Triumph of the Human Spirit: Beethoven at 250

photo of Beethoven's piano

Hammerflugel Conrad Graf, photo by Andreas Praefcke

Portrait of Beethoven

Portrait of Ludwig van Beethoven from the Library of Congress

 

 

 

 

 

 

 

 

 

 

Wednesday, September 23rd, 10am-3pm

Join us as Temple faculty, students, and alumni present the inspiring works of Beethoven in celebration of his 250th birthday. This performance is led and coordinated by Dr. Joyce Lindorff.

Please feel free to drop in at any time to enjoy some beautiful music!

This program will be presented via Zoom. On the day of the program, use this link to join: https://temple.zoom.us/j/92041612377.

All programs are free and open to all, and registration is encouraged

Register

 

picture of manuscript

Beethoven Piano Sonata from the Library of Congress

 

TRIUMPH OF THE HUMAN SPIRIT: BEETHOVEN AT 250

A Marathon of Music by Ludwig van Beethoven (1770-1827)

Wednesday, Sept. 23 10am-3pm

Sponsored by Temple Libraries

Hosted by Anne Harlow, Performing Arts Librarian

Coordinated by Joyce Lindorff, Professor of Keyboard Studies

Produced by John Pyle, Library Technical Specialist

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Program:

 Sonata in F minor “Appassionata,” op. 57

      Allegro assai

      Andante con moto

      Allegro ma non troppo

            Lambert Orkis, fortepiano

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Sonata in G major, op. 30 no. 3

    Allegro vivace

          Kimberly Fisher, violin

          Michal Schmidt, piano

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Sonata in F minor, op. 2 no. 1

    Prestissimo

          Mădălina-Claudia Dănila, piano

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Beethoven Sonata in D major, op. 102 no. 2

    Allegro con brio

    Adagio con molto sentimento d’affetto

    Allegro

          Jeffrey Solow, cello

          Charles Abramovic, piano

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Sonata in D major, op. 10 no. 3

    Presto

          Silvanio Reis, piano

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Sonata in Eb major “Les Adieux,” op. 81a

    Adagio

          Olena Haviuk-Sheremet, piano

________________________________________

Sonata in A major “Kreutzer,” op. 47

    Presto

          Luigi Mazzocchi, violin

          David Pasbrig, piano

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Sonata “Pathétique,” op. 13

    Adagio cantabile

          Matthew Culbertson, piano

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Concerto in G major, op. 58

    Andante con moto

          Katelyn Bouska, piano

          Temple University Sinfonia conducted by Andreas Delfs

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Sonata in Eb major, op. 27 no. 1

    Allegro vivace

          Jumyeong Lee, piano

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Bagatelles, op. 126

    Andante con moto

    Allegro

    Andante

    Presto

    Quasi Allegretto

    Presto – Andante amabile e con moto – Tempo I

          Sirapat Jittapirom, piano

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Sonata in A major, op. 69

    Scherzo

          Chen Chen, cello

          Nam Hoàng Nguyễn, piano

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Sonata in C# minor “Moonlight,” op. 27 no. 2

    Adagio sostenuto

          Alessandra Tiraterra, piano

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Sonata in Ab major, op. 110

    Moderato cantabile molto espressivo

          Bolun Zhang, piano

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“Emperor” Concerto, op. 73

    Allegro

          Sara Davis Buechner, piano

          Belgian National Orchestra, conducted by Georges Octors

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Sonata in D minor “Tempest,” op. 31 no. 2

    Allegretto

          Mingfu Han, piano

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Sonata in E minor, op. 90

    Nicht zu geschwind und sehr singbar vorgetragen

          Charles Sekel, piano

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Sonatina in C minor, WoO 43 no. 1

Sonatina in C major, WoO 44 no. 1

          Ekatarina Skliar, mandolin

          Anna Kislitsyna, harpsichord

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Sonata op. 31 no. 3 in Eb major

    Allegro

          Regina Amelinda Christy, piano

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32 Variations on an Original Theme in C minor, WoO 80

          Binghao Li, piano

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Duo, WoO 27 no.1

    Allegro commodo

          Abbegail Atwater, clarinets

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Sonata in E major, op. 109

    Vivace, ma non troppo and Prestissimo

          Rachel Lee, piano

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Sonata in A major “Kreutzer,” op. 47

