DOCSLIB.ORG

Stephanie Diebel, Horn Graduate Recital Jonathan Livolsi, Bassoon Beilin Han, Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stephanie Diebel, Horn Graduate Recital Jonathan Livolsi, Bassoon Beilin Han, Piano Saturday, May 6, 2017 • 1:00 p.m ​ Stephanie Diebel Graduate Recital DePaul Concert Hall 800 West Belden Avenue • Chicago Saturday, May 6, 2017 • 1:00 p.m. ​ DePaul Concert Hall Stephanie Diebel, horn Graduate Recital Jonathan LiVolsi, bassoon Beilin Han, piano PROGRAM Olivier Messiaen (1908-1992) Des Canyons aux étoiles (1971) VI: Appel Interstellaire Ignaz Lachner (1807-1895) Concertino für Horn, Fagott und Orchester, op. 43 (1850) Allegro spirituoso Romanza, Andante Allegro moderato Polacca Jonathan LiVolsi, bassoon Beilin Han, piano Intermission Richard Strauss (1864-1949) Horn Concerto No. 1 in E-flat Major, Op. 11 (1882-83) Allegro Adagio Allegro Beilin Han, piano Stephanie Diebel is from the studio of James Smelser. This recital is presented in partial fulfillment of the degree Master of Music. As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Stephanie Diebel • May 6, 2017 PROGRAM NOTES Oliver Messiaen (1908-1992) Des Canyons aux étoiles (1971) Duration: 7 minutes Des Canyons aux étoiles was commissioned in 1971 by Alice Tully, an American singer and philanthropist. It was written in celebration of the bicentenary of the Declaration of Independence. Messiaen found inspiration for the piece during his visit to Utah, and much of the work encompasses what landscape he encountered and the overall vastness of the Bryce Canyon. Appel Interstellaire is the sixth installment in this twelve-movement piece, but had been previously written for a different purpose and later adapted and incorporated into Des Canyons aux étoiles. The movement was originally a standalone short work in memory of Messiaen’s young friend Jean-Pierre Guézec who had passed away. It is for this reason that the movement is often played as a solo piece despite it also being a part of a larger work. The movement itself represents the vastness of space, interspersed with clamorous calls, coyote howls, and the song of the Canyon wren through extended techniques. Ignaz Lachner (1807-1895) Concertino für Horn, Fagott und Orchester, Op. 43 (1850) Duration: 18 minutes Ignaz Lachner was a German composer, second chapel master of the Court Opera in Vienna and Stadttheater in Frankfurt, and a friend of Franz Schubert. Most notably known for his string quartets, and overshadowed by his more successful brother Franz, the Concertino Op. 43 is the only piece he wrote involving the orchestra, and is one of very few pieces ever written Stephanie Diebel • May 6, 2017 Program Notes for bassoon and horn. It was possibly written in 1850, but the date is uncertain. The Concertino is in two parts, with four distinct tempo changes. An overall agile piece, the horn and bassoon frequently play homo-rhythmically or echo off of one another, and in the middle section both are given soloistic opportunities. Richard Strauss (1864-1949) Horn Concerto No. 1 in E-flat Major, Op. 11 (1882-83) Duration: 18 minutes At the age of 18, Richard Strauss completed his first horn concerto. It was inspired by and intended for his father, Franz Strauss, who was the principal horn player of the Munich Court Orchestra at the time. Incidentally, his father chose not to premiere the work, deeming it to be too difficult, and instead Gustav Leinhos premiered the concerto on March 4, 1885. Indeed, the music would have been difficult to play on the horns of the 1880s, but the more modern invention of the double horn has allowed for the concerto to become the staple repertoire that it is today. Horn Concerto No. 1 is a three movement work, and embraces the typical Romantic style with its lyrical passages and dark contrasts. However, contrary to many of its contemporaries, all three movements segue into one another with little or no break, and instead of an orchestral exposition, Strauss immediately introduces the horn with a short but declamatory horn call that is then developed by the accompaniment. Strauss would not write another horn concerto until a few years before his death--the style and structure of which differs palpably from his first. Notes by Stephanie Diebel. .
