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Wind, String, & Mixed Chamber Groups
WIND, STRING, & MIXED CHAMBER GROUPS - SPRING 2019 (v 2.1) - including piano, harp, and percussion - PLEASE read the “Rules of the Road” for chamber music on the “performance” section of INSIDE MUSIC on the School of Music website: https://www.cmu.edu/cfa/music/current-students/ensembles/chamber-music.html Each group should select/elect/draft a “contact person” and submit that person’s name to the chamber music Graduate Assistant, Yalyen Savignon: [email protected] Please note that this is the second draft of the roster. All registered students have been placed, and all requests have been fulfilled. We hope that few if any further changes will need to be made. Remember, other students’ education depends on your being a reliable member of your group! IF YOU SPOT MISTAKES ON THIS LIST, PLEASE CONTACT PROF. WHIPPLE. RJW and CW, February 6, 2019 57-228 OR 57-928 SEXTETS sec A - WIND & PIANO SEXTET Alisa Smith, flute Elizabeth Mountz, oboe Elizabeth Carney, clarinet Ji Won Song, horn Andrew Hahn, bassoon Winfred Wang, piano coaches: R. James Whipple QUINTETS sec B - GRADUATE WIND QUINTET Theresa Abalos, flute Evan Tegley, oboe Alex Athitakas, clarinet Diana McLaughlin, horn Nicholas Evans, bassoon coach: Thomas Thompson sec C - “VENTUS FERRO” TBA, flute Alicia Smith, oboe Zack Neville, clarinet Ziming Zhu, horn Dreya Cherry, bassoon coach: James Gorton sec D - PROKOFIEV: Quintet in g minor Christian Bernard, oboe Bryce Kyle, clarinet TBA, violin Angela-Maureen Zollman, viola Mark Stroud, bass coach: James Gorton STRING QUARTETS 57-226 OR 57-926 1. Jasper Rogal, violin Noah Steinbaum, violin Angela Rubin,viola Kyle Johnson, cello coach: Cyrus Forough 2. -
Harmonic Organization in Aaron Copland's Piano Quartet
37 At6( /NO, 116 HARMONIC ORGANIZATION IN AARON COPLAND'S PIANO QUARTET THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By James McGowan, M.Mus, B.Mus Denton, Texas August, 1995 37 At6( /NO, 116 HARMONIC ORGANIZATION IN AARON COPLAND'S PIANO QUARTET THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By James McGowan, M.Mus, B.Mus Denton, Texas August, 1995 K McGowan, James, Harmonic Organization in Aaron Copland's Piano Quartet. Master of Music (Theory), August, 1995, 86 pp., 22 examples, 5 figures, bibliography, 122 titles. This thesis presents an analysis of Copland's first major serial work, the Quartet for Piano and Strings (1950), using pitch-class set theory and tonal analytical techniques. The first chapter introduces Copland's Piano Quartet in its historical context and considers major influences on his compositional development. The second chapter takes up a pitch-class set approach to the work, emphasizing the role played by the eleven-tone row in determining salient pc sets. Chapter Three re-examines many of these same passages from the viewpoint of tonal referentiality, considering how Copland is able to evoke tonal gestures within a structural context governed by pc-set relationships. The fourth chapter will reflect on the dialectic that is played out in this work between pc-sets and tonal elements, and considers the strengths and weaknesses of various analytical approaches to the work. -
Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them. -
Johann Nepomuk Hummel's Transcriptions
JOHANN NEPOMUK HUMMEL´S TRANSCRIPTIONS OF BEETHOVEN´S SYMPHONY NO. 2, OP. 36: A COMPARISON OF THE SOLO PIANO AND THE PIANO QUARTET VERSIONS Aram Kim, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2012 APPROVED: Pamela Mia Paul, Major Professor Clay Couturiaux, Minor Professor Gustavo Romero, Committee Member Steven Harlos, Chair, Division of Keyboard Studies John Murphy, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Kim, Aram. Johann Nepomuk Hummel’s Transcriptions of Beethoven´s Symphony No. 2, Op. 36: A Comparison of the Solo Piano and the Piano Quartet Versions. Doctor of Musical Arts (Performance), August 2012, 30 pp., 2 figures, 13 musical examples, references, 19 titles. Johann Nepomuk Hummel was a noted Austrian composer and piano virtuoso who not only wrote substantially for the instrument, but also transcribed a series of important orchestral pieces. Among them are two transcriptions of Beethoven’s Symphony No. 2 in D Major, Op. 36- the first a version for piano solo and the second a work for piano quartet, with flute substituting for the traditional viola part. This study will examine Hummel’s treatment of the symphony in both transcriptions, looking at a variety of pianistic devices in the solo piano version and his particular instrumentation choices in the quartet version. Each of these transcriptions can serve a particular purpose for performers. The solo piano version is an obvious virtuoso vehicle, whereas the quartet version can be a refreshing program alternative in a piano quartet concert. -
Di Marco Lo Muscio
PRESENTA: Le composizioni per Organo e Pianoforte di Marco Lo Muscio Grande successo internazionale per le nuove composizioni di Marco Lo Muscio, una sorta di nuova musica Progressive in chiave acustica! Alcuni dei più rinomati organisti e musicisti internazionali stanno eseguendo con grande successo le composizioni di Lo Muscio nei loro Recitals; tra questi: John Hackett, Christopher Herrick, Kevin Bowyer, Stephen Farr, Roger Sayer, Alessandro Bianchi, Michael Eckerle, Renata Lesieur, Fredrik Sixten, ecc... I brani di Lo Muscio sono stati eseguiti in alcune delle cattedrali e sale da concerto più prestigiose, come: Westminster Cathedral a Londra, St. Paul Cathedral a Londra, Santuario de La Verna, Svetlanov Hall a Mosca, Filarmonica di S. Pietroburgo, Chiesa della Regina di Danimarca, Aula Magna della Sapienza a Roma, Kings College Chapel a Cambridge, Queen College Chapel a Oxford, Nikolai Kirche a Lipsia, Duomo di Magdeburgo, Cattedrale di Uppsala, Tallinn International Festival, Duomo di Riga, Bergen Festival, Università di Glasgow, ecc... Le musiche di Lo Muscio si ispirano spesso alla letteratura come ad esempio: Il Signore degli Anelli e Lo Hobbit di Tolkien; l' Iliade di Omero, il Paradiso di Dante, il Decamerone di Boccaccio, i racconti di Edgar Allan Poe, ecc... Molte di queste opere sono state registrate per la Musea Records, Camino Records, Drycastle Records, ecc... Per informazioni: www.erreffemusica.com www.marcolomuscio.com Marco Lo Muscio: Opere per Organo – Works for Organ 2007: Ecstatic Meditations (Homage to Messiaen -
Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years. -
Susan Merdinger Repertoire List 07.01.19 Copy.Pages
SUSAN MERDINGER, Pianist and Conductor: Repertoire (2019) CONCERTOS and WORKS for PIANO(S) and ORCHESTRA: AS SOLOIST. (Additional concerti available upon request.** indicates performed with within last 5 years) Albeniz: Rapsodia Espanola, Op. 70 (Two Pianos) ** Anderson: Piano Concerto in C major Bach-Vivaldi: Concerto for Four Pianos and String Orchestra (Piano 1)** Beethoven: All Five Concerti- Op. 15, Op.19, Op.37, Op. 73 (The “Emperor”) Triple Concerto for Piano, Violin, and Cello ** Bloch: Concerto Grosso for Piano and Strings ** Brahms: No.1 in d minor, Op. 15 No. 2 in B-flat major, Op. 83** Franck: Symphonic Variations** Lutoslawski: Variations on a Theme by Paganini Mozart: K.365 (Two Pianos)**, A major K. 414, G major K. 453, D minor K. 466, C major K.467**, A major K.488, C major K.503** Mendelssohn: Concerto No. 1 in g minor Concerto No. 2 in d minor Gershwin: Rhapsody in Blue ** Gottschalk: L’Union**, Grande Tarantella ** Rachmaninoff: Concerto No. 2 in c minor Rhapsody on Theme of Paganini Schumann: Concerto in a, Op.54 ** Saint-Saëns: Carnival of the Animals (Two Pianos) ** Saint-Saëns: Concerto No. 2 in g minor Tchaikovsky: No.1 in B-flat minor, Op.23 ** Liszt: No. 1 in E-flat ** Poulenc: Concerto for Two Pianos ** SOLO PIANO: SELECTED WORKS PERFORMED LIVE: (Bolded works are available on CD recording- many works available in live video format on YouTube) Aaron Alter: Piano Sonata (2012-2018) dedicated to Susan Merdinger (USA premieres in November 2018) Albéniz: Suite Española, Op. 47 J.S. Bach: French Suite No. -