(arranged for string orchestra)

    Presto

          iPalpiti Orchestral Ensemble

          Eduard Schmieder, Music Director and Conductor

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Sonata in C major “Waldstein,” op. 53

    Allegro con brio

    Introduzione-Adagio molto

    Rondo-Allegretto moderato

          Clipper Erickson, piano

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Beethoven “Ghost” Trio in D major, op. 70 no. 1

    Largo assai ed espressivo

    Presto

          Nurit Bar-Josef, violin

          David Hardy, cello

          Lambert Orkis, piano

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POSTPONED: 3/18/2020 Concert, Elisabeth Jacquet de LaGuerre

The concert originally planned for 3/18/2020

of beautiful music

by Elisabeth Jacquet de la Guerre

has been postponed.

Stay tuned for rescheduling information.

Thank you for your understanding and support.

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Elisabeth-Claude Jacquet de La Guerre and the Dance Culture of Versailles

 

photo of portrait of Elisabeth Jacquet de la Guerre

Elisabeth Jacquet de la Guerre

Music of Elisabeth Claude Jacquet de la Guerre

Wednesday, March 18th, 12:00pm – 12:50pm
Temple University Charles Library Event Space
Featuring Dr. Joyce Lindorff and her studio

Light refreshments served. Boyer recital credit given.

Parisian composer and harpsichordist Élisabeth-Claude Jacquet de La Guerre (1665-1729) made her mark very early in life. She first performed for Louis XIV at the tender age of five, impressing the “Sun King” with her prodigious abilities. Thereafter the phenom would serve the court of Versailles until the age of nineteen. Jacquet returned to Paris permanently after wedding the organist Marin de La Guerre in 1684. Despite losing her husband and only child in 1704, she continued to compose, perform, and teach until her passing.

Jacquet de La Guerre possessed formidable musicianship in every respect. In addition to accompanying and improvising on the harpsichord and organ, she could sight-sing the most difficult passages and transpose music on command. But Jacquet’s legacy rests primarily on her surviving compositions, including Céphale et Procris (Cephalus and Procris, 1694), the first opera written by a French woman, and two published collections of suites for harpsichord (1687 and 1707). The latter, of course, comprised the various social dances performed at the court of Versailles—to wit, the courante, gigue, and sarabande. Jacquet infused these binary forms with the style brisé (broken style), emulating the lutenists of her day. A hallmark of French style, this technique expanded the expressive potential of chords through arpeggiation.

Dancing at Versailles was serious business, a tool used by Louis XIV to instill qualities such as majesty, grace, and self-discipline in members of the court. Nobles received instruction from dancing masters and practiced the choreography for hours. They were also examined by the king himself, who would banish subjects for poor execution. Based on the following account of 1671, a superlative performance of the sarabande was nuanced, embodying the affect, agréments (ornaments), and rubato of the music:

“Now and then he [the dancer] would let a whole rhythmic unit go by, moving no more than a statue, and then, setting off like an arrow, he would be at the other end of the room before anyone had time to realize that he had departed. 

But all this was nothing compared to what was observed when this gallant began to express the emotions of his soul through the motions of his body, and reveal them in his face, his eyes, his steps and all his actions. 

Sometimes he would cast languid and passionate glances throughout a low and languid rhythmic unit; and then, as though weary of being obliging, he would avert his eyes, as if he wished to hide his passion; and, with a more precipitous motion, would snatch away the gift he had tendered. 

Now and then he would express anger and spite with an impetuous and turbulent rhythmic unit; and then, evoking a sweeter passion by more moderate motions, he would sigh, swoon, let his eyes wander languidly; and certain sinuous movements of the arms and body, nonchalant, disjointed and passionate, made him appear so admirable and so charming that throughout this enchanting dance he won as many hearts as he attracted spectators.” (McClary 2018, 116-118) 

Given the proximity of physical movement to music in baroque-era France, this description also sheds light on the ephemeral art of Jacquet de La Guerre: a succession of musical moments in which color and nuance delight the senses. On Wednesday, March 18, Joyce Lindorff and her studio will present an entire program of music by this extraordinary woman. We encourage all to attend.

Consult the following sources for more information:

Borroff, Edith. 1966. An Introduction to Elisabeth-Claude Jacquet de la Guerre. Brooklyn: Institute of Mediæval Music.

