Music 130-205 Piano Ensemble
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A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
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. -
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. -
Nicolas Namoradze Honens Prize Laureate Chamber Music / Works for Piano & Voice
NICOLAS NAMORADZE HONENS PRIZE LAUREATE CHAMBER MUSIC / WORKS FOR PIANO & VOICE K. Agócs Immutable Dreams (quintet) Bartók Piano Quintet Beethoven Sonata for Piano and Violin in A Major Op. 12 No. 2 Quintet for Piano and Winds Op. 16 Sonata for Piano and Horn in F Major Op. 17 Sonata for Piano and Violin in F Major Op. 24 Sonata for Piano and Cello in A Major Op. 69 Sonata for Piano and Cello in D Major Op. 102 No. 2 Brahms Piano Trio in B Major Op. 8 Piano Quartet in G minor Op. 25 selections from Waltzes Op. 39 Sonata for Piano and Violin in G Major Op. 78 Sonata for Piano and Cello in F Major Op. 99 Piano Trio in C minor Op. 101 Britten Gemini Variations for flute, violin and piano four-hands (Secondo) Cartan Introduction et Allegro for Piano and Wind Quintet Castiglioni Quickly—Variations for Chamber Ensemble Copland Appalachian Spring (chamber version for 13 players) Why do the shut me out of heaven? (voice and piano) Danzon Cubano (Piano I) Rodeo Hoe-Down (Piano I) Debussy Sonata for Piano and Violin L. 140 La Mer (transcription for piano four-hands / Secondo) Jeux (transcription for two pianos: Roques / Primo) Petite Suite (Secondo) Prélude à l’après-midi d’une faune (transcription for two pianos / Piano I) Prélude à l’après-midi d’une faune (transcription for piano four-hands: Ravel / Secondo) Danses sacrée et profane (transcription for two pianos / Piano II) Dvorak selections from Slavonic Dances Opp. 46 & 72 Dohnányi selections from Ruralia Hungarica Op. -
Repertoire List~
~Repertoire List~ Contact us for your desired selection! Title Composer Ensemble A Thousand Years C. Perri Quartet Across the Universe Beatles Quartet Agnus Dei/Holy Holy Holy Michael W. Smith Quartet Air Bach Quartet Air from Water Music Handel Solo, Duet, Trio, Quartet Air On G Bach Duet, Trio, Quartet All I Want is You U2 Quartet All of Me Holliday Trio, Quartet All of Me John Legend Quartet All You Need is Love The Beatles Quartet Alleluia Church Music Quartet (Piano Score) Allelujia from Exultate Jubilate Mozart Duet, Trio, Quartet Amazing Grace Traditional Solo, Duet, Trio, Quartet Amen Church Music Quartet (Piano Score) Andante from Piano Concert 21 Mozart Trio, Quartet Annie’s Song J. Denver Quartet Annie’s Theme Alan Silvestri Trio, Quartet Apollo 13 Horner Quartet Appalachia Waltz O’Connor Trio, Quartet Arioso Bach Solo, Duet, Trio, Quartet Arrival of the Queen of Sheba Handel Trio, Quartet Ashokan Farewell Jay Ungar Quartet (Piano Score) At Last Harry Warren Quartet Ave Maria Bach-Gounod Solo, Duet, Trio, Quartet Ave Maria (A flat) Schubert Quartet (Piano Score) Ave Maria (B flat) Schubert Quartet Ave Verum Corpus Mozart Solo, Duet, Trio, Quartet (plus Piano Score) Barcarolle from Tales of Hoffman Offenbach Quartet Be Thou My Vision Traditional Duet, Trio, Quartet Beauty and the Beast Ashman Quartet Bei Mennern from The Magic Flute Mozart Quartet Best Day of My life American Authors Quartet Bist du bei mer Bach Trio, Quartet Bittersweet Symphony M. Jagger Quartet Blessed are They Church Music Quartet Blessed are Those Who Love You Haugen Quartet (Piano Score) Blue Moon Rodgers Quartet Born Free Barry Quartet Bourree Bach Solo, Duet, Trio, Quartet Bourree Handel Solo, Duet, Trio, Quartet Brandenburg Concerto No. -
Even String Quartets— No Longer Sit in Chairs When
It’s not a huge FINE, auprising, but a number of Upst ensembles—nding even string quartets— no longer sit in chairs when EMPIRE BRASS performing. What’s it all about? 26 may/june 2010 a ENSEMBLES ike most art forms, chamber music PROS by Judith Kogan performance has evolved to reflect For many people, it’s simply more com- Upst ndingchanges in society and technology. fortable to play standing up. It’s how we’re L As instruments developed greater power to taught to play and how we perform as solo- project, performances moved from small ists. Standing, it’s easier to establish good chambers to larger spaces, where professional posture with the instrument. musicians played to paying audiences. New Standing also allows freedom to express instrumentations, such as the saxophone with the whole body. With arms, shoulders quartet and the percussion ensemble, and waist liberated, a player’s range of motion emerged. By the late twentieth century, expands. For wind players, there’s better composers had recast what was once thought air flow. The ability to turn the whole body of as “intimate musical conversation” to in- makes it easier to communicate with other corporate abrasive electronically-produced ensemble members and the audience. One sonorities. Some works called for musi- arguably feels the rhythm of a piece better cians to wear headphones with click tracks, on one’s feet, and, perhaps unconsciously, preventing them from hearing each other. produces a bigger, fatter sound. Sometimes they couldn’t even hear them- In terms of acoustics, sound travels farther selves. -
Guide to Repertoire
Guide to Repertoire The chamber music repertoire is both wonderful and almost endless. Some have better grips on it than others, but all who are responsible for what the public hears need to know the landscape of the art form in an overall way, with at least a basic awareness of its details. At the end of the day, it is the music itself that is the substance of the work of both the performer and presenter. Knowing the basics of the repertoire will empower anyone who presents concerts. Here is a run-down of the meat-and-potatoes of the chamber literature, organized by instrumentation, with some historical context. Chamber music ensembles can be most simple divided into five groups: those with piano, those with strings, wind ensembles, mixed ensembles (winds plus strings and sometimes piano), and piano ensembles. Note: The listings below barely scratch the surface of repertoire available for all types of ensembles. The Major Ensembles with Piano The Duo Sonata (piano with one violin, viola, cello or wind instrument) Duo repertoire is generally categorized as either a true duo sonata (solo instrument and piano are equal partners) or as a soloist and accompanist ensemble. For our purposes here we are only discussing the former. Duo sonatas have existed since the Baroque era, and Johann Sebastian Bach has many examples, all with “continuo” accompaniment that comprises full partnership. His violin sonatas, especially, are treasures, and can be performed equally effectively with harpsichord, fortepiano or modern piano. Haydn continued to develop the genre; Mozart wrote an enormous number of violin sonatas (mostly for himself to play as he was a professional-level violinist as well). -
Memorandum LIBRARY of CONGRESS
UNITED STATES GOVERNMENT Memorandum LIBRARY OF CONGRESS 5JSC/LC/12 TO: Joint Steering Committee for Development of RDA DATE: February 6, 2008 FROM: Barbara B. Tillett, LC Representative SUBJECT: Proposed revision of RDA chap. 6, Additional instructions for musical works and expressions The Library of Congress is submitting rule revision proposals for the RDA December 2007 draft chapter 6 instructions for musical works and expressions. Goals of proposals 1. To maintain the additional instructions for music intact (although LC recommends integrating them with the general instructions after the first release of RDA). 2. To fill in gaps in the AACR2 rules carried over into RDA by a. Incorporating selected AACR2 rule revisions; b. Adding instructions that clarify, make explicit, or expand some principles and instructions carried over from AACR2; c. Proposing new instructions. 3. To simplify some unnecessarily complex instructions. 