DOCSLIB.ORG

Jan Lisiecki Fryderyk Chopin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jan Lisiecki Fryderyk Chopin Invesco Piano Concerts Jan Lisiecki Sunday, March 3, 2019 at 3:00pm Pre-concert Talk at 2:00pm This is the 922nd concert in Koerner Hall PROGRAM – “Night Music” Fryderyk Chopin: Two Nocturnes, op. 55 No. 1 in F Minor No. 2 in E flat Major Robert Schumann: 4 Nachtstücke, op. 23 I. Mehr langsam, oft zurückhaltend II. Markiert und lebhaft III. Mit grosser Lebhaftigkeit IV. Einfach Maurice Ravel: Gaspard de la nuit I. Ondine. Lent II. Le Gibet. Très lent III. Scarbo. Modéré INTERMISSION Sergei Rachmaninov: Cinq morceaux de fantaisie, op. 3 I. Élégie II. Prélude III. Mélodie IV. Polichinelle V. Sérénade Fryderyk Chopin: Nocturne No. 19 in E Minor, op. 72, no. 1 Fryderyk Chopin: Scherzo No. 1 in B Minor, op. 20 Fryderyk Chopin Born in Żelazowa Wola, nr. Warsaw, Poland, March 1, 1810; died in Paris, France, October 17, 1849 Two Nocturnes, op. 55 (1842-4) Nocturne No. 19 in E Minor, op. 72, no. 1 Scherzo No. 1 in B Minor, op. 20 “From their very first sounds, we are immediately transported to those hours when the soul, released from the day’s burdens, retreats into itself and soars aloft to secret regions of star and sky.” That is how Franz Liszt described the Irish pianist John Field’s transformation of the 18th century festive, serenade-like notturno, to the 19th century dream- like nocturne, “designed to portray subjective and profound emotions.” If John Field impressed Liszt, as well as Chopin and most who heard him with his poetic, inward-looking, evening reveries, it was left to Chopin to take the nocturne deeper into the night over the course of his 20 Nocturnes. The E Minor Nocturne, (published six years after his death, misleadingly as op. 72, no. 1), is the earliest of them, dating from the late 1820s, while he was still a student at the Warsaw Conservatory. Its expressive right-hand writing carries the melody throughout and reflects the young Chopin’s love of the long, sustained, elaborately decorated vocal line found in Italian bel canto. Where its more agitated middle section is a contrasting variation on the main theme, in many of the later nocturnes, including the F Minor, op. 55, no. 1, the middle section becomes a more clearly defined agitated diversion, here heightening the expressive fioriture which surrounds the return of the calm, composed main theme. By contrast, the intensely inward-looking E flat Major, op. 55, no. 2, restlessly roams over a complex interweaving of musical lines and sophisticated textural writing in one of the most sophisticated yet graceful of Chopin’s Nocturnes. Chopin was exploring new territory when he wrote single virtuoso scherzo movements outside the context of the symphony and piano sonata. Without the framework of contrasting sonata movements, he made a point of providing contrast within the scherzo itself. The principle behind the four Scherzos is that of alternating dramatic and lyrical ideas. A lively outer section often encompasses a more lyrical middle episode, though the shape of each Scherzo does vary. The heroic opening chords of the Scherzo No. 1 in B Minor, op. 20 and its subsequent dynamic, scampering passagework seem to throw a challenge to Chopin’s Parisian piano rivals. The turbulence of the work is relieved by a contrasting central episode where the young Chopin recalls his homeland in a melody from a Christmas folk-song “Lulajze Jezuniu” (Sleep, Little Jesus). “How will gravity array itself, if wit is already cloaked so darkly?” asked Robert Schumann when reviewing the piece. Robert Schumann Born in Zwickau, Saxony, June 8, 1810; died in Endenich, nr. Bonn, Germany, July 29, 1856 4 Nachtstücke, op. 23 (1839-40) The night visions turn darker in Schumann’s cycle of four Night Pieces, op. 23. “Somebody seemed to be sighing and saying from the bottom of his heart ‘Ach Gott!’” Schumann wrote to his then fiancée Clara Wieck, April 7, 1839. “While I was composing, I kept seeing funerals, coffins, and unhappy despairing faces.” Schumann’s premonitions of death led to a cycle of four pieces to which he gave the morbid working title Leichenphantasien (Corpse Fantasy). He changed it to Night Pieces when he heard of his brother Eduard’s sudden and unexpected death, stunned and, at the same time, somewhat fascinated by the premonitions he had been having, without knowledge of his brother’s illness. The title can be traced back to a collection of ghost stories by E. T. A. Hoffmann published some two decades earlier. By the January 1840 publication date, Schumann had dropped a subsequent idea of naming the movements “Funeral March,” “Strange Company,” “Nocturnal Revels,” and “Round with Solo Voices.” The intensity of the loss of a brother remains in the element of mystery and dark undercurrents which colour the recurring theme of No. 1. The piece