Composed for Six-Hands Piano Alti El Piyano Için Bestelenen
The Turkish Online Journal of Design, Art and Communication - TOJDAC ISSN: 2146-5193, April 2018 Volume 8 Issue 2, p. 340-363 THE FORM ANALYSIS OF “SKY” COMPOSED FOR SIX-HANDS PIANO Şirin AKBULUT DEMİRCİ Assoc. Prof. Education Faculty, Music Education Faculty. Uludag University, Turkey https://orcid.org/0000-0001-8904-4920 [email protected] Berkant GENÇKAL Assoc. Prof. State Conservatory, School for Music and Drama. Anadolu University, Turkey https://orcid.org/0000-0001-5792-2100 [email protected] ABSTRACT The piano, which is a solo instrument that takes part in educational process, can take role not only in instrumental education but also in chamber music education as well with the 6-hands pieces for three players that perform same composition on a single instrument. According to the international 6-hands piano literature, although the works of Alfred Schnittke's Hommage, Carl Czerny's Op.17 and 741, Paul Robinson's Pensees and Montmartre and many more are included, the Turkish piano literature has been found to have a limited number of compositions. The aim of the work is to contribute to the field by presenting musical analysis about the place and the importance of the educational use of the works composed for 6-hands which are extremely rare in the Turkish piano literature. As an example, the piece named Sky composed by Hasan Barış Gemici is considered. Analysis is supported by comparative methods in form, structuralism, rhythm, theoretical applications and performance; it also gives information about basic playing techniques. It is thought that this study carries importance in contributing to the limited number of Turkish 6-hands piano literature and researchers who will conduct research in this regard, in terms of creating resources for performers and composers who will interpret the literature. -
The Tuesday Concert Series at Tuesday Maintain Epiphany’S Artistic Profile the Church of the Epiphany and Its Instruments
the HOW YOU CAN CONSIDER HELPING THE TUESDAY CONCERT SERIES AT TUESDAY MAINTAIN EPIPHANY’S ARTISTIC PROFILE THE CHURCH OF THE EPIPHANY AND ITS INSTRUMENTS CONCERT The Tuesday Concert Series reaches out to the entire metropolitan Washington community 52 weeks of the year, and Since the Church of the Epiphany was founded in brings both national and international artists here to 1842, music has played a vital role in the life of the parish. The Tuesday Concert Series reaches out to the SERIES Washington, DC. The series enjoys partnerships with many entire metropolitan Washington community and runs artistic groups in the area, too, most keenly with the Washington throughout the year. No other concert series follows July - December Bach Consort, the Levine School of Music, and the Avanti such a pattern and, as such, it is unique in the 2017 Orchestra. Washington, DC area. There is no admission charge to the concerts, and visitors and Epiphany houses three fine musical instruments: The regular concert-goers are invited to make a freewill offering to Steinway D concert grand piano was a gift to the support our artists. This freewill offering has been the primary church in 1984, in memory of vestry member Paul source of revenue from which our performers have been Shinkman, and the 4-manual, 64-rank, 3,467-pipe remunerated, and a small portion of this helps to defray costs of Æolian-Skinner pipe organ (1968) is one of the most the church’s administration, advertising and instrument upkeep. versatile in the city. The 3-stop chamber organ (2014), Today, maintaining the artistic quality of Epiphany’s series with commissioned in memory of Albert and Frances this source of revenue is challenging. -
Download Program Notes
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Piano Quintet in F minor, Op. 34 Johannes Brahms ohannes Brahms was 29 years old in 1862, seated at the other piano. Ironically, critics Jwhen he embarked on this seminal mas- now complained that the work lacked the terpiece of the chamber-music repertoire, sort of warmth that string instruments would though the work would not reach its final have provided — the opposite of Joachim’s form as his Piano Quintet until two years objection. Unlike the original string-quintet later. He was no beginner in chamber music version, which Brahms burned, the piano when he began this project. He had already duet was published — and is still performed written dozens of ensemble works before and appreciated — as his Op. 34bis. he dared to publish one, his B-major Piano By this time, however, Brahms must have Trio (Op. 8) of 1853–54. Among those early, grown convinced of the musical merits of his unpublished chamber pieces were 20-odd material and, with some coaxing from his string quartets, all of which he consigned friend Clara Schumann, he gave the piece to destruction prior to finally publishing his one more try, incorporating the most idiom- three mature works in that classic genre in atic aspects of both versions. The resulting the 1870s. In truth, he did get some use out Piano Quintet, the composer’s only essay of those early quartets — to paper the walls in that genre (and no wonder, after all that and ceilings of his apartment. -
Recensione Del CD the Book of Bilbo and Gandalf – Marco Lo Muscio Ho
Recensione del CD The Book of Bilbo and Gandalf – Marco Lo Muscio Ho recentemente acquistato il CD ed è stata una bellissima sorpresa scoprire le raffinate composizioni del Maestro Lo Muscio, che con notevole sensibilità ed eccellente capacità espressiva ci introduce nelle magiche atmosfere della “Terra di mezzo”. Il lavoro si ispira al famoso racconto Tolkieniano, ed attraverso 9 brani ci accompagna per mano nella fantastica narrazione di alcuni capitoli del Signore degli Anelli.. Inoltre il tutto è magicamente impreziosito dalle stupende performance di Steve Hackett, il quale ha dedicato un brano di chitarra classica all’amico Marco, John Hackett e Oksana Sinkova al flauto traverso, e da Par Lindh, che introduce il lavoro con un bellissimo brano degli anni passati, sul quale interviene nel finale il Maestro Lo Muscio con il Piano con una riuscita elaborazione del tema portante, conferendo allo stesso maggior respiro ed un finale più espressivo. Il successivo brano si struttura su un tema estremamente raffinato con atmosfere celtiche, qui si possono assaporare le grandi capacità espressive di Lo Muscio. Il terzo brano è una bellissima suite ispirata al racconto del mago Gandalf nella saga del Signore degli Anelli, esprime forza, energia, estro ed, al momento opportuno, quando non te lo aspetti, il Mago, pardon, il Maestro Lo Muscio, estrae dal suo cilindro compositivo un tema meraviglioso che ravviva le atmosfere di “Ombra e Luce” che riflettono il titolo del brano. Bellissimo! Il quarto brano è una splendida composizione di Steve Hackett dedicata a Lo Muscio, che si inserisce a meraviglia nell’album. Molto intimistico e raffinato, Steve imprime al suono della chitarra classica un alone di magia che si amalgama a perfezione con il sound dell’intero lavoro. -
April 1911) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1911 Volume 29, Number 04 (April 1911) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 29, Number 04 (April 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/568 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. TWO PIANOS THE ETUDE FOUR HANDS New Publications The following ensemble pieces in- S^s?^yssL*aa.‘Sffi- Anthems of Prayer and Life Stories of Great nai editions, and some of the latest UP-TO-DATE PREMIUMS Sacred Duets novelties are inueamong to addthe WOnumberrks of For All Voices &nd General Use Praise Composers OF STANDARD QUALITY A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. sis Edited by JAMES FRANCIS COOKE Subscription Price, $1.60 per jeer In United States Alaska, Cuba, Po Mexico, Hawaii, Pb’”—1— "-“-“* *k- "•* 5 In Canada, »1.7t STYLISH PARASOLS FOUR DISTINCT ADVANCE STYLES REMITTANCES should be made by post-offlee t No.