4. To arrange certain subsections in the six major instructions in a more logical way, based wherever possible on principles that group together types of resources having common characteristics. 5. To revise the instructions for medium of performance to provide for all media found in resources and to do that using vocabulary that adheres as closely as possible to the principle of representation: incorporating words the composer or resource uses. 6. To revise or eliminate instructions LC finds unworkable based on past experience with AACR2 (e.g., the instructions for key (6.22) in section M of this document). 7. In the interest of simplification, to eliminate vexing terms catalogers have spent inordinate amounts of time interpreting when using AACR2 (e.g., “type of composition” as a formal term when all it need be is a useful phrase; “score order”). -
Tesla Quartet
TESLA QUARTET R O S S S NYD E R & M I C H E L L E L IE, V I O L I N S – E D W I N K APLAN , V I O L A – S E R A F I M S MIGELSKIY, CELLO 412.952.8676 • [email protected] • www.teslaquartet.com Repertoire * Tesla Quartet commission/premiere String Quartets Elliott Bark Tango Suite Bartók String Quartet No.2, Sz.67 (Op.17) String Quartet No.4, Sz.91 String Quartet No.6, Sz.114 Romanian Folk Dances (arr. Snyder) Beethoven String Quartet in G, Op.18 No.2 String Quartet in B-flat, Op.18 No.6 String Quartet in F, Op.59 No.1 String Quartet in C, Op.59 No.3 String Quartet in F, Op.135 Matthew Browne Great Danger, Keep Out* Brett Dean Eclipse Debussy String Quartet in G minor, Op.10 Dutilleux Ainsi la nuit Dvořák String Quartet No.12 in F, Op.96, “American” String Quartet No.14 in A-flat, Op.105 Erberk Eryılmaz Miniatures Set No.4 Haydn String Quartet in C, Op.20 No.2 String Quartet in D, Op.20 No.4 String Quartet in B minor, Op.33 No.1 String Quartet in G, Op.33 No.5 String Quartet in G, Op.76 No.1 String Quartet in B-flat, Op.76 No.4, “Sunrise” String Quartet in D, Op.76 No.5 Janáček String Quartet No.1, “The Kreutzer Sonata” TESLA QUARTET R O S S S NYD E R & M I C H E L L E L IE, V I O L I N S – E D W I N K APLAN , V I O L A – S E R A F I M S MIGELSKIY, CELLO 412.952.8676 • [email protected] • www.teslaquartet.com Daniel Kellogg “Soft Sleep Shall Contain You” Ligeti Andante and Allegretto Gabriel Lubell A Study of Luminous Objects: String Quartet No.1 Albéric Magnard String Quartet, Op.16 Mendelssohn String Quartet in A minor, Op.13 -
6Th Grade Music: String Quartets
Name: ______________________________________ Music 6___________ 6th Grade Music: String Quartets Instructions: Read the information below (this came from the website https://www.liveabout.com/string-quartet-101-723913). Prompt #1: Answer these questions using complete sentences. 1. Use your own words to describe what a string quartet is. 2. String quartets are usually made up of four movements (sections). Which of the four movements are usually fast? Circle all that apply a. First movement b. Second movement c. Third movement d. Fourth movement. Prompt #2: Under “Notable String Quartet Composers” below, choose one YouTube video to listen to. You do not need to listen to the entire video. Answer the following questions as you watch and listen: 1. Write the name of the composer you chose. 2. Is the beginning slow (Adagio) or fast (Allegro)? 3. The musicians are seated in a certain order. How do their instruments relate to that order? Information was found on this website: https://www.liveabout.com/string-quartet-101-723913 4. How do the musicians respond to each other while playing? Prompt #3: Under Modern String Quartet Music, find the Love Story quartet by Taylor Swift. Listen to it as you answer using complete sentences. 1. Which instrument is plucking at the beginning of the piece? (If you forgot, violins are the smallest instrument, violas are a little bigger, cellos are bigger and lean on the floor). 2. Reflect on how this version of Love Story is different from Taylor Swift’s original song. How would you describe the differences? What does this version communicate? Information was found on this website: https://www.liveabout.com/string-quartet-101-723913 String Quartet 101 All You Need to Know About the String Quartet The Jerusalem Quartet, a string quartet made of members (from left) Alexander Pavlovsky, Sergei Bresler, Kyril Zlontnikov and Ori Kam, perform Brahms’s String Quartet in A minor at the 92nd Street Y on Saturday night, October 25, 2014. -
