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Debussy and La Sonate Cyclique Author(S): Marianne Wheeldon Source: the Journal of Musicology, Vol
Debussy and La Sonate cyclique Author(s): Marianne Wheeldon Source: The Journal of Musicology, Vol. 22, No. 4 (Autumn, 2005), pp. 644-679 Published by: University of California Press Stable URL: http://www.jstor.org/stable/4138386 Accessed: 26/07/2009 13:04 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org Debussy and La Sonate cyclique MARIANNE WHEELDON Debussy's early career in chamber music be- gan and ended with the String Quartet of 1893.' Surrounded by song collections-FKtes galantes (1891), Trois melodies (1891), and Proses lyriques (1894)-the quartet stands out as the lone chamber composition of this period, despite Debussy's plans to the contrary. -
Trio Shaham Erez Wallfisch Trio Shaham Erez Wallfisch Ravel Trio Fauré Trio Debussy Violin Sonata & Cello Sonata
Trio Shaham Erez Wallfisch Trio Shaham Erez Wallfisch Ravel Trio Fauré Trio Debussy Violin Sonata & Cello Sonata THE MENDELSSOHN TRIOS “The trio's sheer pleasure of playing is bouncing off this beautifully recorded CD” Kassieke Zaken “Given excellently balanced recordings, these first class performances are evidence of sensitive and imaginative music- making”. Musicweb-international.com “The trio was given a huge ovation which they responded to with an encore of Mendelssohn's scherzo, from the opus 49 trio, played with magical ease.” Südwest Presse, Hans Herdeg, January 2013 12 NI 5905 NI 5905Hagai Shaham, violin Arnon Erez, piano Raphael Wallfisch, cello 1 When the press has them down as (American Record Guide) and (Leipziger Volkszeitung) and these three giants decide it’s time to join forces, one had better sit Trio Shaham Erez Wallfisch up and take notice for something quite incredible is bound to become of it! In fact, that is exactly what happened when their piano trio came to life at the beginning of 2009 and was greeted with great enthusiasm from audiences that found themselves bowled over by the intense togetherness and extreme musicality of this exciting new ensemble. Already at a young age, all three musicians took home various prestigious First Prizes (Shaham/Erez: ARD; Wallfisch: Gaspar Cassadó) as a kick-off to what have since become very busy international careers. With legendary teachers like Ilona Feher (Shaham), Arie Vardi (Erez) Hagai Shaham and Gregor Piatigorsky (Wallfisch) they themselves have become much sought after teachers, holding professorships at the famous Buchmann-Mehta School of Music, University of Tel Aviv Arnon Erez (Shaham, Erez), Stony Brook University, New York (Shaham) and both the Zürich Winterthur Konservatorium and the Royal Northern College of Music, Manchester (Wallfisch). -
Event Program (PDF)
camera lucida presented by the uc san diego department of music in partnership with the san diego symphony sponsored by the sam b ersan chamber music fund monday, october twenty-fourth two thousand and eleven camera lucida upcoming concerts: november 7, 2011 april 2, 2012 zelenka: trio sonata bach: preludes and fugues for string trio (arr. mozart) shostakovich: viola sonata, op. 147 strauss: sextet for strings from capriccio, op. 85 dohnanyi: sextet for piano, strings and winds in C, op. 37 brahms: sextet for strings in B-flat, op. 18 our final concert of the season: december 5, 2011 may 7, 2012 mahler: piano quartet in A minor beethoven: sonata for cello and piano in C, op. 102, no. 1 zemlinsky: trio for clarinet, cello and piano, op. 3 beethoven: quintet for piano and winds in E-flat, op. 16 mendelssohn: sonata in D major for cello and piano, opus 58 wagner: siegfried idyll beethoven: string quartet in C-sharp minor, op. 131 strauss: emperorrespighi: waltz trittico (arr. schoenberg) boticelliano for flute, viola and harp weber: trio for flute, cello and piano june 11, 2012 february 6, 2012 rands: trio “sans voix parmi les voix...” beethoven: trio in D, op. 70 no. 1 (“ghost”) gubaidulina: the garden of joys and sorrows martinu: duo for violin and cello, h. 157 ibert: trio schubert: trio in E-flat, op. 100 march 5, 2012 reger: serenade for flute, violin and viola dvorak: quintettonight’s for strings concert in G,will op. be 77 broadcast saturday, may 21st at 7 pm on schoenberg:kpbs-fm string quartet 89.5 or no. -
