Fryderyk Franciszek Chopin
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¿Cuál Chopin? *
¿CUÁL CHOPIN? * Thomas Higgins Hoy día, los pianistas tienen a su disposición un gran número de edicio nes musicales de Chopin. En este artículo -descriptivo y analítico- serán exami nadas sólo las ediciones de mayor circulación o las que tengan un específico interés académico. Bajo este criterio podemos agrupar más de media docena de ediciones: l . Las Obras Completas de Fryderyk Chopin (Varsovia-Cracovia: Publicaciones de Música Polaca, 1949), a la que nos referiremos de ahora en adelante como la Edición Polaca Completa. Veintiséis volúmenes editados por Paderewsi0 , Bronarski y Turcinski. 2. La Edición Nacional Polaca (Varsovia: Przedstawicielstwo Wydawructwo Polskich, 1967). Baladas editadas por Jan Ekier. 3. La Edición Wiener Vrtext (Viena: Edición Universal, 19 3). Preludios edi tados por Bemard Hansen, con guías interpretativas de Jorg Demus; Estudio op.lO y 25. n'oís Nouvelles Etudes editados por Paul Badura Skoda; Impromp tus y Scherzos editados por Jan Ekier. 4. La Edición Henle Vrtext (Duisburg-Munich:Henle erlag, 195 . Doce volúmenes; el primero, agotado, y el último, editado por Ewald Zimmennan. 5. Dos colecciones de Schi.nner, una editada por Karol MiJnili , -posiblemente reimpresión de su edición para Kistner (Leipzig, 18 9: 1 vol. y Leipzig, 1 17 vol.-), por ejemplo: Preludios, copyright de Schimler 191-; l:l otr:I. editada por Rafael Joseffy, por ejemplo: los Estudios copyright de hirmer 1 1 . • Wbose ChoPin? 19th Ccntul)/ Music 1981. 01. ,pag. QUODLIBET éstas hay que añadir una última, muy inferior, casi un libelo, que es la edición de los Estudios, por Arthur Friedheim. A pesar de su ínfima calidad, Schrirmer aftrma en su Music Teacher's Pocket Memo Book de 1977 que fue la quinta edición más vendida de las músicas para piano. -
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. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A PEDAGOGICAL GUIDE TO THE 25 ETUDES MÉLODIQUES OPUS 45 OF STEPHEN HELLER A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By LARISSA MARIE KIEFER Norman, Oklahoma 2001 UMI Number: 3009547 UMI UMI Microform 3009547 Copyright 2001 by Bell & Howell Information and Leaming Company. -
FALL 2018 Artistic Consultants Panel Dr
CHOPIN FOUNDATION OF THE UNITED STATES, INC. Officers & Directors Krzysztof Penderecki - Honorary Chairman Blanka A. Rosenstiel - Founder & President Olga Melin - Vice President Richard Lubman - Treasurer Renate Ryan - Secretary Directors Agustin Anievas, Roberta O. Chaplin, Norman Edelcup, Rosa Rita Gonzalez, Keith Gray, Edith Hall Friedheim, Vivianne Swietelsky Volume XXIX / Number 1 • FALL 2018 Artistic Consultants Panel Dr. Adam Aleksander, Chair Agustin Anievas, Kevin Kenner, Margarita Shevchenko TABLE OF CONTENTS Executive Director Jadwiga Viga Gewert Message from the Founder/President .....................................2 Regional Councils of the Chopin Foundation Donors and Contributors ...............................................................3 San Francisco Chopin Council - Mack McCray, President Message from the Executive Director ......................................4 Northwest Chopin Council - Adam Aleksander, President Virginia Chopin Council - Robert Joskowiak, President Highlights from the 2017-2018 Season .....................................5 Scholarship Committee 2018 Frost Chopin Academy & Festival ....................................6 Dr. Adam Aleksander, Peter Miyamoto, Tian Ying 2018/2019 Chopin Concert Schedule ........................................8 Advisory Board 2020 National Chopin Piano Competition Bonnie Barrett - Yamaha Artist Services Joel Harrison - American Pianists Association Rules and Repertoire .................................................................9 Gary Ingle - Music Teachers National -
The Ballades of Frederic Chopin
