DOCSLIB.ORG

Bob Houston, Percussion DMA Recital Assisted by Carol Houston, Piano Conrad Bauschka, Trumpet Dr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bob Houston, Percussion DMA Recital Assisted by Carol Houston, Piano Conrad Bauschka, Trumpet Dr 37? .A/g/J Ato, /£5"^ A COMPARATIVE ANALYSIS OF SELECTED KEYBOARD COMPOSITIONS OF CHOPIN, BRAHMS, AND FRANCK AS TRANSCRIBED FOR THE MARIMBA BY CLAIR OMAR MUSSER, EARL HATCH, AND FRANK MAC CALLUM TOGETHER WITH THREE RECITALS OF WORKS BY BARTOK, CRUMB, MIYOSHI, KRAFT AND OTHERS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts Robert E. Houston, B.A., M. M Denton, Texas December, 1980 Houston, Robert E., Jr., A Comparative Analysis of Selected Keyboard Compositions of Chopin, Brahms, and Franck as Transcribed for the Marimba by Clair Omar Musser, Earl Hatch, and Frank Mac Callum Together with Three Recitals of Works by Bartok, Crumb, Miyoshi, Kraft and Others. Doctor of Musical Arts, December, 1980, 53 pp., 14 illustrations, bibli- ography, 27 titles. This study is an examination of Earl Hatch and Clair Musser's transcriptions for marimba of Chopin's Waltz, Opus 64 No. 1, Musser's arrangement of Chopin's Mazurka, Opus 17 No. 4, Hatch's setting of Brahms' Hungarian Dance No. 5, and Frank Mac Callum's treatment of Franck's "Chorale" from the Prelude, Chorale and Fugue. Additionally, the role of the transcription during the Romantic Period, the historical development of the marimba tran- scription, and performance considerations of the specific works presented are discussed. Some of the most successful marimba transcriptions are for the marimba or mallet ensemble. Today writers are more judicious in their choice of subject matter for ensemble transcrip- tion, drawing upon a variety of musical styles from differing musical periods. Solo techniques, marimba ensembles, and instrument construction have all seen extensive revitalization throughout the last twenty years. Perhaps if the solo transcription were to be revitalized, more significant contributions to the marimba reper- toire would be made. The transcription has contributed a popular body of litera- ture to the marimba. However, it must continue to reflect the growth, development, and maturity of this instrument if it is to remain a significant part of the marimba repertoire. Tape recordings of all performances submitted as the dissertation are on deposit at the North Texas State University Library. Tape recordings of all performances submitted as dissertation requirements are on deposit in the North Texas State University Library. in CONTENTS Page TABLE OF EXAMPLES ix Chapter I. INTRODUCTION 1 II. HISTORICAL OVERVIEW 2 The Romantic Transcription Marimba Transcriptions—Historical Develop- ment III. ANALYSIS OF SELECTED KEYBOARD WORKS OF CHOPIN, BRAHMS, AND FRANCK .... 15 Waltz, Opus 64 No. 1, Chopin Mazurka, Opus 17 No. 4, Chopin Hungarian Dance No. 5, Brahms "Chorale" from Prelude, Chorale and Fugue, F ranck IV. PERFORMANCE CONSIDERATIONS 37 V. CONCLUSIONS 46 BIBLIOGRAPHY 49 IV North Texas State University School of Music presents ROBERT E. HOUSTON in a Graduate Percussion Recital assisted by Carol Houston, piano Cwen Bauschka, piano John Rice, percussion Monday, March 7,1977 5:00 p.m. Music Recital Hall Program Music for a Summer Evening (Makrokosmos III) 1974 George Crumb Nocturnal Sounds (The Awakening) Wanderer - Fantasy Advent "Hymn for the Nativity of the Star Child" Myth Music of the Starry Night "Five Fold Galactic Bells" "Song of Reconciliation" Sonata for Two Pianos and Percussion (1942) Bela Bartok Assai Lento, Allegro Molto Lento, ma non troppo Allegro non troppo Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts NORTH TEXAS STATE UNIVERSITY PRINTING OFFICE. DENTON, TEXAS V North Texas State University School of Music ' presents ROBERT E. HOUSTON ma Graduate Percussion Recital Monday, August 8,1977 8:15 p.m. Music Recital Hall Program Sonata No. 1 in C Minor J.S. Bach Adagio Fuga Siciliano Presto Four Pieces for Timpani (1966) Elliott Carter Improvisation Saeta Canto March Three Pieces for Marimba (1976) Murray Houliff English Suite (1973) William Kraft Prelude Allemande Courant Sarabande Bourse I Bourse II Gigue VI North Texas State University School of Music presents Bob Houston, percussion DMA Recital assisted by Carol Houston, piano Conrad Bauschka, trumpet Dr. James Deaton, clarinet Dr. Neill Humfeld, trombone Monday, April 7,1980 5:00 p.m. Recital Hall Jose Gonzales Mutables (1975) Sonorities Accents Resonances Pizzicati Newell Kay Brown Anagrams (1977) Invention Etchings Circles March Akira Miyoshi Conversation Suite for Marimba (1978) Tender Talk So Nice it Was ... Repeatedly Lingering Chagrin Again the Hazy Answer A Lame Excuse Karl Kroeger Toccata for Clarinet, Trombone, and Percussion (1969) This program is presented in partial fulfillment for the requirements of Doctor of Musical Arts degree. Vll North Texas State University School of Music presents Bob Houston, percussion DMA Lecture Recital A comparative analysis of selected keyboard compositions of Chopin, Brahms and Franck as transcribed for the marimba by Clair Omar Musser, Earl Hatch and Frank MacCallum assisted by Carol Houston, piano Jon Wacker, marimba Genaro Gonzales, bass marimba Monday, July 7,1980 6:30 p.m. Recital Hall Frederick Chopin/Hatch Valse, Op. 64 No. 1 Frederick Chopin/Musser Mazurka, Op. 17 No. 4 Johannes Brahms/Hatch Hungarian Dance No. 5 Cesar Franck/MacCallum Chorale from Prelude, Chorale and Fugue This program is presented in partial fulfillment for the requirements of Doctor of Musical Arts degree. vm TABLE OF EXAMPLES m Example Page 1. Frederick Chopin, Opus 64 No. 1, m. 1 of the (a) Paderewski ed., (b) Musser and (c) Hatch trans ' 16 2. Frederick Chopin, Opus 64 No. 1, m. 10 of the (a) Paderewski ed. and the (b) Musser trans. 17 3. Frederick Chopin, Opus 64 No. 1, mm. 37 to 40 of the (a) Paderewski ed. and the (b) Musser trans 19 4. Frederick Chopin, Opus 64 No. 1, mm. 54 to 57 of the (a) Paderewski ed. and the (b) Musser trans 20 5. Frederick Chopin, Opus 64 No. 1, mm. 120 to 125 of the (a) Paderewski ed., the (b) Musser and the two (c), (d) Hatch trans 21 6. Frederick Chopin, Opus 17 No. 4, mm. 14 to 17 of the piano part of the Musser trans 23 7. Frederick Chopin, Opus 17 No. 4, mm. 43 to 44 of the (a) Paderewski ed., and (b) Musser trans 24 8. Frederick Chopin, Opus 17 No. 4, m. 47 of the Musser trans 24 9. Frederick Chopin, Opus 17 No. 4, mm. 117 to 120 of the (a) Paderewski ed. and the (b) Musser trans 26 10. Frederick Chopin, Opus 17 No. 4, mm. 129 to 132 of the (a) Paderewski ed. and (b) mm. 129 to 133 of the Musser trans 27 ix Example Page 11. Johannes Brahms, Hungarian Dance No. 5, mm. 69 to 72 of the (a) collected works and (b) Hatch trans 30 12. Johannes Brahms, Hungarian Dance No. 5, mm. 109 to 110 of the (a) collected works and 125 to 126 of the (b) Hatch trans 31 13. Cesar Franck, Prelude, Chorale and Fugue, "Chorale," mm. 21 to 23 of the (a) origiraal piano part and (b) Mac Callum trans 34 • 14. Cesar Franck, Prelude, Chorale and Fugue, "Chorale," mm. 44 to 45 of the (a) original piano part and (b) Mac Callum trans. 