eventually fades to black but its slow, march-like rhythm reappears in the last piece of the set, which has the gentle character of a fond farewell. Maurice Ravel Born in Ciboure, France, March 7, 1875; died in Paris, France, December 28, 1937 Gaspard de la nuit (1908) As one of the greatest of Ravel’s piano works, Gaspard de la nuit (Casper of the Night) was inspired by a set of macabre prose poems by the proto-symbolist poet Aloysius Bertrand – a near contemporary of Schumann. In writing them, Bertrand said, Satan (Gaspard) appeared to him in darkest night and suggested a series of fantastic, eerie tales after the manner of Edgar Allan Poe or E. T. A. Hoffmann. Taking Bertrand’s vivid pictorial imagery and marrying it with the virtuoso, diabolic piano style of Liszt, Ravel produced three extraordinarily demanding miniature tone poems for piano. They require extremes of tone colour and shading that had never before been required from a pianist. For the nymph Ondine, a siren attempting to lure a mortal to her underwater palace, Ravel produces water imagery of the utmost subtlety. Shimmering, almost tactile in its effect, the subdued music disappears with a snatch of mocking laughter. Le gibet hovers around an ever-present, tolling B flat. It is consciously monotonous in its effect and the embodiment of the late 19th century concept of ennui. French pianist Henri Gil-Marchex once tallied more than two dozen different kinds of touch necessary to draw out its tone colour. The music portrays “the tolling of a bell that sounds from the walls of a town beyond the horizon, and the hanging corpse glowing red in the setting sun.” The dwarf Scarbo scratches on the silk curtains, drops from the ceiling, and “flits around the room like the handle off a witch’s broomstick.” The music is hallucinatory, dark, and terrifying. Ravel said that he intended to write something that was more technically challenging than anything in Liszt or in Balakirev’s Islamey. Pianists do not disagree. He also said that in Scarbo he wished to produce “a caricature of romanticism.” Under his breath, he added, “Maybe I got carried away.” Sergei Rachmaninov Born in Semyonovo, Russia, March 20/April 1, 1873; died in Beverly Hills, California, March 28, 1943 Cinq morceaux de fantaisie, op. 3 First performed at the Moscow Electrical Exposition in 1892, the prelude that Rachmaninov grew to hate and call ‘It’ was written when he was just 19. The C sharp minor prelude packs a lot into its four and a half minutes. Its brooding, soulful opening, built on the interval of a falling sixth, brings to mind Stravinsky’s description of his fellow Russian as “6 feet 2 inches of Russian gloom.” The entire prelude, including the stormy impassioned middle section where Rachmaninov could display some of his phenomenal piano technique, grows out of the opening three notes. Its sonorous, bell-like triumphant conclusion rapidly made it a natural concert closer, demanded – though not always provided – wherever he performed. Rachmaninov included the prelude as the second piece in his first publication – a collection of five character pieces which the publisher named Morceaux de fantaisie, op. 3. All the pieces date from 1892 and all contain hallmarks of the mature composer’s style. The Élégie features a characteristically broad right-hand melody and writing that spans the entire keyboard. The Mélodie, built around a gentle melody in the tenor, supported by pulsing right-hand triplets, was one of Rachmaninov’s favourites. The title of the fourth piece of the set Polichinelle (the French version of the commedia dell’arte character Pulcinella, or Punch) was suggested by a fellow student at the Moscow Conservatoire. Its pianistically brilliant and wide-ranging writing make this tightly controlled, virtuoso scherzo one of Rachmaninov’s most original early pieces. In complete contrast, the improvisatory opening of the Sérénade leads to Spanish-coloured song with guitar-like accompaniment. - Program notes © 2019 Keith Horner Jan Lisiecki Piano At 23, pianist Jan Lisiecki is already recognized as one of the greatest pianists of our time. Acclaimed for his extraordinary interpretive maturity, distinctive sound, and poetic sensibility, he is “a pianist who makes every note count” (The New York Times). His insightful interpretations, refined technique, and natural affinity for art give him a musical voice that belies his age. In 2017, Mr. Lisiecki received the Echo Klassik, Germany’s most significant classical music award, as well as the Juno Award, honouring his fourth recording for Deutsche Grammophon, featuring Chopin’s rarely-performed works for piano and orchestra with NDR Elbphilharmonie Orchester and Krzysztof Urbański. His latest album for the label, released in February 2019, features both Mendelssohn concertos with Orpheus Chamber Orchestra as well as selected solo works.