University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects 12-1-1981 The alB lades of Frederic Chopin Janell E. Brakel Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Brakel, Janell E., "The alB lades of Frederic Chopin" (1981). Theses and Dissertations. 451. https://commons.und.edu/theses/451 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. ' 1 f. 1 'c' ,.!'l)~r,T(' ,.,H.,L l, ]3"11 .... J_.;/\ D' ••• ; 'J''1' · ...:'"· 1"i'_ ·, l·,r\ _ . Li1· Janl"ll E. Brakel Bachelor af Science, Mayville State Coll~ge, 1978 A Thesis Submitted to the Graduate Faculty of the University of North Dakota in partial fulfillnl\'!nt of the requirements for the degree of Master of Arts Grand Forks, North Dakota December 1981 I ' ' ,........I 'J-·liis 'l'he:;i.s su:Omitted by Janell E. Brakel in partir1l fulfillment of tl1e requirements for the Degree of !>laster nf Art:s from the University of North Dakota is h~reby ap proved Ly the Faculty Advisory Conunittee under whom the work has been done. ' / I' -'' , ~ _/ ,. ' , ,'I / - ,' ' I ./ , I' -~ v (Chairman) c - ' ' ' - ' This Thesis meets the standards for appearance and confor~s to the style and format requirements of the Graduate School of the University of i'Jorth Dakota, and is hereby approved . -
The Piano Etudes of David Rakowski
THE PIANO ETUDES OF DAVID RAKOWSKI I-Chen Yeh A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS December 2010 Committee: Laura Melton, Advisor Sara Worley Graduate Faculty Representative Per F. Broman Robert Satterlee © 2010 I-Chen Yeh All Rights Reserved iii ABSTRACT Laura Melton, Advisor Since the early history of piano music the etude has played an important role in the instrument’s repertoire. The genre has grown from technical exercises to virtuosic concert pieces. During the twentieth century, new movements in music were reflected in the etudes of Debussy, Stravinsky and Messiaen, to mention a few. In the past fifty years, Bolcom and Ligeti have continued this trend, taking the piano etude to yet another level. Their etudes reflect the aesthetics and process of modernist and postmodernist composition, featuring complex rhythms, new techniques in pitch and harmonic organization, a variety of new extended techniques, and an often-unprecedented level of difficulty. David Rakowski is a prolific composer of contemporary piano etudes, having completed a cycle of one hundred piano etudes during the past twenty-two years. By mixing his own modernist aesthetic with jazz, rock, and pop-culture influences, Rakowski has created a set of etudes that are both challenging to the pianist and approachable for the audience. The etudes have drawn the attention of several leading pianists in the contemporary field, most notably Marilyn Nonken and Amy Briggs, who are currently recording the entire set. Because of pianistic difficulty, approachability for the listener, and interest of noted pianists, Rakowski’s etudes seem destined for recognition in the contemporary standard repertoire. -
Presented in Honor of the Centenary of Paul Mellon's Birth and Perfo
For the convenience of concertgoers the Garden Cafe remains open until 3:00 pm on weekdays. The use of cameras or recording equipment during the performance is not allowed. Please be sure that cell phones, pagers, and other electronic devices are turned off. The Billy Rose Foundation Concerts National Gallery of Art Music Department Presented in honor of the National Gallery of Art centenary of Paul Mellon’s birth and Sixth Street and Constitution Avenue nw performed on the Ailsa Mellon Bruce Steinway Washington, DC Mailing address 2000b South Club Drive May 2, 9, 16, 23, and 30, and June 6, 2007 Landover, md 20785 Wednesday Afternoons, 12:10 pm www.nga.gov East Building Auditorium Admission free cover: Paul Stevenson Oles, 1971, National Gallery of Art Archives Introduction As the National Gallery celebrates the centenary of the birth of Paul Mellon (1907-1999), his generosity and that of the entire Mellon family, including Paul’s wife, Bunny, and his beloved sister, Ailsa Mellon Bruce (1901-1969), will be remembered. In 1940 Mrs. Mellon Bruce established the Avalon Foundation, which, among other things, funds the Gallery’s Andrew W. Mellon Lectures in the Fine Arts. In 1946 she designated funds for the Gallery’s purchase of American art and later made possible the acquisition of many old master works. Both she and her brother contributed large gifts to finance construction of the East Building, but Mrs. Mellon Bruce did not live to see its groundbreaking. Fler bequest to the Gallery included an endow ment fund and her own exquisite collection of small paintings by the French impressionists. -
Fryderyk Chopin's Music on Double Bass