36 x Chapter I INTRODUCTION The marimba transcriptions of Clair Omar Musser, Earl Hatch, and Frank Mac Callum provide an important addition to marimba literature. Sources of some of their more successful transcriptions are of piano works of Frederick Chopin, Johannes Brahms, and Cesar Franck. The purpose of this study is to examine and compare Hatch's and Musser's transcriptions of Chopin's Waltz, Opus 64 No. 1, Musser's arrangement of Chopin's Mazurka, Opus 17 No. 4, Hatch's setting of Brahms' Hungarian Dance No. 5, and Mac Callum's treatment of Franck's "Chorale" from the Prelude, Chorale and Fugue. Additionally, the role of the transcription during the Romantic Period, the historical development of the marimba tran- scription, and performance considerations of the specific works presented are discussed. Chapter II HISTORICAL OVERVIEW The most extensive practice of transcribing occurred throughout the nineteenth century. One of the most common tran- scription procedures was to alternate the solo part in a duo from one instrument to another. Sometimes single movement works would evolve as portions of larger forms. Transcriptions of whole sonata movements provided yet another source, and arrangements •f were also made to revive interest in works of the past. Personal interpretation of musical forms was encouraged, and consequently all types of music became subject to arrangement. For example, small character pieces for piano were often scored for symphony orchestra and vocal ensembles were arranged for bizarre combina- tions of instruments. Liszt, perhaps the most competent instru- mental arranger of the century, was so confident of his piano transcription technique that he "boasted he could make the piano reproduce any effect whatsoever. " Mendelssohn countered with "Let me hear the first measures of Mozart's G minor Symphony, with the broken triads in the violas, played on the piano so that they 1. William S. Newman, The Sonata Since Beethoven (Chapel Hill: The University of North Carolina Press, 1969), 102. will sound as they do in the orchestra, and I will believe in your p business of transcription." Because the scope of the transcription in the Romantic Period is so Vast, it will serve to restrict the present discussion to those examples which have a close connection to the composers whose works will be observed later in this presentation. One of the best known works from the romantic repertoire is Chopin's Marche funebre, which was composed in 1837 and included in 1839 as the third movement of the B-flat Sonata, Opus 35. This piece appeared subsequently as an arrangement for the following instruments: piano and organ, harmonium, zither, mandolin, two pianos, harmonium and violin, cello, mandolin and piano, flute and piano, cornet and piano, and additional combinations up to the full Q orchestra.
Load more

Recommended publications
  • 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.