Load more

Recommended publications
  • Classical Music Manuscripts Collection Finding Aid (PDF)
    University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketches …………………………………………………………………... 2 Scope and Content …………………………………………………………………………... 13 Series Notes …………………………………………………………………………………... 13 Container List …………………………………………………………………………………... 15 Robert Ambrose …………………………………………………………………... 15 Florence Aylward …………………………………………………………………... 15 J.W.B. …………………………………………………………………………………... 15 Jean-Guillain Cardon …………………………………………………………………... 15 Evaristo Felice Dall’Abaco …………………………………………………………... 15 Alphons Darr …………………………………………………………………………... 15 P.F. Fierlein …………………………………………………………………………... 15 Franz Jakob Freystadtler …………………………………………………………... 16 Georg Golterman …………………………………………………………………... 16 Gottlieb Graupner …………………………………………………………………... 16 W. Moralt …………………………………………………………………………... 16 Pietro Nardini …………………………………………………………………………... 17 Camillo de Nardis …………………………………………………………………... 17 Alessandro Rolla …………………………………………………………………... 17 Paul Alfred Rubens …………………………………………………………………... 17 Camillo Ruspoli di Candriano …………………………………………………... 17 Domenico Scarlatti …………………………………………………………………... 17 Friederich Schneider …………………………………………………………………... 17 Ignaz Umlauf …………………………………………………………………………... 17 Miscellaneous Collections …………………………………………………………... 17 Unknown …………………………………………………………………………... 18 MS226-Classical Music Manuscripts Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION
    [Show full text]
  • The Rise and Fall of the Cellist-Composer of the Nineteenth Century
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Rise and Fall of the Cellist- Composer of the Nineteenth Century: A Comprehensive Study of the Life and Works of Georg Goltermann Including A Complete Catalog of His Cello Compositions Katherine Ann Geeseman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE RISE AND FALL OF THE CELLIST-COMPOSER OF THE NINETEENTH CENTURY: A COMPREHENSIVE STUDY OF THE LIFE AND WORKS OF GEORG GOLTERMANN INCLUDING A COMPLETE CATALOG OF HIS CELLO COMPOSITIONS By KATHERINE ANN GEESEMAN A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Degree Awarded: Fall Semester, 2011 Katherine Geeeseman defended this treatise on October 20th, 2011. The members of the supervisory committee were: Gregory Sauer Professor Directing Treatise Evan Jones University Representative Alexander Jiménez Committee Member Corinne Stillwell Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my dad iii ACKNOWLEDGEMENTS This treatise would not have been possible without the gracious support of my family, colleagues and professors. I would like to thank Gregory Sauer for his support as a teacher and mentor over our many years working together. I would also like to thank Dr. Alexander Jiménez for his faith, encouragement and guidance. Without the support of these professors and others such as Dr.
    [Show full text]
  • Summary of Three Dissertation Recitals
    Summary of Three Dissertation Recitals by Ji Hyang Gwak A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2020 Doctoral Committee: Professor Christopher Harding, Chair Associate Professor Christine Aidala Assistant Professor Matthew Bengtson Lecturer Amy I-Lin Cheng Professor Logan Skelton Associate Professor Aleksandra Vojcic Ji Hyang Gwak [email protected] © Ji Hyang Gwak 2020 DEDICATION Praises to God for loving me and giving me strength throughout my studies. Heartfelt gratitude to Professor Christopher Harding for giving me the privilege to work under the guidance of such a devoted and supportive mentor. Lastly, to my family for their unconditional love and support. ii TABLE OF CONTENTS DEDICATION ii LIST OF FIGURES iv ABSTRACT v RECITAL I Recital I Program 1 Recital I Program Notes 2 RECITAL II Recital II Program 6 Recital II Program Notes 7 RECITAL III Recital III Program 15 Recital III Program Notes 16 BIBLIOGRAPHY 22 iii LIST OF FIGURES Figures 1.1 Vine Piano Sonata No. 1/i mm. 18-21 5 2.1 Haydn Piano Sonata Hob. XVI: 34/i, first and second theme 7 2.2 Haydn Piano Sonata Hob. XVI: 34/ii mm. 1-4 8 2.3 Likhuta Rondo mm. 9-11 12 3.1 Mozart Piano Concerto K. 488/ii mm.1-5 18 3.2 Mozart Piano Concerto K. 488/ii mm. 38-44 18 3.3 Mozart Piano Sonata K. 332/ii mm. 24-27 9 3.4 Mozart Piano Sonata K. 284/iii var.