FRYDERYK CHOPIN’S MUSIC ON DOUBLE BASS: FOUR ETUDES TRANSCRIBED FOR DOUBLE BASS AND PIANO by FRANCISCO GONÇALVES DE AZEVEDO (Under the Direction of Milton Masciadri) ABSTRACT A significant part of the available double bass repertoire is composed of transcriptions from other instruments. Only a handful of those consist of works composed by the Polish pianist and composer Fryderyk Chopin (1810-1849). The purpose of this project is to add to the double bass repertoire through the transcriptions of the Etudes Op. 10 No. 3, Op. 10 No. 6, Op. 10 No. 9, and Op. 25 No. 7, for double bass and piano. The document provides a brief historical background of the practice of transcriptions, and of transcribing pieces for the double bass, pointing out pieces transcribed by important double bassists. It also presents a connection between the music of Chopin and Giovanni Bottesini (1821-1889), who shared influence from the bel canto style. The technical and stylistic choices made in the transcription of the etudes are explored. Performance versions of the etudes, with piano parts for the use with double bass in orchestra and solo tunings, are presented in the appendices. INDEX WORDS: double bass, Fryderyk Chopin, Etude Op.10 No.3, Etude Op.10 No.6, Etude Op.10 No.9, Etude Op.25 No.7, transcription for double bass, double bass repertoire, performance edition. FRYDERYK CHOPIN’S MUSIC ON DOUBLE BASS: FOUR ETUDES TRANSCRIBED FOR DOUBLE BASS AND PIANO by FRANCISCO GONÇALVES DE AZEVEDO B.M.Ed., Universidade Federal de Santa Maria, Brazil, 2004 M.M. University -
Portrait of Frédéric Chopin and George Sand Was an 1838 Unfinished Oil-On-Canvas Painting by French Artist Eugène Delacroix
POLAND a native country of Fryderyk Chopin By Halina Brodska . Welcome to Fryderyk Chopin Airport, Warsaw, intones the flight attendant. You can see giant letters proclaim the name of the composer who wrote some of the best-loved piano music in the world. Here at Poland’s very gateway, Chopin is the national symbol chosen to introduce the country to its visitors. But wait…… . Chopin is not a Polish surname, and his first one is often spelled Frédéric. Wasn’t he French? No. Chopin was Polish. F.Chopin was born in 1810 in Warsaw. The Father Mikołaj was Frenchman by birth, but Pole through his choice of homeland, where He remained to the end of his life. His mother named Tekla Justyna Krzyżanowska was a relative of Polish Countess Ludwika Skarbkowa, owner of the Zelazowa Wola. His first professor was Wojciech Żywny next was Józef Elsner. Chopin published his first composition at the age 7. In 19830 Chopin emigrated to Paris. In 1936 he met George Sand ( Aurore Dedevant) a French writer and he has with her a turbulent relationship few years. George Sand was a pipe smoker and flamboyant party goer. Chopin spent his summer time during 8 years at the Sand,s estate in Nohant. In 19830 Chopin emigrated to Paris. In 1936 he met George Sand ( Aurore Dedevant) a French writer and he has with her a turbulent relationship few years. George Sand was a pipe smoker and flamboyant party goer. Chopin spent his summer time during 8 years at the Sand,s estate in Nohant. The Portrait of Frédéric Chopin and George Sand was an 1838 unfinished oil-on-canvas painting by French artist Eugène Delacroix. -
Reconceptualizing Climax in the Four Scherzos of Frédéric Chopin
RECONCEPTUALIZING CLIMAX IN THE FOUR SCHERZOS OF FRÉDÉRIC CHOPIN Christy Keele Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music, Indiana University December 2018 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ______________________________________ Marianne Kielian-Gilbert, Ph.D., Research Director ______________________________________ Kyle Adams, Ph.D. ______________________________________ Halina Goldberg, Ph.D. ______________________________________ Frank Samarotto, Ph.D. December 4, 2018 ii Acknowledgements I am grateful to several people who have supported me and contributed to this work. The constancy and inquisitive spirit of my advisor, Marianne Kielian-Gilbert, inspired me to develop my ideas in fruitful directions and gave me traction in making ends meet between thoughts and writing. This document is in many ways the product of her encouragement and support, for which I will always be deeply grateful. I thank the members of my research committee, Kyle Adams, Halina Goldberg, and Frank Samarotto for their time and support, in some cases working around and through sabbaticals in order to attend to this project and to appreciate Chopin and the piano. I value their thoughtful feedback. I am thankful for INFO Express (the IU Libraries’ delivery service). They tirelessly carted many books back and forth between Bloomington and Indianapolis as I researched and wrote this dissertation, resulting in the circulation staff at the Ruth Lilly Law Library graciously handling what must have been a surprising number of music-related volumes on my behalf.