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Magical Returns and the Interior Landscape of Chopin's Mazurkas
Swarthmore College Works Music Faculty Works Music 2010 Magical Returns And The Interior Landscape Of Chopin's Mazurkas Barbara Ann Milewski Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-music Part of the Music Commons Recommended Citation Barbara Ann Milewski. (2010). "Magical Returns And The Interior Landscape Of Chopin's Mazurkas". The Sources Of Chopin's Style: Inspirations And Contexts. 71-80. https://works.swarthmore.edu/fac-music/71 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Music Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Barbara Milewski Magical Returns and the Interior Landscape of Chopin’s Mazurkas In 1880, the writer Marceli Antoni Szulc published an article in Poland’s leading music journal, Echo Muzyczne, in which he continued a discussion of Chopin’s compositions begun earlier in his 1873 mono graph titled Frydery\ Chopin i utwory jego muzyczne [Fryderyk Chopin and his Musical Works]. The discussion concerned conjure up musically ‘scenes’, ‘situations’ or ‘episodes’ that, according to Szulc, ‘reflected the state of the composer’s soul’. To illustrate his point, he turned to a select number of works, among them the A minor Mazurka, Op. 17 No. 4: Chopin did not like program music, and yet more than one of his composi tions, full of expressive character, could rightly be included in this category of music. Who, for example, does not know the No. 4 Mazurka of the Op. 17 set dedicated to Madame Lina Freppa.? It was already known in our country by the title ‘The Little Jew’ before the artist went abroad. -
Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support. -
SEPTEMBER 2009 LIST See Inside for Valid Dates
tel 0115 982 7500 fax 0115 982 7020 SEPTEMBER 2009 LIST See inside for valid dates Dear Customer This month, the record labels get back to the serious business of high profile new releases and we offer them all at our usual attractive prices! The much anticipated Brahms Symphonies with the Berlin Phil & Rattle on EMI are finally released & we can highly recommend them - superb playing and sparkling yet ‘natural’ interpretations. A delight. You want the big names? Jonas Kaufmann, Nicola Benedetti, Renee Fleming, Marcello Alvarez & Mitsuko Uchida all make their appearance on Universal labels. Brendel’s digitally recorded Beethoven Sonatas from the 1990s at last becomes available at a sensible price. EMI wheel out the big guns including Villazon, Pape & Pappano in Verdi’s Messe da Requiem along with Sarah Chang performing the Brahms & Bruch Violin Concerti. We also very much like the Brahms Piano Quintet & Quartet no. 1 with the Quatuor Ebene. Hyperion give us Angela Hewitt performing Handel & Haydn and vol 12 of the Byrd Edition with Cardinall’s Musik whilst ECM follow up their highly recommended Schiff Bach series with the Six Partitas. Our special offers are many & varied. We have the whole Hyperion catalogue reduced, along with Channel Classics, Telarc, full-price Harmonia Mundi titles, Alto, NMC, Svetlanov & Toccata. We also make available a large range of EMI Box Sets, their ’Very Best Of’ series & the Nigel Kennedy catalogue, all at significant reduced prices. Something for everyone. Enjoy perusing the list & we look forward to supplying your classical requirements. Mark, Richard & Mike DON’T FORGET - UK Carriage is FREE over £30 Chandos offer now extended! The reductions on Chandos titles now apply until Friday 25th September, including the multibuy offer of only £8.95 each on full-price single discs! Offers still available from our AUGUST 2009 list (until Friday, 25 September, 2009) Universal Classics Mendelssohn & Purcell titles, & selected DG ‘Originals’ recordings….. -
75Thary 1935 - 2010
ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State. -
Robert Schumann (1810 – 1856)
English Johannes Brahms (1833 – 1897) Concerto for Piano and Orchestra No. 2 in B Flat op. 83 (1878-81) Brahms' first piano concerto had plunged him into a state of deep crisis. His "Seven Years' War" lasted from 1854 to 1861, and he still cursed his completed work. But now, in 1881, he happily announced a new success. In a letter dated 7 July, Brahms wrote to Elisabeth von Herzogenberg: I want to tell you that I have written a tiny little piano concerto with a little wisp of a scherzo. It is set in B flat – I am afraid I have used this otherwise good source of milk too often and too much. If we consider Brahms notorious shyness of big and pompous words, we can read an almost tender pride here. So here we have a rare case where Brahms, otherwise his own harshest critic, tells us that his piano concerto op. 83 had turned out well. And after its premiere in Vienna, critic Eduard Hanslick observed: Brahms' Christmas gift to the people of Vienna this year is a gem of a concerto. The Concerto in B Flat is - in a more stricter sense than alleged of the other concertos - a major symphony with an obbligato piano. This concerto type does not aim to display the pianist's virtuosity but to integrate it sensibly into the symphonic fabric. The mature Brahms never subjects his formal - and very logical - construction to academic constraints. This is clear from the very start of the first movement with its prelude-like opening, the famous dialogue between horn and piano. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Des Coups De Cœur… La Musique Prime, C'est-À-Dire Le Compositeur