Debussy and La Sonate Cyclique Autho (S): Ma Ianne Wheeldon Sou
http://www.jstor.org/stable/4138386 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org Debussy and La Sonate cyclique MARIANNE WHEELDON Debussy's early career in chamber music be- gan and ended with the String Quartet of 1893.' Surrounded by song collections-FKtes galantes (1891), Trois melodies (1891), and Proses lyriques (1894)-the quartet stands out as the lone chamber composition of this period, despite Debussy's plans to the contrary. -
Debussy, Fauré and Ravel During World War 1
Technological University Dublin ARROW@TU Dublin Dissertations Conservatory of Music and Drama 2013-09-20 Pierrots Fâchés avec la Lune: Debussy, Fauré and Ravel during World War 1 Arun Rao Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmusdiss Part of the Musicology Commons Recommended Citation Rao, A. (2013). Pierrots Fâchés avec la Lune: Debussy, Fauré and Ravel during World War 1. Masters Dissertation. Dublin: Technological University Dublin. This Dissertation is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Dissertations by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License “PIERROTS FÂCHÉS AVEC LA LUNE” : Debussy, Fauré and Ravel during World War I MMus Dissertation DIT Conservatory of Music and Drama Supervisor: Dr Marian Deasy 20 September 2013 Arun RAO I CONTENTS DECLARATION, II LIST OF FIGURES & MUSICAL EXAMPLES, III ABSTRACT, VII INTRODUCTION, VIII CHAPTER 1 : PROLOGUE 1.1 Delicate personal situations, 2 1.2 The revival of French Chamber Music, 8 1.3 The nationalist climate, 20 CHAPTER 2 : SERENADE, 29 2.1 ‘Down with “Kubism” ’: the war on Modernism, 30 2.2 ‘The tact to know how far one can go too far’: Cocteau’s Parade, 36 2.3 Artistic masquerade: the U-turn of the Parisian avant-garde, 42 CHAPTER 3 : FINALE, 51 3.1 Debussy as Pierrot : early avatars and wartime symbolism, 52 3.2 Fauré’s wartime sonatas, 76 3.3 Ravel’s ‘mad ideas’, 90 BIBLIOGRAPHY, 107 I I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Master’s Degree (MMus) in Music Performance is entirely my own work and has not been submitted for assessment for any academic purpose other than in partial fulfilment for that stated above. -
Proquest Dissertations
RICE UNIVERSITY Vivian Fine's Works for Violoncello and Piano by Christine Kim A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Doctor of Musical Arts APPROVED, THESIS COMMITTEE: i^'cL.J i Dr "Richard Lavenda, Thesis Director Professor Composition and Theory Dr. Marcia J. Citror Lovett Distinguishe^Service Professor /\Mus ^ Norman Fischer, Professor Cello (\ Bridget Gormar Sociology HOUSTON, TEXAS MAY 2010 UMI Number: 3421211 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI 3421211 Copyright 2010 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright Christine Kim 2010 ABSTRACT Vivian Fine's Works for Violoncello and Piano by Christine Kim Vivian Fine (1913-2000), once considered a compositional prodigy by such illustrious composers as Henry Cowell, Aaron Copland, and Ruth Crawford, is nearly forgotten now, only ten years after her death. She has well over one hundred works to her credit, including three pieces for cello and piano: the Lyric Piece for Violoncello and Piano, the Fantasy for Cello and Piano, and the Sonata for Violoncello and Piano. The goal of this study is to provide cellists interested in expanding their repertoire of American works for cello and piano with a resource for familiarizing themselves with these pieces.