Cessac, Catherine. “Jacquet de La Guerre, Elisabeth.” Grove Music Online. 2001; Accessed 23 Feb. 2020. 

Farr, Elizabeth. 2005. Liner notes to Elisabeth-Claude Jacquet De La Guerre: Harpsichord Suites Nos. 1-6, Elizabeth Farr. Naxos 8.557654-55, CD.

McClary, Susan. 2018. “In the Realm of All the Senses: Two Sarabandes by Élisabeth-Claude Jacquet de La Guerre.” IAnalytical Essays on Music by Women Composers: Secular and Sacred Music to 1900, edited by Laurel Parson and Brenda Ravenscroft, 109-28. New York: Oxford University Press.

Porter, Cecilia Hopkins. 2012. “Elisabeth-Claude Jacquet De La Guerre: Versailles and Paris in the Twilight of the Ancien Régime.” In Five Lives in Music: Women Performers, Composers, and Impresarios from the Baroque to the Present, 39-77. Champaign: University of Illinois Press.

 

Gary Sampsell is a second-year PhD student in the Music Studies program at Boyer College. His research interests include the musical culture of baroque-era Saxony and Austro-German reception of early music in the nineteenth century.

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Stride: The Art of James P. Johnson

Beyond the Notes
A Celebration of Stride and Novelty Piano
Wednesday, February 12th, 12:00PM -12:50PM
Featuring Dr. Charles Abramovic and his studio
Light refreshments served. Boyer recital credit given.

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Photo of James Johnson

James P. Johnson

As one of myriad styles falling under the rubric of jazz, stride is fundamentally an expression of the African American experience. James P. Johnson (1894-1955) pioneered the solo piano style while composing and performing in Harlem during the 1920s. What follows is a brief sketch of the conventions, innovations, and social contexts that produced it.

Stride derives primarily from ragtime in form and content. Tunes comprise three or four independent, sixteen-bar sections or strains. The initial strain features the theme in the tonicsubsequent strains variously treat the original material or present new ideas. Sections collectively called the “trio” modulate to closely related keys, typically the subdominant. Introductions and interludes of four or eight measures are common. Regarding content, left-hand stride patterns follow traditional dances in duple meter, notably the march and polka. Hence the bass often alternates between low notes and midrange chordsthe former imitates the tuba while the latter mimics the higher brass and woodwind instruments of marching bands, creating the oom-pah sound associated with folk music.

However, stride represents an evolutionary step in the lineage of jazz, placing greater demands on the performer. The harmonic rhythm and tempo are faster than those of ragtime. Stride also exploits the full range of the instrument. Finally, the style employs an array of pianistic devices, e.g., rapid scale passages, trills, and turns, suggesting that knowledge of classical idioms would be beneficial if not requisite to stride proficiency.

Johnson infused blue notes and call-and-response gestures into stride. Furthermore, the rhythmic feel of his style was more relaxed than ragtime, approximating swingHeard in the paradigmatic stride piece “Carolina Shout,” these elements allowed Johnson to connect meaningfully with his auditors at clubs and dance halls, many of whom migrated from the Deep South:

“The dances they did at the Jungles Casino were wild and comical—the more pose and the more breaks the better. These Charleston people and the other southerners had just come to New York. They were country people and they felt homesick. When they got tired of two-steps and schottisches (which they danced with a lot of spieling), they’d yell: “Let’s go back home!” . . . or “Now put us in the alley!” I did my “Mule Walk” or Gut Stomp” for these country dances. Breakdown music was the best for such sets, the more solid and groovy the better. They’d dance, hollering and screaming until they were cooked. The dances ran from fifteen to thirty minutes, but they kept up all night until their shoes wore out—most of them after a heavy’s day’s work on the docks.”

Johnson also cultivated the style while performing at rent parties in Harlem. Held in apartments, these informal gatherings enabled working-class tenants to raise additional money for rent by charging admission. Here we see the music of Johnson providing a modicum of relief in material as well as nonmaterial ways.

We invite you to join us on Wednesday, February 12, to hear stride performances by the studio of Charles Abramovic. In addition to works by Johnson, the program will feature those of his contemporaries, Thomas “Fats” Waller, Jelly Roll Morton, and Zez Confrey.