    [Show full text]
  • Musik Aus Versailles Werke Von Louis-Gabriel Guillemain, Jean-Philippe Rameau, Georg Philipp Telemann, Jean-Marie Leclair Und Anderen
    Kammermusik im Bibliothekssaal des Agrarbildungszentrums Landsberg am Lech Sonntag 25. Februar 2018, 18 Uhr Mendelssohn II Jugend & Alter Joseph Haydn, Ignaz Lachner und Felix Mendelssohn Bartholdy Rodin Quartett Sonja Korkeala, Gerhard Urban, Violine Martin Wandel, Viola // Clemens Weigel, Violoncello www.kammermusik-landsberg.de Programm Ignaz Lachner (1807 – 1895): Streichquartett Nr. 5 G-Dur op. 104 • Allegro ma non troppo • Andante grave • Allegro vivace • Allegro vivace Joseph Haydn (1732 – 1809): Streichquartett G-Dur op. 77/1 Hob.III:81 (1799) • Allegro moderato • Adagio • Menuetto. Presto • Finale. Presto – Pause – Felix Mendelssohn Bartholdy (1809 – 1847): Streichquartett a-moll op. 13 (1827) • Adagio – Allegro vivace • Adagio non lento • Intermezzo. Allegretto con moto – Allegro di molto • Finale. Presto – Adagio non lento Ich bin eben im Begriff ein Violin-quartett zu beendigen, es ist zum Weinen sentimental und sonst nicht übel glaube ich. Mendelssohn am 23. Oktober 1827 „Was dein Schüler jetzt schon leistet, mag sich zum damaligen Mozart verhalten wie die ausgebildete Sprache eines Erwachsenen zum Lallen eines Kindes.“ Goethe im Jahr 1821 an Mendelssohns Lehrer Carl Friedrich Zelter Einer der härtesten und dringlichsten Sozialhilfefälle wären sie heutzutage, die Lachners, die im späten 18. und im früheren 19. Jahrhundert im Organisten- häuschen der altbayerischen Stadt Rain am Lech ihr kärgliches Dasein fristeten. Kaum mehr als siebzig Quadratmeter maß die Dienstwohnung des katholischen Stadtpfarrorganisten. Keller gab es
    [Show full text]
  • Handbook of Violin Playing, Has a Chapter on Viola Music
    AUGENER'S EDITION, No. 9212. HANDBOOK OF VIOLIN PLAYING BY Prof. CARL SCHROEDER TRANSLATED AND EDITED BY J. MATTHEWS WITH AN APPENDIX CONSISTING OF A GUIDE THROUGH VIOLIN LITERATURE AND A CHAPTER ON THE VIOLA FOURTH EDITION AUGENER LTD. LONDON OCT 3 20W Printed in England. CONTENTS. PART I. The instrument. page page Origin of the violin I Dimensions of the violin . 13 The oldest violins I The wood 13 Development and perfecting The varnish 14 of the violin 2 The strings 14 Prominent makers of the Strings pure in fifths .... 15 present day 3 The string guage 15 Attempts at improving the Preservation of the strings . 16 violin 4 The bow 16 Search for the discovery of the Different parts of the bow . 17 old Italian makers' secrets 6 Resin 18 Distinguishing features of the Violin cases 18 old Italian violins .... 7 Price of violins 19 Imitations of the old Italian Price of violin cases .... 19 violins 10 Price of bows 19 Constituent parts of the violin 10 Preservation of the instrument 19 Function of the soundpost Cleaning the hair of the bow 20 and bass bar ...... 12 Names of the strings, and Position of . the bridge .... 12 tuning , 20 Amount of pressure on the Compass of the violin - , . 21 upper table . ... 13 PART II. The technique of violin playing. Position of the player .... 22 Placing the fingers 30 Holding the violin 22 Exercise in intervals 33 Position of left hand and arm 23 Chords in arpeggio 35 the bow 2 the . Holding ...... 5 Stretching 4^ finger . 36 Position of right hand and arm 25 Various styles of bowing and Examining the manner of their signs 37 holding 25 Arpeggi 41 The close shake Bowing 25 (vibrato).