Des coups de cœur… La musique prime, c'est‐à‐dire le compositeur ou l’interprète. Il s’agit de choix très subjectifs avec une règle qui est de ne pas constituer une discothèque à partir de quelques interprètes fétiches. Dans le même esprit, ce choix de l’interprétation est unique, ce qui ne signifie pas qu’il soit exclusif… Quelques commentaires succincts accompagnent ma sélection ainsi que quelques versions alternatives. Si ma discothèque fait une grande place aux interprétations de Richter, Guillels, Argerich, Oistrakh, Kogan, Kagan, Gutman, Bernstein, Karajan, Mravinski, c’est aussi parce qu’ils jouent les œuvres de Bach, Mozart, Haydn, Beethoven, Schubert, Schumann, Tchaïkovski, les musiciens de l’école de Vienne… leur répertoire est immense des classiques à la musique de notre temps. Finalement, j’ai peu d’affinité avec des musiciens au répertoire réduit comme Brendel et qui souvent critiquent la musique actuelle sauf celle qui tourne le dos à l’avenir comme Ciccolini et de façon surprenante Jean‐François Zygel. Cette liste, avec aussi ses thèmes, donnera peut être des pistes de découvertes. Mateo Albéniz, sonate par Alicia de Larrocha Dans la lignée de Scarlatti mais vraiment espagnole, une petite pièce, un petit bijou, une petite mécanique de précision, à écouter et à jouer… des années 1800. La pianiste espagnole est une experte de ces pièces courtes. C’est un cd Decca qui multiplie les feux d’artifices d’Albéniz, de Falla, de Granados et fait découvrir Mompou et Turina Charles‐Valentin Alkan, sonate de concert op 47 par Emmanuelle Bertrand et Pascal Amoyel Musicien du 19ème siècle, Alkan semble avoir été très atypique et caractériel. -
The Evolution of Sonata Form in the Wind Music of W.A. Mozart
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Digital Commons / Institutional Repository Information Digital Commons - Information and Tools March 2006 The Evolution of Sonata Form in the Wind Music of W.A. Mozart Brian Alber University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/ir_information Part of the Library and Information Science Commons Alber, Brian , "The Evolution of Sonata Form in the Wind Music of W.A. Mozart" (2006). Digital Commons / Institutional Repository Information. 20. https://digitalcommons.unl.edu/ir_information/20 This Article is brought to you for free and open access by the Digital Commons - Information and Tools at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Digital Commons / Institutional Repository Information by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The music of Wolfgang Amadeus Mozart is held up as the pinnacle of Classical ideals. The numerous writings on his life and music are extensive and represent a large body of research into one of the most prolific composers to ever live. Embodying all major genres such as the string quartet, the symphony, the solo concerto and opera, Mozart confidently displayed his mastery in all instrumental and vocal combinations. Through his music, we can see a clear development in formal concepts starting with established schemes such as rondo and minuet forms from the Baroque period, to sonata forms that were cemented during the Classical period. A survey of Mozart’s symphonies and concerti clearly demonstrate his development and mastery of sonata form. It is within his wind music that a similar maturation occurs, although on a smaller scale. -
CHARLES ROSEN Pianist
UNIVERSITY MUSICAL SOCIETY CHARLES ROSEN Pianist Sunday Afternoon, February 9, 1992, at 4:00 Rackham Auditorium, Ann Arbor, Michigan Charles Rosen is represented by Columbia Artists Management Inc., New York City. Twenty-second Concert of the 113th Season 21st Annual Choice Series PROGRAM Nocturne in B major, Op. 62, No. 1 Frederic Chopin (1810-1849) Barcarolle in F-sharp major, Op. 60 .................. Chopin Six Mazurkas ......... Chopin F-sharp minor, Op. 6, No. 1 C major, Op. 24, No. 2 C-sharp minor, Op. 6, No. 2 A-flat major, Op. 50, No. 2 A minor, Op. 17, No. 4 C-sharp minor, Op. 50, No. 3 Polonaise-fantaisie in A-flat major, Op. 61 ............... Chopin INTERMISSION Thirty-three Variations on a Waltz by Diabelli, Op. 120 ...... Ludwig van Beethoven (1770-1827) 1. Alia marcia maestoso 18. Poco moderato 2. Poco allegro 19. Presto 3. L'istesso tempo 20. Andante 4- Un poco piu vivace 21. Allegro con brio: Meno allegro 5. Allegro vivace 22. Allegro molto alia "Notte e 6. Allegro ma non troppo e serioso giorno faticar" di Mozart 7. Un poco piu allegro 23. Allegro assai 8. Poco vivace 24- Fughetta: Andante 9. Allegro pesante e risoluto 25. Allegro 10. Presto 26. Allegretto 11. Allegretto 27. Vivace: L'istesso tempo 12. Un poco piu moto 28. Allegro 13. Vivace 29. Adagio ma non troppo 14. Grave e maestoso 30. Andante sempre cantabile 15. Presto scherzando 31. Largo, molto espressivo 16. Allegro 32. Fuga: Allegro 17. L'istesso tempo 33. Tempo di minuetto moderato About the Artist harles Rosen is internationally renowned as one of the out standing keyboard artists of our time and as a writer and lecturer of extraordinary perception in theC fields of music, literature, and intellectual history. -