Consult the following sources for more information:

Barnhart, Bruce. “Carolina Shout: James P. Johnson and the Performance of Temporality.” Callaloo 33, no. 3 (Summer 2010): 841-856.

Berlin, Edward A. “Ragtime.” Grove Music Online. 16 Oct. 2013; Accessed 26 Jan. 2020. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252241.

Martin, Henry. “Balancing Composition and Improvisation in James P. Johnson’s ‘Carolina Shout.’” Journal of Music Theory 49, no. 2 (Fall 2005): 277-299.

Robinson, J. Bradford. “Stride.” Grove Music Online. 2001; Accessed 20 Jan. 2020. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000026955.

Rouder, Willa. “Johnson, James P(rice).” Grove Music Online. 2001; Accessed 24 Jan. 2020. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000014409.

 

Gary Sampsell is a second-year PhD student in the Music Studies program at Boyer College. His research interests include the musical culture of baroque-era Saxony and Austro-German reception of early music in the nineteenth century. 

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Beyond the Notes! Spring 2020 Season Announcement!

  Beyond the Notes logo

Mark your calendars!

Beyond the Notes announces its Spring 2020 concerts!

Join us as we continue our exciting inaugural season in Temple’s beautiful new Charles Library.

All concerts are free and open to the public.

Light refreshments served.
Boyer recital credit given.

photo of Fats Waller

Fats Waller

Photo of James Johnson

James P. Johnson

photo of Jelly Roll Morton

Jelly Roll Morton

Photo of Zez Confrey

Zez Confrey

 

 

 

 

 

 
A Celebration of Stride and Novelty Piano
Charles Abramovic and his studio
Works by James P. Johnson, Thomas “Fats” Waller, Jelly Roll Morton, and Zez Confrey
Wednesday, February 12th
12:00PM – 12:50PM
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photo of portrait of Elisabeth Jacquet de la Guerre

Elisabeth Jacquet de la Guerre

 

Music of Elisabeth Jacquet de La Guerre
Featuring Joyce Lindorff and her studio
Wednesday, March 18th
12:00PM – 12:50PM
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photo of guitar and mandolin

Mandolin and Guitar. Photo by Andrewa.

Music for Guitar, Mandolin, Mandolin and Guitar, and even more Guitars!
Featuring Allen Krantz and his studio
Wednesday, April 8th
12:00PM – 12:50PM
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Beyond the Notes thanks Temple University Libraries and the Boyer College of Music and Dance for their support of this concert series.
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From the Margins to the Fore

Logo Modern RevealA Modern Reveal

An Eclectic Compilation of Vocal Music by Women Composers, 1560-present

Wednesday, October 30, Noon

Charles Library Event Space

Light refreshments served. Boyer recital credit given.

Historiography has marginalized the contributions of women in many spheres of endeavor, and musical composition is no exception. Even as the names of contemporary female musicians found their way into eighteenth-century lexicons, e.g., Johann Gottfried Walther’s Musicalisches Lexicon (Leipzig, 1732), entries for famous opera singers far surpassed those of composers. This lack of representation alludes to social expectation and bias: women could thrive in the world of music by filling roles deemed appropriate to their gender. In the light of such social constraint, the legacy of women composers is remarkably rich. Our upcoming concert will showcase many of these little-known compositions, delivering them from the margins to the fore.

Given in collaboration with A Modern Reveal, the program features sixteen songs by fifteen different composers, some of whom will no doubt be familiar to music scholars and enthusiasts: among those representing the early baroque is Francesca Caccini (1587-1646), an employee of the Medici family who is recognized as the first woman to compose opera; the formidable composer-pianist Clara Schumann (1819-1896), who was dubbed “Queen of the Piano” in the age of Romanticism; Amy Beach (1867-1944), the first American woman to achieve distinction as a composer of large-scale art music; and the prolific Libby Larsen (b. 1950), whose catalog comprises more than 400 works, including several operas.