    [Show full text]
  • MOZART Piano Concertos Nos
    MOZART Piano Concertos Nos. 8 and 23 (arr. Ignaz Lachner) Die Zauberflöte (excerpts arr. for String Quartet and Double Bass) Didier Castell-Jacomin, Piano Vienna Chamber Symphony Quintet Wolfgang Amadeus Mozart (1756–1791) simplification of orchestral groups of different sizes. The One notices, after examination of the solo piano part, the Piano Concertos Nos. 8, K.246 ‘Lützow’ and 23, K.488 smallest of them was for K. 246, the most complex, K. 488. sobriety in which Mozart expresses his complex musical These concertos date from different periods of Mozart’s life. ideas. He realises this by using two or three voices, much as arranged for piano, string quartet and double bass by Ignaz Lachner (1807–1895) The writing style of K. 246 dates from its first performance in Bach does. Various rhythmic cells are used, alternating binary Die Zauberflöte, K.620 (excerpts) arranged for string quartet and double bass Mannheim back in 1776. At this point, the composer was in and ternary. As to the tonal treatment, not only modulation Throughout his autobiography Music, Wit and Wisdom, the referenced Don Giovanni in number 22 of the Diabelli Salzburg at the service of prince-archbishop Colloredo within a movement, but K. 246 has an Andante in F minor legendary Artur Schnabel (1882–1951) evokes his childhood Variations, Op. 120. (1732–1812), with whom he had a difficult relationship. despite an overall C major key. in Vienna. He played just as many original works as Lachner’s time in Vienna developed his interest in Mozart, Nevertheless, Mozart was appreciated by the local nobility.
    [Show full text]
  • Apr 5 to 11.Txt
    CLASSIC CHOICES PLAYLIST April 5 - 11, 2021 PLAY DATE: Mon, 04/05/2021 9:05 AM Albert Roussel Bacchus et Ariane: Suite No. 2 9:24 AM Johann Strauss, Jr. Die Fledermaus: Overture 10:00 AM Wolfgang Amadeus Mozart Fantasia 10:07 AM Wolfgang Amadeus Mozart Duo No. 1 for Violin and Viola 10:25 AM Wolfgang Amadeus Mozart Symphony No. 30 10:44 AM Wolfgang Amadeus Mozart Oboe Quartet 11:01 AM Antonín Dvorák String Quintet 11:37 AM Johann Sebastian Bach Lute Suite No. 2 12:00 PM Richard Hayman Western Medley 12:12 PM George Gershwin Rhapsody in Blue 12:29 PM Eric Coates London Suite 12:45 PM Bernard Herrmann Psycho: Selections 1:01 PM John Alan Rose Piano Concerto, "Tolkien Tale" 1:30 PM Jan Vaclav Vorisek Symphony 2:00 PM Franz Schubert Marche militaire No. 1 2:07 PM Albert Roussel Symphony No. 4 2:29 PM Francois Devienne Bassoon Quartet 2:50 PM Georg Philipp Telemann Concerto for horn, strings, and continuo 3:03 PM Louis Spohr Piano Trio No. 1 3:39 PM Richard Strauss Duet Concertino 4:01 PM Sir Edward Elgar String Quartet 4:28 PM Karl Ditters Von Dittersdorf Symphony 4:52 PM Johann Strauss, Jr. Du und Du Walzer (from "Die Fledermaus") 5:01 PM John Philip Sousa Easter Monday on the White House Lawn 5:05 PM Johann Joachim Quantz Concerto for 2 Flutes 5:19 PM Wolfgang Amadeus Mozart Violin Sonata, K 305/293d 5:35 PM Jan Krtitel Krumpholtz Sonata No. 1 for flute and harp 5:49 PM Richard M & Robert B Sherman Medley from Mary Poppins 6:00 PM All Request Hour with Adam Fine 7:00 PM Exploring Music with Bill McGlaughlin 8:00 PM Weeknight Concerts 10:00 PM Performance Today PLAY DATE: Tue, 04/06/2021 9:05 AM Erich Wolfgang Korngold Violin Concerto 9:31 AM Antonin Reicha Wind Quintet 9:53 AM Vernon Duke/Vladimir Dukelsky I Can't Get Started 10:00 AM Antonín Dvorák Slavonic Dance No.
