries, the term was used chiefly as a setting for just the Kyrie and the Gloria of the Mass Ordinary which was intended for services in the Lutheran church. This composition, Missa Brevis, departs from both of these traditions, and instead of a setting of the Ordinary, here the text is that of the Sequenza (Dies Irae, Tuba Mirum, and Mors Stupebit) from the Requiem Mass. Numerous inspirations were used in developing this work. The first and foremost inspiration came from the thirteenth-century chant of the original prayer of the Dies Irae. The opening motive uses the Dies Irae and serves as a source of unity (cyclic treatment) in each of the three movements. The second inspiration came from the grandiosity of the Requiems of Wolfgang Amadeus Mozart and Giuseppe Verdi. The operatic treatment of the Latin text they used in their corresponding works served as a dramatic inspiration for the Missa Brevis. Another inspiration came from the music dramas of Richard Wagner, particularly his use of leitmotifs. One such example of this is the cyclic treatment of the motives giving the entire composition a sense of unity. The first movement, Dies Irae (Day of Wrath), greets the listener with a Gregorian chant-like melody at a steady Larghetto until a spirited Allegro section (mm. 36-52) details the true nature of the text. In the second movement, Tuba Mirum (The Trumpet Sounds), the mixed chorus is accompanied by the organ alone. In this movement, the music displays the versatility of the organ by using a variety of organ stops which were registered by the organist. The final movement, Mors Stupebit (Death is Stunned), returns to the piano, organ, and timpani accompaniment as it was used in the first movement. The text in the Missa Brevis is set with great consideration throughout the work. Each individual movement details the serious nature of the text that describes the last days of judgment and seeks prayers for mercy. The first four stanzas of the prayer are used in this work with dramatic effect interpolated into each movement. The composition comes to a dramatic closing with a joyful amen. The text used in the Missa Brevis appears in Appendix A with its literal translation.Item MM recitals(2012-05) Rojas, Felicia; Gilbert, John H.; Skerik, Renee P.; Boyle, Annie C.First Recital Sonata in C major, K. 296 -- Mozart Rumanian Folk Dances -- Bartok Suite in A minor, Op. 10 -- Sinding Second Recital Quartet No. 6 in G major, Op. 101 -- Shostakovich Concerto No. 3 in B minor, Op. 61 -- Saint-SaensItem MM Recitals(2011-05) Guillen, Jackson; Yon, Kirsten A.; Gilbert, John H.; Lastrapes, Jeffrey N.; Skerik, Renee P.; George, Andrew1. Sonata No1, G Minor, J.S. Bach 2. Sonata No. 1, G Major, Opus 78, Johannes Brahms 3. Concerto for Violin and Orchestra in D Major, Tchaikovsky 4. Partita N0 3 in E Major, J. S. Bach. 5. "From my Garden" for solo violin, U. Mamlok 6. Zieunerweisen, Pablo Sarasate 7. Concerto for violin and orchestra No.3 in G Majr, MozartItem MM recitals(2012-05) Fortado, Vincent; McKoin, Sarah L.1. TTU Concert Band - Howard Hanson 2. TTU Symphonic Band - Joaquin Turina 3. TTU Symphonic Band - Roshanne Etezady 4. TTU Concert Band - Michael Colgrass 5. TTU Symphonic Wind Ensemble - Wolfgang Amadeus Mozart 6. TTU Symphonic Band - William Schumann 7. TTU Symphonic Wind Ensemble - Charles Ives 8. TTU Symphonic Band - George Gershwin 9. Masters Recital - Felix Mendelssohn-Bartholdy, Giovanni Gabrieli, Robert KurkaItem The choruses in Mozart's Opere Serie: practical performance possibilities(Texas Tech University, 1995-08) Shrader, James A.The chomses from the eighteenth century opere serie of Wolfgang Amadeus Mozart represent a body of literature that is relatively unknown. While the majority of Italian opere serie exclude the choms, most of Mozart's works in this genre contain significant choral scenes. The existence of opera seria as popular musical theater was short-lived, yet the chomses from Mozart's opere serie are worthy examples of secular choral literature that are musically viable and dramatically sound, deserving to be discovered and presented by choral conductors searching for new works from the classical period. This study includes a scholarly examination of opera seria as a genre, as well as the historical role of the opera choms. Of particular importance is the operatic reform movement in France which assigned a more important role to the choms than the traditional Italian opera seria. Mozart was influenced by this aspect of the French reform during his sojoum in Paris in 1778. This study also examines Mozart's early works for the stage, many of which conform to the conventions of opera seria, as well as his mature examples in this genre, Idomeneo, Re di Creta, and La clemenza di Tito. The practical focus of this project is devoted to the production of performing editions of choruses from several of these operas. The editions feature altemative notations that allow for less strenuous vocal ranges, a chart of the Intemational Phonetic Alphabet with pronounciation guides, IPA transcriptions of all Italian texts and literal English translations. Some choral scenes include options for soloists and small ensembles as well as simple recitative. Each choral scene presented includes historical information about the opera, a synopsis of the plot, and performance comments and recommendations specific to the selection. The editions are presented in a piano/vocal score format that can be used for performance. This project provides conductors, singers, and audiences with a significant corpus of Mozart's choral compositions. It includes the examination of historical perspectives associated with opera seria and the opera choms coupled with actual performing editions.