The content of the program spans more than four hundred years; as a result, there is great variety in material both lyrical and musical. The duet “Il gondoliere,” by Maria Malibran (1808-1836), belongs to the genre known as the barcarole (It. barcarola). The traditional song of the gondolier, the barcarole (6/8 time signature) depicts the lilting motion of the iconic vessels that traverse the waters of Venice. Another example is the Lied “Verlust” (Loss), a setting of the poem “Und wüssten’s die Blumen” (If the Little Flowers Knew) by Fanny Hensel (1805-1847). Hensel largely evades the tonic and closes the song with an unresolved dominant, reflecting the inconsolable anguish of Heinrich Heine’s text. Finally, a rendition of “I’m Nobody” will offer the listener a blend of modern music and nineteenth-century wit. Lori Laitman (b. 1955) composed the bouncy and comical setting, part of a cycle entitled Four Dickinson Songs (1996). In short, the stylistic diversity of this program ensures something for everyone.

We invite you to join us on Wednesday, October 30, for this special celebration of women composers. We also encourage you to visit https://www.amodernreveal.com/ to learn more about the women featured in the program.

Consult the following sources for more information:

Frasier, Jane. Women Composers: A Discography. Detroit, MI: Information Coordinators, 1983.

Jezic, Diane Peacock. Women Composers: The Lost Tradition Found. New York: Feminist Press at the City University of New York, 1994.

.Marrazzo, Randi, ed. The First Solos: Songs by Women Composers. Bryn Mawr, PA: Hildegard Pub. Co., 2000.

Marrazzo, Randi, and Nicole Leone.  A Modern Reveal: Songs and Stories of Women Composers.  18 Oct. 2019, www.amodernreveal.com/

Pendle, Karin, ed.. Women in Music: A History. Bloomington, IN: Indiana University Press, 2001.

Rodgers, Stephen. “Fanny Hensel’s Lied Aesthetic.” Journal of Musicological Research 30, no. 3 (2011): 175-201.

Schleifer, Martha and Sylvia Glickman. Women Composers: Music through the Ages. New York: G.K. Hall, 1996. https://librarysearch.temple.edu/catalog/991000427089703811

Tick, Judith, Margaret Ericson, and Ellen Koskoff. “Women in music.Grove Music Online. 2001; Accessed 17 Oct. 2019. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000052554.

(Note: Grove Music Online contains entries for all of the composers mentioned in this article.)

Gary Sampsell is a second-year PhD student in the Music Studies program at Boyer College. His research interests include the musical culture of baroque-era Saxony and Austro-German reception of early music in the nineteenth century.

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The Sound of History

Johann Sebastian Bach Concerto Festival!

Wednesday, October 2nd, 12:00 Noon
Charles Library Event Space

Presented by Dr. Joyce Lindorff
with Boyer College Harpsichordists
and Baroque Strings

Light refreshments served. Boyer recital credit given.

Hands on a harpsichordMore than a mere antecedent to the modern piano, the harpsichord is a keyboard string instrument with an otherworldly sound. Its metallic timbre and precise articulation result from an internal mechanism: quills pluck the strings when the keys are depressed, and dampers silence the strings when the keys are released. Creating the effect of cascading notes, this mechanical operation is ideal for the performance of contrapuntal music because of the clarity it lends to the middle and lower voices; in other words, the design and function of the instrument met the musical demands of its time.

Emerging in the years around 1400, the harpsichord reached its zenith in the 1700s. During this era, luminaries such as Johann Sebastian Bach (1685-1750), François Couperin (1668-1733), George Frideric Handel (1685-1759), and Domenico Scarlatti (1685-1757) composed some of the finest music for the instrument. Famous examples from the solo repertory include J. S. Bach’s The Well-Tempered Clavier, a collection of 48 preludes and fugues in two volumes, and Scarlatti’s 555 keyboard sonatas. The harpsichord was also regularly used for accompaniment in the performance of both sacred and secular music. This role kept the instrument in service until the turn of the nineteenth century, when changes in musical tastereflected in the rising popularity of the pianofortediminished its presence. The resurgence of the harpsichord in the late 1800s may be attributed to the special qualities mentioned above, namely its suitability for the performance of early music. 

On Wednesday, October 2, Dr. Joyce Lindorff and her colleagues from Boyer College will present performances of J. S. Bach’s concerti for one, two, and four harpsichords. (The latter is a transcription of a solo concerto from Vivaldi’s L’estro armonico, Op. 3, no. 10.) Listeners will have the opportunity to experience the singular sound of the instrument thrown into relief by contrasting tutti (full ensemble) and solo sections. Do not forgo what is sure to be an eminently satisfying musical event.

