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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
A GRADUATE
~\
RECITAL IN ORGAN
An abstract submitted in partial satisfaction of the
requirements for the degree of Master of Arts in
Music
by
Barbara M. Trevino
June,
1978
The artistic performance of Barbara rl. Trevino is
approved:
~tr.
,----.
Thomas Foster
Mrs. Rosal1e L1ggett
Dr. Elmer Heerema
.ii
ABSTRACT
GRADUATE RECITAL IN ORGAN
By
Barbara Me Trevino
Master ot: Arts in Music
The five works that I chose. to perform for my
graduate recital in. organ display several of the
diverse styles of composition and pert:ormance practices
found in organ literatureo
The 17th century North German organ toccata is
represented by Dietrich Buxtehude's Praeludium, Fuge
~~~-.9iaE~
in C majoro
This piece begins with a pedal
solt; which reflects the huge pedal division of the organ
at the Marienkirche in Lubeck where Buxtehude was organiBt for over thirty yearso
Following this intro-
duction in free style, the piece continues with alternating cections of' fugal writing and freer toccata-like
sections.
A ciacona follows, after which the piece is
iii
rounded off with a brief section of dramatic flourishes.
Johann Pachelbel spent the last eleven years of
his life as· the organist of the Sebalduskirche in the
Central German city of Nurembergo
While there, he
published the Variations on the Aria Sebaldina in
F minor in· a collection of six sets of variations
titled Hexachordum Apollinis.
With its simple design
and natural unaffected lines, the Aria Sebaldina is
representative of the 17th century Central German style
fJ'f organ composition which was influenced by the Central
German organo
This can be seen ln the specifications
for the Sebalduskirche organ which reveal few mutations
and mixtures and only a small peqal division.
The Prelude and Fugue in E minor (BWV 548), called
"the Wedge,
11
was written during the years that Johann
Sebastian Bach spent as Thomas Cantor in Leipzigo
It
is a large scale, powerful work which Spitta called
•an organ symphony in two movements.•
The lofty prelude
is written in concerto style and derives most of its
episodic material from the ritornelloo
The
~1gue
begins
with the expected contrapuntal exposition and development of the subject, but this is followed by a
lengthy, contrasting section of free improvisatory passages
interspers~d
only occasionally with brief con-
trapuntal entries of the subjecto
iv
A literal restatement
of the opening fugal section ends the pieceo
Several twentieth century compositional
technique~
are found in Kathleen Henkel's delightful org;an work,
Pozzi ed Pio.i:nbi, including the use of tone clusters and
aleatoric procedureso
Although the piece has a formal
structuT'e, its character is that o.f an improvisation
which exploits the coloristic resources of the organo
One of Cesar Franck's first important organ works,
the Grande piece
symphonique~
in F'-sharp minor (Opus 17)
was campo sed for the organ at the chllrch of St o Clotilde,
a magnificent instrument built in 1858 by the great
innovator Aristide Cavaille-Coll.
Cavaille-Coll's in-
struments, the first major orchestral organs, encouraged
the development of the organ symphony, a genre of music
0f which the Grande piece sym.phonigue is an early
prototype o.
v
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
MUSIC DEPARTMENT
presents
in her
Sunday, April 16, 1978
First Lutheran Church
3119 W. 6th Street
Los Angeles, California 90020
4:~p.m.
PROGRAM
PRAELUDIUM, FUGE und CIACONA .............. DIETRICH BUXTEHUDE
(1637-1707)
ARIA SEBALDINA, aus dem HEXACHORDUM APOLLINIS ................ .
. . . . . . . . . . . . . . JOHANN PACHELBEL
(1658-1706)
PRELUDE AND FUGUE IN E MINOR, BWV 548 ... JOHANN SEBASTIAN BACH ·
(1685-1750)
INTERMISSION
POZZI eel PIOMBI • · • • • · · · · · · · · · · · · · · · · ............ KATHLEEN HENKEL
GRANDE PIECE SYMPHONIQUE ........................ CESAR FRANCK
I. AU~tro non troppo e maestoso
(1822-1890)
U. ·Andlnte • Allegro • Andante
Alf~tro non troppo e maestoso
m.
"'In parfia/ fulfillment of th
for theM
.
e reqwrements
aster of Arts Degree