Load more

Recommended publications
  • October 2015
    October 2015 Bertrand Chamayou INSIDE: Ian Bostridge | Sarah Connolly Ehnes Quartet | Thomas Hampson Alina Ibragimova & Cédric Tiberghien Magdalena Kozˇená & Mitsuko Uchida Steven Isserlis | Robert Levin Sandrine Piau | Christoph Prégardien Stile Antico | Vox Luminis And many more Box Office 020 7935 2141 Online Booking www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office 36 Wigmore Street, London W1U 2BP In Person 7 days a week: 10 am – 8.30 pm. Days without an evening concert 10 am – 5 pm. No advance booking in the half hour prior to a concert. Please note that the Box Office with be closed for bookings in person from Monday 27 July to Friday 4 September. By Telephone: 020 7935 2141 7 days a week: 10 am – 7 pm. Days without an evening concert 10 am – 5 pm. There is a non-refundable £3.00 administration fee for each transaction, which includes the return of your tickets by post if time permits. Online: www.wigmore-hall.org.uk 7 days a week; 24 hours a day. There is a non-refundable £2.00 administration charge. Standby Tickets Standby tickets for students, senior citizens and the unemployed are available from one hour before the performance (subject to availability) with best available seats sold at the lowest price. NB standby tickets are not available for Lunchtime and Coffee Concerts. Group Discounts Discounts of 10% are available for groups of 12 or more, subject to availability. Latecomers Latecomers will only be admitted during a suitable pause in the performance. Facilities for Disabled People full details available from 020 7935 2141 or [email protected] Wigmore Hall has been awarded the Bronze Charter Mark from Attitude is Everything TICKETS Unless otherwise stated, tickets are A–D divided into five prices ranges: BALCONY Stalls C – M W–Y Highest price T–V Stalls A – B, N – P Q–S 2nd highest price Balcony A – D N–P 2nd highest price STALLS Stalls BB, CC, Q – S C–M 3rd highest price A–B Stalls AA, T – V CC CC 4th highest price BB BB PLATFORM Stalls W – Y AAAA AAAA Lowest price This brochure is available in alternative formats.
    [Show full text]
  • Saison 2021 /22 Saison 2021 /22 Herzlich Willkommen! Alte Oper Frankfurt Inhaltsverzeichnis
    SAISON 2021 /22 SAISON 2021 /22 HERZLICH WILLKOMMEN! ALTE OPER FRANKFURT INHALTSVERZEICHNIS Einmal mit den Flügeln INHALT schlagen und abheben bitte. Starten Sie mit uns einen Flug über die Alte Oper, mitten ins IM ÜBERBLICK ABONNEMENTS 19 Herz der Stadt! FESTIVALS UND SCHWERPUNKTE 33 KONGRESSE UND EVENTS 51 DAS OFFENE HAUS 55 DANK 73 DIE KONZERTSAISON 2021/22 DIE KONZERTE DER ALTEN OPER TAG FÜR TAG 81 ANGEBOTE DER PARTNER 161 SERVICE 177 NEUE PERSPEKTIVEN So haben Sie das Konzerthaus noch nie gesehen. Halten Sie einfach die Kamera Ihres Smartphones auf den abgebildeten Code, um die Alte Oper aus ungewohnter Perspektive zu entdecken. Oder gehen Sie auf www.alteoper.de/rundflug 2 3 GELEITWORT ZUM PROGRAMM GELEITWORT ZUM PROGRAMM PETER FELDMANN DR. MARKUS FEIN Oberbürgermeister der Stadt Frankfurt am Main Intendant und Geschäftsführer der Alten Oper Frankfurt Vorsitzender des Aufsichtsrats der Alten Oper Frankfurt Es ist gut, Perspektiven zu haben – nicht nur in Krisenzeiten. Sehr geehrte Damen und Herren, Wenn ich das Programm der Alten Oper betrachte, entdecke ich liebe Besucher*innen der Alten Oper, neue Perspektiven in mehrfacher Hinsicht: Es sind einerseits Aus- sichten auf die Rückkehr zur Normalität im Kulturbetrieb. Aber Die Alte Oper ohne Publikum? Das war für uns unvorstellbar, und zugleich zeigen sich andere Blickwinkel. Mich freut, wie sich auch nach Monaten des Lockdowns können und wollen wir uns zahlreiche Projekte auf Frankfurt selbst konzentrieren und in die nicht daran gewöhnen. Zu wichtig ist uns der Dialog mit Ihnen, Stadt hineinwirken. Derzeit sind mehr denn je Zusammenhalt unserem Publikum. Die Alte Oper ist ein Haus, das sich vielfältig und gegenseitiges Verständnis gefordert.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Sir Antonio Pappano and Accademia Nazionale Di Santa Cecilia