Consult the following sources for more information:

Kottick, Edward L. A History of the Harpsichord. Bloomington: Indiana University Press, 2003.

Pollens, Stewart. The Early Pianoforte. Cambridge: Cambridge University Press, 1995.

Ripin, Edwin M., Howard Schott, John Koster, Denzil Wraight, Beryl Kenyon de Pascual, G. Grant O’Brien, Alfons Huber, William R. Dowd, Charles Mould, Lance Whitehead, and Martin Elste. “Harpsichord.” Grove Music Online. 2001; Accessed 11 Sep. 2019. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000012420.

Wolff, Christoph. Bach: Essays on His Life and Music. Cambridge: Harvard University Press, 1991.

Wolff, Christoph, and Walter Emery. “Bach, Johann Sebastian.” Grove Music Online. 2001; Accessed 11 Sep. 2019. https://www-oxfordmusiconline-com.libproxy.temple.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-6002278195.

Gary Sampsell is a second-year PhD student in the Music Studies program at Boyer College. His research interests include the musical culture of baroque-era Saxony and Austro-German reception of early music in the nineteenth century.

 

 

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Beyond the Notes Announces Fall 2019 Season at Charles Library!

We are excited to announce the first season of Beyond the Notes in Temple University’s beautiful new Charles Library! Mark your calendars!

J.S. BACH CONCERTO FESTIVAL!

Wednesday, October 2nd, 2019
12:00 Noon – 12:50pm
Charles Library Event Space

Presented by Dr. Joyce Lindorff with Boyer College Harpsichordists and Baroque Strings.

Historic Harpsichord

Program:
Concerto in C Major for Two Harpsichords
Concerto in A minor for Four Harpsichords and Strings
Concerto in D minor, featuring soloist Benjamin Katz

Come join our festive opening of the Noontime Concert Series in the beautiful Charles Library! Be the first to hear the new event space resonate with J. S. Bach’s brilliant concertos for one, two and four harpsichords accompanied by a Baroque string ensemble. Dr. Joyce Lindorff will perform and conduct, along with current and alumni Boyer performers.

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Modern Reveal Logopictures of women composers

Herstory

An Eclectic Compilation of Vocal Music by Women Composers, 1560-present 

Featuring Vocal Arts Students at Temple University

Jean Francois Proulx, pianist

Randi Marrazzo, faculty coordinator

Wednesday, October 30, 2019
12:00 Noon-12:50pm
Charles Library Event Space

 

All events are free and open to the public. Light refreshments served. Boyer recital credit given.

 

 

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Bravos and Thank You to Beyond the Notes Artists!

Beyond the Notes, Temple University Libraries, and audiences wish to extend bravos and thank you to the artists who provided beautiful, interesting, and exciting concerts at noon in the library during the 2018-2019 year. We appreciate your talent and are grateful for your bringing live music to Paley Library!

Dr. Lindorff's master class

Ben Katz, Emiko Edwards, Joyce Lindorff, Irene Moretto, Silvanio Reis, Anna Kislitsyna

 

 

Happy Birthday François Couperin!  Joyce Lindorff and her doctoral seminar ushered in the new season with a birthday celebration!  Many thanks to Dr. Lindorff and her students for our celebratory season opener!

 


photo of Zach Brock

Zach Brock, Jazz violinist.

In October, Zach Brock, Boyer faculty and Grammy Award winning jazz violinist, entranced us with his amazing artistry. Thank you, Zach!


Baroque Chamber Music group

Shannon Merlino and friends.

 

In November, library audiences were treated to a lively performance of Vivaldi and Bach, played on period instruments and led by Shannon Merlino.   Congratulations and thank you, Dr. Merlino!

 


Xylophone playing

Philip O'Banion and students

Temple University Percussion Ensemble

Temple University Percussion Ensemble, directed by Phillip O’Banion, totally rocked the library in December!  Amazing talent and performance!  Thank you, Professor O’Banion and TU Percussion students!  You are awesome!

 

 

 

 

 

 

 


Performers

Charles Abramovic, Lawrence Indik, and Cara Latham

In February, Boyer faculty artists turned the Library’s Lecture Hall into a cozy café with Cabaret Songs and Piano Rags by William Bolcom!  Thank you Charles Abramovic, Lawrence Indic, and Cara Latham for an exquisite performance!