    [Show full text]
  • APPENDIXES Appendix I
    APPENDIXES Appendix I CHRONOLOGICAL SEQUENCE OF PUBLICATION I8I7 Military March (lost) November Polonaise in G minor (republ. I927) June Rondo, Op. I I826 Mazurkas in B fiat and G ( wd versions: republ. I 8 5I) Polonaise in B fiat minor (republ. I 879) I828 February Rondo ala Mazur, Op. 5 I830 January Variations for PF. and Orch., Op. 2 I83J Autumn Introduction and Polonaise, Op. 3 I832 December PF. Trio in G minor, Op. 8 3 Nocturnes, Op. 9 4 Mazurkas, Op. 6 5 Mazurkas, Op. 7 July Etudes, Op. Io PF. Concerto, Op. I I Grand Duo (Robert /e Diable) November Variations (Ludovic), Op. 12 December 3 Nocturnes, Op. 15 I77 APPENDIX I 1834 March Introduction and Rondo, Op. I 6 4 Mazurkas, Op. I 7 April Fantaisie on Polish Airs, Op. I 3 June Waltz, Op. I8 July Rondo, 'Krakowiak', Op. I4 October Bolero, Op. I9 February Scherzo, Op. 20 I836 January 4 Mazurkas, Op. 24 April PF. Concerto, Op. 2 I May 2 Nocturnes, Op. 2 7 June Ballade, Op. 2 3 July 2 Polonaises, Op. 26 August Andante spianato and Polonaise, Op. 22 2 Songs ('Zycenie' and 'Wojak'), pub!. anonymously October Etudes, Op. 2 5 December 4 Mazurkas, Op. 30 Scherzo, Op. 3 1 2 Nocturnes, Op. 3 z I838 October 4 Mazurkas, Op. 3 3 December 3 Waltzes, Op. 34 1839 June Hexameron, Variation in E major Preludes, Op. 28 May Sonata, Op. 3 5 Impromptu, Op. 36 June 2 Nocturnes, Op. 37 Waltz in A flat, Op. 42 September Ballade, Op. 38 October Scherzo, Op.
    [Show full text]
  • FRÉDÉRIC CHOPIN the 1981 Baldwin Recordings
    Abbey Simon, Jorge Bolet and Earl Wild c.1979 FRÉDÉRIC CHOPIN The 1981= Baldwin Recordings With the exception of three pieces–the Fantasie, the Ballade, and the Andante Spianato and Grand Polonaise Brillante–this recording features rel- atively brief works, some of them remarkably so, demonstrating to a refined degree the extent to which Frédéric Chopin was a master of the small form. This may be a function of the fact that, though he performed in public con- cert halls, Chopin most often performed for friends in intimate salons. Fantasie in F minor, Op. 49 (1841) The heroic Fantasie in F minor is one of Chopin’s largest and most epic works for solo piano. If its scale and scope are unusual for him, so is its form, being loose, extended, and improvisatory, and having numerous melodies. Unlike many romantics, Chopin’s music is generally not narrative or programmatic, and while it is personal, it remains pure art. Nevertheless, a story has been associated with the Fantasie. The composer and pianist Franz Liszt relates: The year is 1841 and Chopin is seated at the Pleyel grand piano in Madame George Sand’s salon in Nohant, France, where they spent – 2 – their summers. A knock is heard at the door and Madame Sand enters. With her are Liszt, Camille Pleyel, the wife of the piano manufacturer, and one or two other friends, perhaps the cellist Franchomme and the singer Pauline Viardot-Garcia. Some quarreling ensues, and then reconciliation. If Liszt’s tale is correct, this scene led to Chopin’s composition of the Fantasie.
    [Show full text]
  • INGRID FLITER, Pianist
    The Sixty-second Season of THE WILLIAM NELSON CROMWELL and F. LAMMOT BELIN CONCERTS National Gallery of Art 2482d Concert INGRID FLITER, pianist Sunday Evening, 25 January 2004 Seven O'clock West Building, West Garden Court Admission free Program Chopin Four Waltzes Ludwig van Beethoven Sonata No. 18 in E-flat Major op. 64, no. 1, in D-flat Major (“Minute”) (1846-1847) (1770-1827) op. 31, no. 3 (1802) op. 64, no. 2, in A-flat Major (1846-1847) Allegro op. 70, no. 1, in G-flat Major (1833) Scherzo: Allegro vivace op. 42 in A-flat Major (1840) Menuetto: Moderato e grazioso Presto con fuoco Scherzo No. 2 in B-flat Major (1837) Sonata No. 7 in D Major op. 10, no. 3 (1797-1798) The Musician Presto Largo e mesto Born in Buenos Aires in 1973, pianist Ingrid Fliter was a pupil of Menuetto: Allegro Elizabeth Westerkamp. In 1991 she participated in the Aspen Summer Rondo: Allegro Festival, where she studied with Aube Tcherko. The following year she continued her studies with Vitalj Margulis in the Hochschule fur Musik Intermission in Freiburg, Germany. Further studies took place in 1994 in Rome with Carlo Bruno and in 1996 in the academy Incontri col Maestro in Imola, Frederic Chopin Six Preludes from op. 28 Italy, under the leadership of Franco Scala and Boris Petrushansky. (1810-1849) (1836-1839) Fliter’s flourishing career has not diminished her desire to continue her 1. No. 13 in B Major studies. She is currently pursuing a course in the art of fortepiano playing 2.
    [Show full text]
  • Chapter 1: Historical Background
    Chopin’s Third Piano Sonata, Op. 58: Late Style, Formal Ambiguity, and Performance Considerations by Adam Zukiewicz A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Graduate Department of Music University of Toronto © Copyright by Adam Zukiewicz 2012 Chopin’s Third Piano Sonata, Op. 58: Late Style, Formal Ambiguity, and Performance Considerations Adam Zukiewicz Doctor of Musical Arts Graduate Department of Music University of Toronto 2012 Abstract Chopin’s Third Piano Sonata, Op. 58, is the largest solo work of his late period. Chopin’s successful combination of the Classical and the Romantic aesthetic, which is explored in Chapter 1, results in an effective balancing of structural integrity and emotional fulfillment. Every movement of Op. 58 possesses qualities of movements in a traditional sonata cycle; however, the tendency to blend structural elements, the expansion of thematic material, and the postponement of climaxes contribute to Chopin’s distinctive treatment of the sonata genre. The issue of late style in Chopin’s output has recently garnered considerable attention. Most writers focus on particular compositional techniques such as the blending of musical genres and the increasing importance of counterpoint and chromaticism. New expressive elements include manifestations of a dandified aesthetic as well as emotional lassitude. These discussions are primarily related to works in Chopin’s original genres, neglecting somewhat the Third Piano Sonata, Op. 58. The second chapter of this dissertation examines the elements of Chopin’s late style present in Op. 58, emphasizing the sonata’s first three movements. These aspects of late ii style include blurring of genres, complex use of chromaticism, intricacy of counterpoint, textural and thematic variety, dandified impertinence, emotional lassitude and polyvalence.
    [Show full text]
  • Changing Chopin
    CHANGING CHOPIN: POSTHUMOUS VARIANTS AND PERFORMANCE APPROACHES By Ho Sze-Hwei Grace A Thesis Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Philosophy Department of Music University of Birmingham Birmingham, United Kingdom September 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis aims to examine Chopin’s own style of playing and to trace some of the approaches taken by 19th century pianists in interpreting Chopin. In doing so, the study hopes to challenge our assumptions about the sacrosanct nature of the text, while offering possibilities for performance. Through examining the accounts of Chopin’s playing and teaching as well as the customs that would have been familiar to him, this study offers a glimpse of the practices that is today often neglected or simply relegated to the annals of ‘historical performance practice’. Special attention is also given to exploring the aspects of Chopin’s style that might pose particular problems of interpretation, such as rubato, tempo and pedalling. In the final analysis, perhaps it is not the early interpreters who represent a ‘radical’ break from Chopin’s aesthetic, but we modern interpreters, with our more rigorous standards and stricter notion of ‘fidelity to the score’.
    [Show full text]
  • Download Notes (Pdf)
    Westminster Conservatory at Nassau November 19, 2020 Erik Allesee, piano Program Notes Minute Waltz, opus 64, no.1 - Frédéric Chopin (1810-1843) While growing up in Poland Chopin absorbed the sounds and rhythms of the popular dance forms, which include mazurkas, polonaises, and perhaps the most popular waltzes. He brought the rather simple style of the waltz from an accompaniment for dancing to that of a concert-worthy performance piece with elegance, charm, and brilliance. The Waltz in D-flat is given the nickname Minute Waltz not because it should be played in that span of time, but because it is short and small - minute. It also has the nickname Waltz of the Little Dog. Chopin’s lover, George Sand, had a dog named Marquis, who often chased its own tail while running around the house. This playfulness inspired the composition of the piece. Chopin wrote 25 waltzes of which 18 survive. He only allowed 8 of these to be published as he was often critical of his own works. Many of his waltzes were given as gifts; he would often give the same piece to several friends and alter each version in terms of dynamics, articulations, or add and delete entire phrases or sections. Fantasie-Impromptu, opus 66 - Frédéric Chopin Chopin wrote the Fantasie-Impromptu, the first of his compositions in this genre, in 1834 at the age of 24. An impromptu is a composition intended to produce the illusion of spontaneous improvisation. This piece is known for its cross rhythms (polyrhythms) in the opening theme and for its lyrical melody of the slower middle section.