    Sir Antonio Pappano and Accademia Nazionale di Santa Cecilia Orchestra bring renewed prestige to Italy through international touring and recordings for their 10th anniversary 11 - 18 April, 2016 Paris – 11, Berlin– 12, Hannover - 14, Hamburg - 15, Frankfurt – 17, Munich – 18 ROSSINI La Cenerentola: Symphony, BEETHOVEN Piano Concerto No. 4 SAINT-SAENS Symphony No. 3 7 - 11 May, 2016 São Paolo - 7, 8 , Buenos Aires – 10, 11 Sir Antonio Pappano’s 10th anniversary with the Orchestra dell’Accademia Nazionale di Santa Cecilia brings renewed prestige to Italy’s oldest music institution through their international touring and multiple recordings which are gaining further critical acclaim. Their next tour starts in Paris at the new Philharmonie on 11 April. This is followed by a five-city tour across Germany, with return concerts in Berlin, Hamburg, Frankfurt and Munich and their first visit to Hannover. Their programme includes Saint-Saëns’s Symphony No.3 (“Organ Symphony”), Beethoven’s 4th Piano Concerto performed by Hélène Grimaud and Rossini’s Cenerentola Sinfonia. In May, Pappano and the Accademia di Santa Cecilia will cross the Atlantic for their first tour to South America for concerts in São Paolo and Buenos Aires and there will be a much-anticipated return to the UK in the summer (to be announced in due course). Italian pianist Beatrice Rana, featured on the latest Warner Classics recording of Tchaikovsky’s Piano Concerto No.1 and Prokofiev Piano Concerto No. 2 (her debut album), will join Maestro Pappano and the Accademia di Santa Cecilia on their South American tour. At a time of cultural instability and economic malaise, the Accademia di Santa Cecilia stands as a beacon of artistic excellence, progress and enlightened administration in Italy.
    [Show full text]
  • Download Program Notes
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Prélude à l’après-midi d’un faune (Prelude to the Afternoon of a Faun) Nocturnes Claude Debussy laude Debussy achieved his musical produced. This work is too exquisite, alas! It Cmaturity in the final decade of the 19th is too exquisite.” century, a magical moment in France when partisans of the visual arts fully embraced the gentle luster of Impressionism, poets navi- In Short gated the indirect locutions of Symbolism, Born: August 22, 1862, in Saint-Germain- composers struggled with the pluses and mi- en-Laye, just outside Paris, France nuses of Wagner, and the City of Light blazed Died: March 25, 1918, in Paris even more brightly than usual, enflamed with the pleasures of the Belle Époque. Works composed and premiered: Prélude à l’après-midi d’un faune begun in 1892 — Several early Debussy masterpieces of perhaps as early as 1891 — and completed the 1890s have lodged in the repertoire, by October 23, 1894; premiered December 22, including, most strikingly, the Prélude à 1894, at a concert of the Société Nationale de l’après-midi d’un faune. Debussy was hardly Musique in Paris, Gustave Doret, conductor. a youngster when he composed it. He had Nocturnes composed 1897–99, drawing on begun studying at the Paris Conservatoire material sketched as early as 1892; dedicated to in 1872, when he was only ten; had served the music publisher Georges Hartmann; Nuages as resident pianist and musical pet for Na- and Fêtes premiered on December 9, 1900, dezhda von Meck, Tchaikovsky’s myste- at the Concerts Lamoureux in Paris, Camille rious patron, in Russia and on her travels Chevillard, conductor; the complete three- during the summers of 1880–82; had finally movement Noctunes was premiered on October 27, 1901, by the same orchestra and conductor.
    [Show full text]
  • N E W S R E L E a S E
    N E W S R E L E A S E CONTACT: Katherine Blodgett phone: 215.893.1939 e-mail: [email protected] Alyssa Porambo phone: 215.893.3136 FOR IMMEDIATE RELEASE e-mail: [email protected] DATE: June 11, 2015 Click here for downloadable images from the 2015 Tour of Europe The Philadelphia Orchestra’s 2015 Tour of Europe: A Triumphant Success (Philadelphia, June 11, 2015)—The Philadelphia Orchestra returned from its highly-anticipated European Tour with Music Director Yannick Nézet-Séguin on June 7, 2015, following 14 performances in 10 of Europe’s most storied and historic music halls in Luxembourg, Germany, France, Austria, the Netherlands, and England. Across the board, European audiences and critics alike lauded the Fabulous Philadelphians under the leadership of Nézet- Séguin, with Vienna’s Der Standard commenting, “A cornucopia of perfection and dynamic fury—this is just a taste of what the Philadelphia Orchestra brought to its first evening performance of its two-day residence at the Wiener Musikverein. … Yannick Nézet-Séguin is considered by many to be one of the most thrilling conductors of our time, and his interpretation of Pyotr Ilyich Tchaikovsky’s Fifth Symphony with the Philadelphia Orchestra was a consummate masterpiece of sheer perfection.” Overall, the Tour’s successes were threefold: as an artistic venture, with the Orchestra and Nézet-Séguin receiving glowing reviews; as an opportunity for furthering the Orchestra’s educational mission through residency activities in Lyon and London; and as a moment for promoting Pennsylvania as a global destination for tourism, trade, and business development, alongside two delegations representing the Commonwealth of Pennsylvania and the City of Philadelphia.
    [Show full text]
  • Cleveland Orchestra with Antoni Wit & Jan Lisiecki (April
    Cleveland Orchestra with Antoni Wit & Jan Lisiecki (April 21) by Daniel Hathaway Poland was much in evidence at Severance Hall on Thursday evening, April 21, when Polish guest conductor Antoni Wit led The Cleveland Orchestra in Richard Wagner’s Polonia Overture and ​ ​ Frédéric Chopin’s f­minor piano concerto with Canadian pianist Jan Lisiecki (the son of Polish parents). Ludwig van Beethoven’s “Eroica” ​ Symphony may have been the outlier, ​ thematically, but it ended the evening on similar notes of proud dignity. While Poland may claim Chopin as its favorite musical son, France has almost an equal claim on the composer. Only a few weeks after the Warsaw premiere of this concerto in 1830, he decamped for Paris, never to return. Taking profit of the upward expansion of the piano keyboard and the technological innovations that made it possible to hear the instrument in large concert halls, Chopin wrote fantastically elaborate passages for the right hand that can contain more notes per square inch than the busiest moments of J.S. Bach. Those gnat­like clouds of notes can be difficult to organize into lucid musical phrases. Under the fingers of some pianists, Chopin’s music can sound glib and insubstantial. Jan Lisiecki, only 21, isn’t one of those. His performance on Thursday was poetic and virile, full of health and vigor. Lisiecki has strong fingers. His passagework was brilliant, his melismas clear, and his trills scintillating. He displayed a fine sense of musical rhetoric in the slow movement, and his playing in the finale was rhythmic and stately.
    [Show full text]
  • An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC AN ANNOTATED CATALOGUE OF THE MAJOR PIANO WORKS OF SERGEI RACHMANINOFF By ANGELA GLOVER A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 The members of the Committee approve the treatise of Angela Glover defended on April 8, 2003. ___________________________________ Professor James Streem Professor Directing Treatise ___________________________________ Professor Janice Harsanyi Outside Committee Member ___________________________________ Professor Carolyn Bridger Committee Member ___________________________________ Professor Thomas Wright Committee Member The Office of Graduate Studies has verified and approved the above named committee members. TABLE OF CONTENTS Abstract………………………………………………….............................................. iv INTRODUCTION……………………………………………………………………. 1 1. MORCEAUX DE FANTAISIE, OP.3…………………………………………….. 3 2. MOMENTS MUSICAUX, OP.16……………………………………………….... 10 3. PRELUDES……………………………………………………………………….. 17 4. ETUDES-TABLEAUX…………………………………………………………… 36 5. SONATAS………………………………………………………………………… 51 6. VARIATIONS…………………………………………………………………….. 58 BIBLIOGRAPHY………………………………………………………………….