Editors' Introduction: Adorno, Music, Modernity
Editors' Introduction: Adorno, Music, Modernity The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Gordon, Peter E., and Alexander Rehding. 2016. “Editors’ Introduction: Adorno, Music, Modernity.” New German Critique 43 (3 129) (November): 1–4. doi:10.1215/0094033x-3625283. Published Version doi:10.1215/0094033X-3625283 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:34391749 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Editors’ Introduction: Adorno, Music, Modernity New German Critique: Special Issue on Adorno and Music Peter E. Gordon and Alex Rehding (Harvard University) “As a temporal art,” Adorno observed, “music is bound to the fact of succession and is hence as irreversible as time itself. By starting it commits itself to carrying on, to becoming something new, to developing. What we may conceive of as musical transcendence, namely, the fact that at any given moment it has become something and something other than it was, that points beyond itself—all that is no mere metaphysical imperative dictated by some external authority. It likes in the nature of music and will not be denied.”1 Such remarks serve to remind us once again that Adorno was at once a philosopher and a musicologist: amongst all the members of the Frankfurt School he possessed not only a sociological and social-theoretical awareness of the dialectical relation between music and society, but also an incomparable feel for the inner power of music. -
Rosenobituary
From Standpoint (a British Magazine) Music A Fusion of Piano and Cerebellum NORMAN LEBRECHT March 2013 Charles Rosen: He could pick a fight in an empty room Days after Charles Rosen's death in December, videos began to appear in which the master pianist was seen holding forth in accent-free French on the music of Pierre Boulez, in Italian on the problems of music criticism and in robust Upper West Side English on practically every topic known to man, at irrepressible length and with irrefutable authority. Charles was the epitome of the philosopher-pianist, a hybrid species that risks extinction with his passing and which deserves more concentrated attention than he himself accorded it, and in much shorter sentences. So there. Charles was, first off, a pianist. Steeped in the grand tradition by the Liszt pupil Moriz Rosenthal, and drawn to the Russian fantasy by the playing of Josef Hofmann, he imposed an incontrovertible immediacy on whatever he played, be it Bach's Goldberg Variations or the constipated chordal sequences of middle-period Elliott Carter. His manner of playing made you believe that this piece could go no other way. A friend who heard him play on ill-tuned Oxford college pianos observes that, of all modern pianists, only Sviatoslav Richter possessed that monumental rightness in performance — that sense of having received the truth from source and, simultaneously, asserting that it would never sound the same again, that its centre of gravity would shift as the earth turns. If you can afford the ICA Classics release of Richter's Festival Hall Beethoven recital of June 18, 1975 you will hear exactly what is meant by this rightness. -
Cello Biennale 2018
programmaoverzicht Cellists Harald Austbø Quartet Naoko Sonoda Nicolas Altstaedt Jörg Brinkmann Trio Tineke Steenbrink Monique Bartels Kamancello Sven Arne Tepl Thu 18 Fri 19 Sat 20 Sun 21 Mon 22 Tue 23 Wed 24 Thu 25 Fri 26 Sat 27 Ashley Bathgate Maarten Vos Willem Vermandere 10.00-16.00 Grote Zaal 10.00-12.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal 09.30 Grote Zaal Kristina Blaumane Maya Beiser Micha Wertheim First Round First Round (continued) Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Bach&Breakfast Arnau Tomàs Matt Haimovitz Kian Soltani Jordi Savall Sietse-Jan Weijenberg Harriet Krijgh Lidy Blijdorp Mela Marie Spaemann Santiago Cañón NES Orchestras and Ensembles 10.15-12.30 10.15-12.30 10.30-12.45 Grote Zaal 10.15-12.30 10.15-12.30 10.15-12.30 10.15-12.30 10.30 and 12.00 Kleine Zaal Master class Master class Second Round Masterclass Masterclass Masterclass Masterclass Valencia Svante Henryson Accademia Nazionale di Santa Show for young children: Colin Carr (Bimhuis) Jordi Savall (Bimhuis) Jean-Guihen Queyras Nicolas Altstaedt (Bimhuis) Roel Dieltiens (Bimhuis) Matt Haimovitz (Bimhuis) Colin Carr Quartet Cecilia Spruce and Ebony Jakob Koranyi (Kleine Zaal) Giovanni Sollima (Kleine (Bimhuis) Michel Strauss (Kleine Zaal) Chu Yi-Bing (Kleine Zaal) Reinhard Latzko (Kleine Zaal) Zaal) Kian Soltani (Kleine Zaal) Hayoung Choi The Eric Longsworth Amsterdam Sinfonietta 11.00 Kleine Zaal Chu Yi-Bing Project Antwerp Symphony Orchestra Show for young children: