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Final Dissertation Document
Abstract Title of Dissertation: INFLUENCES AND TRANSFORMATIONS: 19TH- CENTURY SOLO AND COLLABORATIVE PIANO REPERTOIRE Miori Sugiyama, Doctor of Musical Arts, 2012 Dissertation Directed by: Professor Rita Sloan School of Music, Piano Division This dissertation is an exploration of the inter-relationships of genres in the collaborative piano repertoire, particularly in music of the 19th century, an especially important period for collaborative piano repertoire. During this time, much of the repertoire gave equal importance to the piano in duo and ensemble repertoire. Starting with Schubert, and becoming more apparent with the development of the German lied, the piano became a more integral part of any composition, the piano part being no longer simplistic but rather a collaborative partner with its own voice. Mendelssohn transformed the genre of lieder by writing them, without their words, for solo piano. In addition to creating some of the greatest and most representative lieder in the Romantic period, composers such as Schumann, Brahms, and Strauss continued the evolution of the sonata by writing works that were more technically demanding on the performer, musically innovative, and structurally still evolving. In the case of Chopin who wrote mostly piano works, a major influence came from the world of opera, particularly the Bel Canto style. In exploring two specific genres, vocal and instrumental piano works by these composers; it is fascinating to see how one genre translates to another genre. This was especially true in the vocal and instrumental works by Schubert, Schumann, Brahms, Chopin, and Strauss. All of these composers, with the exception of Chopin, contributed equally to both the song and sonata genres. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Tue, Jan 26, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:39 Mozart Adagio in B minor, K. 540 Mitsuko Uchida 00264 Philips 412 616 028941261625 00:13:3945:17 Dvorak Cello Concerto in B minor, Op. du Pre/Swedish Radio 07040 Teldec 85340 685738534029 104 Symphony/Celibidache 01:00:2631:11 Beethoven String Quartet No. 9 in C, Op. Tokyo String Quartet 04508 Harmonia 807424 093046742362 59 No. 3 Mundi 01:32:3708:09 Mozart Adagio & Fugue in C minor for Berlin 06660 DG 0005830 028947759546 Strings K. 546 Philharmonic/Karajan 01:42:1618:09 Telemann Paris Quartet No. 11 Kuijken 04867 Sony 63115 074646311523 Bros/Leonhardt 02:01:5529:22 Mozart Sinfonia Concertante in E flat, Frang/Rysanov/Arcang 12341 Warner 08256462 825646276776 K. 364 elo/Cohen Classics 76776 02:32:1726:39 Brahms Clarinet Trio in A minor, Op. Stoltzman/Ax/Ma 02937 Sony 57499 074645749921 114 Classical 03:00:2611:52 Liszt Mephisto Waltz No. 1 Evgeny Kissin 06623 RCA 58420 828765842020 03:13:1834:42 Strauss, R. Symphony in D minor Hong Kong 03667 Marco Polo 8.220323 73009923232 Philharmonic/Scherme rhorn 03:49:0009:52 Schubert Overture to Rosamunde, D. Leipzig Gewandhaus 00217 Philips 412 432 028941243225 797 Orchestra/Masur 04:00:2215:04 Haydn Piano Sonata No. 50 in D Julia Cload 02053 Meridian 84083 N/A 04:16:2628:32 Mozart Symphony No. 29 in A, K. 201 Prague Chamber 05596 Telarc 80300 089408030024 Orch/Mackerras 04:45:58 12:20 Webern In the Summer Wind Philadelphia 10424 Sony 88725417 887254172024 Orchestra/Ormandy 202 04:59:4806:23 Lehar Merry Widow Waltz Richard Hayman 08261 Naxos 8.578041- 747313804177 Symphony 42 05:07:11 21:52 Rachmaninoff Rhapsody on a Theme of Entremont/Philadelphia 04207 Sony 46541 07464465412 Paganini, Op. -
Barber Piano Sonata in E-Flat Minor, Opus 26
Barber Piano Sonata In E-flat Minor, Opus 26 Comparative Survey: 29 performances evaluated, September 2014 Samuel Barber (1910 - 1981) is most famous for his Adagio for Strings which achieved iconic status when it was played at F.D.R’s funeral procession and at subsequent solemn occasions of state. But he also wrote many wonderful songs, a symphony, a dramatic Sonata for Cello and Piano, and much more. He also contributed one of the most important 20th Century works written for the piano: The Piano Sonata, Op. 26. Written between 1947 and 1949, Barber’s Sonata vies, in terms of popularity, with Copland’s Piano Variations as one of the most frequently programmed and recorded works by an American composer. Despite snide remarks from Barber’s terminally insular academic contemporaries, the Sonata has been well received by audiences ever since its first flamboyant premier by Vladimir Horowitz. Barber’s unique brand of mid-20th Century post-romantic modernism is in full creative flower here with four well-contrasted movements that offer a full range of textures and techniques. Each of the strongly characterized movements offers a corresponding range of moods from jagged defiance, wistful nostalgia and dark despondency, to self-generating optimism, all of which is generously wrapped with Barber’s own soaring lyricism. The first movement, Allegro energico, is tough and angular, the most ‘modern’ of the movements in terms of aggressive dissonance. Yet it is not unremittingly pugilistic, for Barber provides the listener with alternating sections of dreamy introspection and moments of expansive optimism. The opening theme is stern and severe with jagged and dotted rhythms that give a sense of propelling physicality of gesture and a mood of angry defiance. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Sun, Jun 28, 2020 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 30:17 Hummel Piano Trio No. 5 in E, Op. 83 Gajan Trio 02772 Opus 9351 N/A 2255 00:32:4707:31 Verdi Overture to Joan of Arc La Scala 03534 Sony 68468 074646846827 Philharmonic/Muti 00:41:48 17:58 Rimsky-Korsak Piano Concerto in C sharp Campbell/Royal 04500 Telarc 80454 089408045424 ov minor, Op. 30 Philharmonic/Gilbert Levine 01:01:1604:39 Chopin Nocturne in E flat, Op. 9 No. 2 Fazil Say 13305 Warner 01902958 190295821814 Classics 21814 01:06:5503:34 Strauss, R. Morgen! from Vier Lieder, Op. Hampson/Rieger 11991 DG 479 2943 028947929437 27 01:11:5947:42 Tchaikovsky Symphony No. 5 in E minor, Philharmonia/Muti 04055 Brilliant 99792/5 502842197925 Op. 64 Classics 02 02:01:1113:27 Bach, J.C.F. Cello Sonata in A Camerata of Cologne 07350 CPO 777 087 761203708727 02:15:38 18:12 Sibelius Tapiola, Op. 112 Philharmonia/Ashkena 02843 Decca 473 590 028947359029 zy 02:35:2024:21 Thalberg Piano Concerto in F minor, Op. Ponti/Westphalian 01040 MMG 7151 04716371519 5 Symphony/Kapp 03:01:11 28:13 Spohr Notturno for Winds, Op. 34 Consortium 01761 Orfeo 155 871 N/A Classicum/Klocker 03:30:5412:22 Dvorak Slavonic Rhapsody in D, Op. Slovak 01117 Marco Polo 8.223129 N/A 45 No. 1 Philharmonic/Kosler 03:44:16 15:06 Schumann Papillons, Op. 2 Vladimir Ashkenazy 01129 London 414 474 028941447425 04:00:5210:06 Vivaldi Cello Concerto in B minor, RV Pleeth/English 01136 Musical 11085Z N/A 424 Concert/Pinnock Heritage Society 04:11:5810:25 Suk Adagio from Serenade for Capella 11036 Naxos 8.578009 747313800971 Strings in E flat, Op. -
Defining Musical Americanism: a Reductive Style Study of the Piano Sonatas of Samuel Barber, Elliott Carter, Aaron Copland, and Charles Ives
Defining Musical Americanism: A Reductive Style Study of the Piano Sonatas of Samuel Barber, Elliott Carter, Aaron Copland, and Charles Ives 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 Keyboard Studies Division of the College-Conservatory of Music by Brendan Jacklin BM, Brandon University, 2011 MM, Bowling Green State University, 2013 Committee Chair: bruce d. mcclung, PhD Abstract This document includes a reductive style study of four American piano sonatas premiered between 1939 and 1949: Piano Sonata No. 2 “Concord” by Charles Ives, Piano Sonata by Aaron Copland, Piano Sonata by Elliott Carter, and Piano Sonata, Op. 26 by Samuel Barber. Each of these sonatas represents a different musical style and synthesizes traditional compositional techniques with native elements. A reductive analysis ascertains those musical features with identifiable European origins, such as sonata-allegro principle and fugue, and in doing so will reveal which musical features and influences contribute to make each sonata stylistically American. While such American style elements, such as jazz-inspired rhythms and harmonies, are not unique to the works of American composers, I demonstrate how the combination of these elements, along with the extent each composer’s aesthetic intent in creating an American work, contributed to the creation of an American piano style. i Copyright © 2017 by Brendan Jacklin. All rights reserved. ii Acknowledgments I would first like to offer my wholehearted thanks to my advisor, Dr. bruce mcclung, whose keen suggestions and criticisms have been essential at every stage of this document. -
View Repertoire List
Repertoire List Victor Lim Solo J.S. Bach Prelude and Fugue in F sharp major Book 1 BWV 858 Prelude and Fugue in B flat major Book 1 BWV 866 Prelude and Fugue in F major Book 2 BWV 880 Bach/F,Busoni Chorale Prelude ‘Wachet Auf, Ruft Uns Die Stimme’ Bach/Cohen Chorale Prelude ‘Ertödt' uns durch dein' Güte’ Bach/Siloti Prelude in B minor J. Rameau La Dauphine D. Scarlatti Sonata in C K159 L.v. Beethoven Piano Sonata No.10 Op.14 No.2 Piano Sonata No.21 Op.53 'Waldstein' Piano Sonata No.26 Op.81a 'Les Adieux' Piano Sonata No.25 Op.57 ‘Appassionata’ Piano Sonata No.29 Op.106 ‘Hammerklavier’ J. Haydn Piano Sonata in F major Hob.XVI.23 Piano Sonata in B minor Hob.XVI:32 Piano Sonata in E minor Hob.XVI:34 Piano Sonata in C major Hob.XVI:50 W.A. Mozart Piano Sonata in B flat major K.570 Piano Sonata in A minor K.310 F. Schubert Piano Sonata No.13 in A major D.664 Allegreto in C minor D.915 J. Brahms 6 Klavierstücke Op.118 F. Bridge Three sketches F. Chopin Etudes Op.10 No.1,2,3,5,10,12 Fantaisie Op.49 Ballade No.4 Op.52 Barcarolle Op.60 Preludes Op.28 Mazurkas Op.59 Nocturne Op.9 No.2, Op.32 No.1&2 P. Grainger Ramble on the last duet in Richard Strauss’s Opera ‘Der Rosenkavalier’ E. Grieg Lyric Pieces Op.12 No.1, ‘Arietta’, Op.47 No.3 ‘Melodie’, Op.54 No.4 ‘Nocturne F. -
ALBAN Gerhardt ANNE-Marie Mcdermott
THE KINDLER FOUNDATION TRUST FUND iN tHE LIBRARY oF CONGRESS ALBAN GERHARDT ANNE-MARIE MCDERMOTT Saturday, January 16, 2016 ~ 2 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building In 1983 the KINDLER FOUNDATION TRUST FUND in the Library of Congress was established to honor cellist Hans Kindler, founder and first director of the National Symphony Orchestra, through concert presentations and commissioning of new works. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Saturday, January 16, 2016 — 2 pm THE KINDLER FOUNDATION TRUST FUND iN tHE LIBRARY oF CONGRESS ALBAN GERHARDT, CELLO ANNE-MARIE MCDERMOTT, PIANO • Program SAMUEL BARBER (1910-1981) Sonata for cello and piano, op. 6 (1932) Allegro ma non troppo Adagio—Presto—Adagio Allegro appassionato BENJAMIN BRITTEN (1913-1976) Sonata in C major for cello and piano, op. 65 (1960-1961) Dialogo Scherzo-pizzicato Elegia Marcia Moto perpetuo LUKAS FOSS (1922-2009) Capriccio (1946) iNtermission 1 LEONARD BERNSTEIN (1918-1990) Three Meditations from Mass for cello and piano (1971) Meditation no. -
September 2016 – July 2017
SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music. -
Light & Matter
THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC LIGHT & MATTER JENNIFER KOH, vIOLIN ANSSI KARTTUNEN, cELLO IEVA JOKUBAVICIUTE, pIANO Friday, May 22, 2015 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC supports commissions, contemporary music and its performers. Presented in association with the European Month of Culture Part of National Chamber Music Month Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Friday, May 22, 2015 — 8 pm THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC LIGHT & MATTER JENNIFER KOH, vIOLIN ANSSI KARTTUNEN, cELLO IEVA JOKUBAVICIUTE, pIANO • Program CLAUDE DEBUSSY (1862–1918) Sonate pour Violoncelle et Piano (1915) Prologue: Lent, Sostenuto e molto risoluto–(Agitato)–au Mouvt (largement déclamé)–Rubato–au Mouvt (poco animando)–Lento Sérénade: Modérément animé–Fuoco–Mouvt–Vivace–Meno mosso poco– Rubato–Presque lent–1er Mouvt–au Mouvt– Finale: Animé, Léger et nerveux–Rubato–1er Mouvt–Con fuoco ed appassionato–Lento. -
The Increasing Expressivities in Slow Movements of Beethoven's Piano
The Increasing Expressivities in Slow Movements of Beethoven’s Piano Sonatas: Op. 2 No. 2, Op. 13, Op. 53, Op. 57, Op. 101 and Op. 110 Li-Cheng Hung A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Robin McCabe, Chair Craig Sheppard Carole Terry Program Authorized to Offer Degree: School of Music ©Copyright 2019 Li-Cheng Hung University of Washington Abstract The Increasing Expressivities in Slow Movements of Beethoven’s Piano Sonatas: Op. 2 No. 2, Op. 13, Op. 53, Op. 57, Op. 101 and Op. 110 Li-Cheng Hung Chair of the Supervisory Committee: Dr. Robin McCabe School of Music Ludwig van Beethoven’s influential status is not only seen in the keyboard literature but also in the entire music world. The thirty-two piano sonatas are especially representative of his unique and creative compositional style. Instead of analyzing the structure and the format of each piece, this thesis aims to show the evolution of the increasing expressivity of Beethoven’s music vocabulary in the selected slow movements, including character markings, the arrangements of movements, and the characters of each piece. It will focus mainly on these selected slow movements and relate this evolution to changes in his life to provide an insight into Beethoven himself. The six selected slow movements, Op. 2 No. 2, Op.13 Pathétique, Op. 53 Waldstein, Op. 57 Appassionata, Op. 101 and Op. 110 display Beethoven’s compositional style, ranging from the early period, middle period and late period. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Tue, Dec 15, 2020 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:11 Beethoven Piano Sonata No. 24 in F Alfred Brendel 00559D Philips 412 577 N/A - Comp. sharp, Op. 78 "For Therese" Beeth. Sonatas 00:12:4106:49 Torelli Christmas Concerto in G minor, I Solisti Italiani X0339 Musical 513986 717794398625 Op. 8 No. 6 Heritage Society 00:20:3040:02 Magnard Symphony No. 2 in E Orchestra of the 01807 EMI 49080 077774908023 Toulouse Capitole/Plasson 01:02:02 35:36 Schütz The Christmas Story Kirkby/Taverner X0349 EMI 47633 077774763325 Consort/Parrott 01:38:3820:40 Saint-Saëns Cello Concerto No. 1 in A Rolston/Calgary 03597 CBC 5153 059582515327 minor, Op. 33 Philharmonic/Bernardi Records 02:00:48 05:13 Berlioz Shepherds' farewell from Choir of Trinity X0142 Conifer 5907 74321159072 L'Enfance du Christ, Op. 25 College, Cambridge/Marlow 02:07:0108:31 Beethoven Coriolan Overture, Op. 62 Berlin 00469 DG 415 507 028941550729 Philharmonic/Karajan 02:16:3243:31 Brahms Symphony No. 1 in C minor, Cleveland 02212 Sony 46534 07464465342 Op. 68 Orchestra/Szell 03:01:3331:21 Mozart Divertimento No. 10 in F, K. Academy Chamber 00613 Philips 416 362 028941636225 247 Ensemble 03:33:5424:51 Beethoven Symphony No. 8 in F, Op. 93 Hanover 04422 Nimbus 5130 083603513023 Band/Goodman 04:00:1513:08 Corelli Concerto Grosso in G minor, Violins of the X0113 Dorian 90180 053479018021 Op. 6 No. 8 "Christmas King/Labadie Concerto" 04:14:2331:38 Chausson Symphony in B flat, Op.