    [Show full text]
  • Angel Fingers © MATHIAS BOTHOR © MATHIAS Canada’S Youngest Classical Piano Star Takes Center Stage at the Auditorium Sultry Nights Parco Della Musica
    ENTERTAINMENT Angel Fingers © MATHIAS BOTHOR © MATHIAS Canada’s youngest classical piano star takes center stage at the Auditorium Sultry Nights Parco della Musica. Tiffany Parks has the details. Spice up your night with a burlesque performance at Rome’s trendiest retro hat could be more impressive around the world, including the New York hot spot, Micca Club. Upstairs you can than performing a solo recital to Philharmonic, the Philadelphia Orchestra, the twist the night away to oldies from the Wsold-out crowds at one of the most Orchestre de Paris, the BBC Symphony, and ‘50s and ‘60s, or pop down to the cozy prestigious concert halls in Europe? Doing it the Rotterdam Philharmonic Orchestra. He underground lair where live, old-fashioned when you’re barely 19 years old. Jan Lisiecki has played under such notable conductors burlesque shows take place every weekend. is a Canadian pianist of Polish descent who as Claudio Abbado, Antonio Pappano, Via degli Avignonesi, 73. Tel 3933236244. is taking the classical music world by storm, Christian Zacharias, David Zinman, and Paavo www.miccaclub.com being named Deutsche Grammophon’s Järvi, and collaborated with legendary artists Young Artist of the Year and winning the like Yo-Yo Ma, Emmanuel Ax, and Pinkas Schleswig-Holstein Music Festival’s Leonard Zukerman. Lisiecki’s ambitious program, like Bernstein Award last year alone. Lisiecki is his most recent album, is all Chopin. It opens certainly not the first piano prodigy to grace with the Grande Valse Brillante, op. 18, Chopin’s the world’s most important stages, but mere first important piano waltz, and continues technical ability and virtuosity are not enough with 24 Préludes, op.
    [Show full text]
  • Download Booklet
    ADD Great Pianists • Rachmaninov • 5 8.111408 FINAL EDISON AND FIRST VICTOR RECORDINGS Daquin Mendelssohn Chopin Tchaikovsky Debussy Rachmaninov Sergey Rachmaninov Recorded 1919–1923 Sergey Rachmaninov (1873–1943) Fryderyk Chopin Sergey Rachmaninov Solo Piano Recordings · 5 & Waltz in G flat major, Morceaux de fantaisie, Op. 3 (1892) Op. posth. 70, No. 1 (1832) 1:51 ¡ No. 2, Prelude in C sharp minor 3:38 Thomas A. Edison, Inc. Felix Mendelssohn (1809–1847) rec. 2 April 1921 rec. 14 October 1921 Recorded in New York, 24 April 1919 Lieder ohne Worte, Op. 67 (1843–45) mat. B-24904-3; cat. Victor 66007 mat. B-25650-3; cat. Victor 66016 ! No. 4, Spinnerlied (‘Spinning Song’) Sergey Rachmaninov (1873–1943) in C major: Presto 1:53 * Waltz in D flat, Op. 64, Fritz Kreisler (1875–1962) Morceaux de salon, Op. 10 (1893–94) rec. 3 November 1920 No. 1, ‘Minute’ (1847) 2:17 ™ Liebesleid (1921) (arr. Rachmaninov) 4:23 No. 3, Barcarolle in G minor mat. B-24646-2; cat. Victor 64921 rec. 5 April 1923 rec. 25 October 1921 1 mat. 6743A; cat. Edison 82202-L 3:52 mat. B-24192-5; cat. Victor 815 mat. C-25653-5; cat. Victor 74723 2 mat. 6743B; cat. Edison 82202-L 3:51 3 mat. 6743C; cat. Edison 82202-L 3:55 Fryderyk Chopin (1810–1849) @ Franz Behr Ernő Dohnányi (1877–1960) Waltz No. 1 in E flat, Op. 18, ( Lachtäubchen, ‘Polka de W.R.’, Op. 303 Six Concert Etudes Op. 28 (1916) ‘Grande valse brillante’ (1831–32) Franz Behr (1837–1898) 4:33 (arr.
    [Show full text]
  • Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community.
    [Show full text]