 


Students of Allen Krantz brought the beautiful music of classical guitar to the library to end our season.  Thank you Allen Krantz for bringing your gifted students to the library, always one of the most beloved events of the entire year!

3 guitarists

Andrew Evans, Joeseph Jones, Emmanuel Lozada-Mendez.


Many thanks to our wonderful artists and to our audiences who together create an intimate, exciting, and wonderful lunchtime series of live music at the library, Beyond the Notes! We are busy planning an exciting concert series for our new Charles Library in the Fall of 2019! See you then!


Anne Harlow is the research librarian for music, dance, and theater at Temple University Libraries, and curator of the library’s noontime concert series Beyond the Notes.  aharlow@temple.edu

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The Classical Guitar: its Evolution and Appreciation by Italian Greats

Guitar Studio of Allen Krantz

Wednesday, February 27th, Noon

Temple University Paley Library Lecture Hall

Free and open to the public

Light refreshments served. Boyer recital credit given.

photo courtesy Beverley Goodwin

The guitar, currently a mainstay of popular music, has a l ong history and wealth of literature preceding its use in rock bands and college dorm rooms. The type of guitar that Allen Krantz and his students will be using is called the classical guitar (also known as the nylon-string guitar or the Spanish guitar). The main difference between classical and acoustic/electric guitars is the material of the strings. On a classical guitar the strings are made from either gut or nylon, whereas the acoustic or electric guitar have metal strings. Another difference would be the way that the guitar is held while being played. (For right-handed players) Classical is propped up by the left leg and the modern steel string guitar is played off of the hip.

Sometimes the term “classical guitar” isn’t even describing the instrument itself, but instead one of two concepts:

– The playing technique where individual strings are plucked with the fingernails
– The instrument’s literature

Music written specifically for this instrument dates back to the addition of the sixth string (the baroque guitar originally had five strings) in the late 18th century. In addition to these works written for the instrument, a classical guitar might play pieces originally written for lute, vihuela or the cello. The most well-known composer who did not write for the guitar is J.S. Bach; his baroque lute works are a mainstay in classical guitar literature.

Not many concertos were written specially for the guitar, however in present times there are numerous concertos that are quite well-known. Antonio Vivaldi and Mauro Giuliani are Italian composers who wrote famous concertos for the guitar. Allen Krantz and his students will be performing literature from the classical guitar’s extensive repertoire with a focus on a few of these great Italian composers.

A third Italian composer Nicolo Paganini, was also a guitarist. He once said “I love the guitar for its harmony; it is my constant companion in all my travels.” Paganini’s relationship with the guitar ha s only recently come to light – only a few of his compositions for the instrument have been published. The reason for this is disputed among scholars, but it appears to have something to do with the popularity of his violin works. Paganini’s work for violin seems to have overshadowed his guitar works during the time of his publications, when in fact Paganini work with technique was just as extensive on the guitar as it was with the violin.

The classical guitar has been cultivated over centuries, building its repertoire and technique as various schools utilized this flexible and well-rounded instrument. Allen Krantz and his students will be presenting many fine examples of this unique instrument and we hope to see you Wednesday February 27th at noon for our Beyond the Notes concert series.

For more information see:

The Classical Guitar: A Complete History. London, England: Balafon Books, 1997. Paley Library ML1015.G9 C547x 1997

Dobney, Jayson Kerr, and Wendy Powers. “The Guitar.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/guit/hd_guit.htm (September 2007).

Heck, Thomas F., Harvey Turnbull, Paul Sparks, James Tyler, Tony Bacon, Oleg V. Timofeyev, and Gerhard Kubik. “Guitar.” Grove Music Online.  January 01, 2001. Oxford University Press.

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Stephanie George is a second-year masters student in Music Theory at Boyer College of Music & Dance. Stephanie completed a B.S. in Music Education and a B.A. in Music (concentrations in clarinet and music theory) from Lebanon Valley College in 2015, after which she secured a placement with Harford County Public Schools as a music teacher for Havre de Grace Elementary. Her master’s thesis applies narrative theory to Chopin’s second piano sonata using a variety of analysis techniques. Her research interests include Sonata Form, Narrative Theory, Schenkerian Analysis, and Pedagogy. After completing her masters, Stephanie plans to pursue a Ph.D. in Music Theory.

 

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