    [Show full text]
  • BEETHOVEN Piano Concerto No
    Ludwig van BEETHOVEN Piano Concerto No. 1 • Symphony No. 2 Transcriptions for Piano and String Quintet by Vinzenz Lachner HANNA SHYBAYEVA, piano Animato String Quartet Bas Vliegenthart, double bass Radiosinfonieorchester. Im Sommer 2017 war er Dozent eines Kammermusik-Sommerkurses (“Woudschoten Zomercursus”). Er spielt regelmäßig LUDWIG van BEETHOVEN (1770–1827) zusammen mit Ensembles, z.B. dem Nederlands Blazers Ensemble und De Bezetting Speelt, aber auch © Cyrus Allyar mit verschiedenen europäischen Orchestern wie dem Royal Concertgebouw Orchestra, den Rotterdamer Klavierkonzert Nr. 1 op. 15 in C-Dur Philharmonikern, dem Rundfunk-Sinfonieorchester Piano Concerto No. 1 Op. 15 in C major Berlin, dem Radio-Philharmonieorchester, dem (Arrangement für Klavier und Streichquintet von Vinzenz Lachner) Niederländischen Kammerorchester und dem Kristiansand Symfoniorkester. 1 Allegro con brio 17:34 2 Largo 10:40 Bas Vliegenthart, Double Bass 3 Rondo – Allegro scherzando 8:53 Bas Vliegenthart, born in Oudewater/the Netherlands, took Symphonie Nr. 2 op. 36 in D-Dur his first double bass lessons at the age of 13. At the High Symphony No. 2 Op. 36 in D major School for Music and Dance, he attended the lessons of Peter Leerdam for 5 years. After that, Bas studied under (Arrangement für Klaviertrio von L. van Beethoven) Peter Stotijn at the Amsterdam conservatoire, where 4 Adagio – Allegro con brio 12:17 he also made his bachelor’s degree. He continued his 5 Larghetto quasi andante 10:10 Bas Vliegenthart, Kontrabass studies at the Amsterdam conservatoire and finished 6 Scherzo – Trio – Scherzo 3:31 his studies with a master’s degree under Rick Stotijn Bas Vliegenthart wurde in Oudewater/Niederlande and Olivier Thiery.
    [Show full text]
  • The Virtuoso Cellist-Composers from Luigi Boccherini to David Popper: a Review of Their Lives and Works Evgeni Dimitrov Raychev
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 The Virtuoso Cellist-Composers from Luigi Boccherini to David Popper: A Review of Their Lives and Works Evgeni Dimitrov Raychev Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC THE VIRTUOSO CELLIST-COMPOSERS FROM LUIGI BOCCHERINI TO DAVID POPPER: A REVIEW OF THEIR LIVES AND WORKS By EVGENI DIMITROV RAYCHEV 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 Copyright © 2003 Evgeni Raychev All Rights Reserved The members of the Committee approve the treatise of Evgeni Dimitrov Raychev, defended on December 9th, 2002. Lubomir Georgiev Professor Directing Treatise Carolyn Bridger Outside Committee Member Phillip Spurgeon Committee Member Bruce Holzman Committee Member The Office of Graduate Studies has verified and approved the above named committee members To my wife iii ACKNOWLEDGEMENTS This treatise would not have been completed without the help and support of a number of people. I would like to thank cordially the staff of Strozier Library for their kindness and patience in assisting me with the requested items on my countless visits. Associated with them, I would like to thank all of the United States libraries that let me borrow rare and valuable music scores and recordings through the Interlibrary Loan service. With deep appreciation I would like to thank all of my committee members: Prof. Lubomir Georgiev, Prof. Phillip Spurgeon, Dr.