    [Show full text]
  • Fryderyk Chopin Website: • Complete Waltzes & Impromptus Vladimir Feltsman Chopin • Complete Waltzes and Impromptus Waltzes 1
    Vladimir FeltsmaN Vladimir Chopin • Complete Waltzes and Impromptus Feltsman Waltzes 1. No. 1 in E flat Major, Op. 18 5:19 2. No. 2 in A flat Major, Op. 34, no. 1 5:31 3. No. 3 in A minor, Op. 34, no. 2 5:40 4. No. 4 in F Major, Op. 34, no. 3 2:18 5. No. 5 in A flat Major, Op. 42 3:55 6. No. 6 in D flat Major, Op. 64, no. 1 1:48 7. No. 7 in C sharp minor, Op. 64, no. 2 3:28 8. No. 8 in A flat Major, Op. 64, no. 3 2:58 9. No. 9 in A flat Major, Op. 69, no. 1 (posth.) 4:15 10. No. 10 in B minor, Op. 69, no. 2 (posth.) 3:45 11. No. 11 in G flat Major, Op. 70. no. 1 (posth.) 2:02 12. No. 12 in F minor, Op. 70, no. 2 (posth.) 2:54 13. No. 13 in D flat Major, Op. 70, no. 3 (posth.) 2:40 14. No. 14 in E minor, Op. posth. 2:57 Impromptus 15. No. 1 in A flat Major, Op. 29 3:59 16. No. 2 in F sharp Major, Op. 36 5:38 17. No. 3 in G flat Major, Op. 51 6:05 18. Fantasie Impromptu in C sharp minor, Op. 66 5:15 Total time: 70:28 Production: Mark Fouxman , Samar Audio Design LLC • www . samaraudiodesign .com This CD was recorded with microphones, preamplifier, and A/D converter designed and built by Mark Fouxman of Samar Audio Design LLC.
    [Show full text]
  • Download Chopin Waltzes
    Download chopin waltzes Recordings of music composed by Frédéric Chopin, mp3 files free download. Misc. Notes, scan: score scanned at dpi filter: score filtered with 2- point algorithm explained in High Quality Scanning You may ask me for a manually. FRÉDÉRIC CHOPIN. Waltzes. Claudio Arrau. Int. Release 01 Jun. Download. 6. CD 6 ph Philips ADD. FRÉDÉRIC CHOPIN - Waltzes - Scherzos - Preludes - Vladimir Ashkenazy. Download Waltzes, Op. 64 by Frédéric Chopin for free from Minor, Op. 64, No. 2, Composer: Frederic Chopin, Artist: Jeremiah Jones, Length: Download Waltz in C-Sharp Minor, Op. 64, No. 2. Audio File Type. Download. Heroic Polonaise op (Piano Polonesa Heróica). Frederic Chopin. MP3. Download. Chopin Minute Waltz. Frederic Chopin. MP3. Click on a button at the right side. You will be transfered to a page where you can download Chopin's Waltz no. 14 in E minor. Click on a button at the right side. You will be transfered to a page where you can download Chopin's Waltz no. 16 in A flat major. Download and print Waltzes by Frédéric Chopin as high quality piano sheet music. Chopin: Waltzes Nos. - Browse all available recordings and buy from Presto Classical for worldwide delivery. This Classical Sheet Music is The Minute Waltz by Frederic Chopin. Chopin composer several closer to two minutes. Download Sheet Music, Midi or Mp3 files. Download all MP3 Other recordings available for download 'Chopin's waltzes are salon pieces, but always more than salon pieces, and Hough brings an. This minute video lesson explores an in- depth look at the Waltz in C-sharp minor, Op No.2 by Frédéric Chopin.