Evaluationof a Method for Separating Digitized Duet Signals*
PAPERS i Evaluationof a Method for Separating Digitized Duet Signals* ROBERT C. MAHER Department of Electrical Engineering, University of Nebraska-Lincoln, Lincoln, NE 68588-0511, USA A new digital signal-processing method is presented for separating two monophonic musical voices in a digital recording of a duet. The problem involves time-variant spectral analysis, duet frequency tracking, and composite signal separation. Analysis is performed using a quasi-harmonic sinusoidal representation based on short-time Fourier transform techniques. The performance of this approach is evaluated using real and artificial test signals. Applications include background noise reduction in live recordings, signal restoration, musicology, musique concrete, and digital editing, splicing, or other manipulations. 0 INTRODUCTION criteria may be identified. If two interfering signals occupy nonoverlapping frequency bands, for example, Separation of superimposed signals is a problem of the separation problem can be solved by using fre- interest in audio engineering. For example, it would quency-selective filters. In other cases the competing often be useful to identify and remove undesired in- signals may be described in a statistical sense, allowing terference (such as audience or traffic noise) present separation using correlation or a nonlinear detection during a live recording. Other examples include sep- method. However, most superimposed signals, such aration and replacement of errors in a recorded musical as two musical instruments playing simultaneously, do performance, separation of two simultaneous talkers not allow for such elementary decomposition methods, in a single communications channel, or even adjustment and other strategies applicable for signal separation of the level imbalance occurring when one musician must be discovered. -
The Critical Reception of Beethoven's Compositions by His German Contem- Poraries, V
The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 92 to Op. 100 Translated and edited by Robin Wallace © 2020 by Robin Wallace All rights reserved. ISBN 978-1-7348948-1-3 Center for Beethoven Research Boston University Contents Foreword 7 Op. 92. Symphony no. 7 in A Major 92.1 “Review.” 9 Allgemeine musikalische Zeitung 18 (27 November 1816): col. 817–22. 92.2 “Review” 20 Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat 1 (23 and 30 January 1817): 25–27, 37–40. 92.3 “News. Leipzig. Weekly Concerts in the Gewandhaussaal.” 26 Allgemeine musikalische Zeitung 19 (28 February 1817): col. 163. 92.4 “Fragment from Rosaliens Briefen an Serena, 27 Edited by Friedrich Mosengeil.” Allgemeine musikalische Zeitung 19 (26 March 1817): col. 217–22. 92.5 “This Year’s Concerts by the Philharmonic Society in London.” 31 Allgemeine musikalische Zeitung 24 (19 June 1822): col. 409. 92.6 “News. Strassburg.” 32 Allgemeine musikalische Zeitung 24 (28 August 1822): col. 570. 3 contents 92.7 “Aachen, 28 Feb.” 33 Stadt Aachener Zeitung (2 March 1823). 92.8 K. Br[eidenstein?]. 34 “The Lower Rhine Music Festival in Elberfeld, 1823.” Beiblatt der Kölnischen Zeitung 19 (1 June 1823). 92.9 C. Fr. Ebers 37 “Reflections.” Caecilia 2 (1825): 271–72. 92.10 “News. Cassel, 10 December 1827.” 39 Allgemeine Musikzeitung zur Beförderung der theoretischen und praktischen Tonkunst für Musiker und für Freunde der Musik überhaupt 1 (9 January 1828): 21–22. Op. 93. Symphony no. 8 in F Major 93.1 A. W. 41 “On Beethoven’s Newest Symphony.” Leipziger Kunstblatt für gebildete Kunstfreunde 1 (14 February 1818): 280.