    [Show full text]
  • Dear Friends: Presenting a Van Cliburn Medalist Is Highly Admirable in the World of Chamber Music Programming. but Here in Maine
    Dear Friends: Presenting a Van Cliburn medalist is highly admirable in the world of chamber music programming. But here in Maine we like to do things our own way. As such, Portland Ovations makes it its practice to present the Gilmore Artist Award winners. Since 2002, Ovations has presented all of the awardees. Who can forget the intuitive grace of Kirill Gerstein’s playing or the fiery attack of Ingrid Fliter or the breathtaking command of Piotr Anderszewski? It’s exciting to consider what we all will be saying tonight after experiencing Rafal Blechacz. Unlike the Van Cliburn and other lauded honors, the Gilmore winner is not chosen out of a festival setting in which pianists compete to win. Instead, performers are nominated from around the globe and then observed over a number of years by an anonymous Artistic Advisory Committee. Pianists are not aware they are being considered, and one of the most promising is honored with the Gilmore every four years. Given the generosity of the award and the in-depth selection process, some have likened it to the MacArthur “Genius Award.” Presentation of the Gilmore winner also serves Ovations’ dedication to bringing to Maine emerging instrumentalists whose impact will grow and fortify the future of classical music. Nothing is more thrilling than hearing at intermission: “Amazing. Where did they find him/her?” Recitals by these young virtuosos along with esteemed veterans and a dash of contemporary concert music is what distinguishes Ovations’ chamber series. You could say it’s the way live performance should be. We hope you agree.
    [Show full text]
  • Waltzes: Chopin Complete Works Vol. IX Kindle
    WALTZES: CHOPIN COMPLETE WORKS VOL. IX PDF, EPUB, EBOOK Ignacy Jan Paderewski | 124 pages | 01 Jan 2013 | Pwm | 9781480390614 | English | United States Waltzes: Chopin Complete Works Vol. IX PDF Book Wikimedia Commons. Grande valse brillante ; used in Les Sylphides. Published by Instytut Fryderyka Chopina, Poland However, Chopin's sister Ludwika and Julian Fontana decided to publish the waltzes You may ask me for a manually cleaned version. Chopin contributed seventeen pieces to her autograph album, destroyed in World War II. From: Half Price Books Inc. Co-issue - New York: G. Chopin Waltzes London: Angel Records, Similar Products. Paris: Maurice Schlesinger , n. Thanks Amazon for a fair price too. It's my favourite edition of Chopin's works Read more Former owner's name stamped on front cover. There are thirty-six compositions that are of interest to students of the Chopin waltzes. Preludes: Chopin Complete Works Vol. Classical Archives. Wikipedia list article. Lovely edition with good fingerings. From present in the "Conservatoire Paris ". Arranger Auguste Franchomme Text is in Polish. Valse du petit chien is the title Chopin gave this waltz, which is popularly known as Minute Waltz. Piano Concerto in F Minor Op. Converted to black and white tif files, de-skewed, re-sampled to dpi, and set uniform margins. Polonaises Polonaises, Op. From Wikipedia, the free encyclopedia. All books shipped in Cardboard and all books with dust jackets have mylar jacket protectors. PDF scanned by piano. About this Item: Polish Music Publications, Waltzes: Chopin Complete Works Vol. IX Writer Seller Inventory 09GW All my professional pianist friends use Paderewski, now I know why! I provide the original scanned version and the filtered, because the filter does some changes smoothening, sharpening borders and some portions the scan get lost sometimes when they are to small e.
    [Show full text]