    [Show full text]
  • “Wunderkinder” – Musical Prodigies in European Concert Life Between 1791 and 1860
    “Wunderkinder” – Musical Prodigies in European Concert Life between 1791 and 1860 Yvonne Amthor Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music October 2012 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. The copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2012 The University of Leeds and Yvonne Amthor Acknowledgements This thesis would not have been possible without the kind support and assistance of many people whose contributions I gratefully acknowledge. I would like to express my sincere gratitude to my supervisor Professor Brown, whose guidance and advice has been invaluable throughout the course of my research. I am also indebted to many of my former colleagues at the Brotherton Library, in particular at Special Collections, who understood my research needs well and who have been a constant source of motivation and encouragement. The librarians and archivists at the British Library, the archive of the Musikverein Wien, the Stadt- und Landesbibliothek Wien and the Nationalbibliothek Österreich, the Gundelsheim Museum and the Robert-Schumann- Haus Zwickau all gave helpful information and assistance. I am very grateful for the financial support made available by the Brotherton Library Scholarship Fund and the Foundation Grant from the FfWG. Special thanks to Walter Eichhorn, who has kindly provided access to his private collection of family papers, to the Johnston Family, who have offered most caring support and friendship over the years, to Aneta Popiel-Gilbert who assisted with translations, and to my dear friend Dr Tom Rankin, who encouraged me to start this research project and who has supported it by inviting and welcoming me to Vienna on several occasions.
    [Show full text]
  • I Concerti Per Pianoforte Nella Trascrizione Per Solista E Quintetto D’Archi Di Vinzenz Lachner
    Ludwig van Beethoven I Concerti per pianoforte nella trascrizione per solista e quintetto d’archi di Vinzenz Lachner EDIZIONI ETS Manca G. I Concerti di Beethoven-Lachner.indb 1 19/12/15 01:19 www.edizioniets.com Dipartimento di Musicologia Dipartimento di Composizione del Conservatorio “Giuseppe Verdi” di Milano Supervisione editoriale Massimo Botter Revisione critica e realizzazione della partitura Silvia Del Zoppo Laura Zanoli Simone Corti Consulenza Roberto Tarenzi Progetto a cura del Settore Ricerca del Conservatorio di Milano Coordinatore Gabriele Manca © Copyright Conservatorio di Milano 2015 Edizioni ETS Piazza Carrara, 16-19, I-56126 Pisa [email protected] www.edizioniets.com Distribuzione Messaggerie Libri SPA Sede legale: via G. Verdi 8 - 20090 Assago (MI) Promozione PDE PROMOZIONE SRL via Zago 2/2 - 40128 Bologna ISBN 978-884674409-8 00 Prefazione.indd 2 04/02/16 16:07 Indice Prefazione V 1. Introduzione 2. I fratelli Lachner 3. La Prefazione all’edizione del 1881 4. Verso un’edizione filologica 5. Alcune precisazioni circa le fonti 6. La ricostruzione filologica in presenza di un unico testimone 7. Metodologie ed esemplificazioni 8. Beethoven attraverso i contemporanei 9. Bibliografia Concerto n° 1 op. 15 in Do maggiore 1 Concerto n° 2 op. 19 in Si ♭ maggiore 118 Concerto n° 3 op. 37 in Do minore 210 Concerto n° 4 op. 58 in Sol maggiore 321 Concerto n° 5 op. 73 in Mi ♭ maggiore 440 Manca G. I Concerti di Beethoven-Lachner.indb 3 19/12/15 01:19 Manca G. I Concerti di Beethoven-Lachner.indb 4 19/12/15 01:19 Prefazione di Silvia Del Zoppo 1.
    [Show full text]
  • Schubert's Development and Transformation of the Piano Duet
    Music of a lesser genre? Schubert’s development and transformation of the piano duet medium Barbara Strahan Prelude Schubert’s gift for transforming smaller genres into greater ones is not unique to his Lieder: the formal, stylistic and aesthetic innovations in Schubert’s piano duets reveal an authentic development of this genre. Schubert’s four-hand piano repertoire enjoyed the same performance setting as his songs, but in reception history have not enjoyed the same level of popularity. This chapter therefore seeks to examine why the duets have been misrepresented in scholarship and criticism, and also how Schubert’s contribution differed radically to that of his predecessors. Firstly, the significance of the social milieu of the early nineteenth century in cultivating the duets shall be considered as also the many negative associations accompanying this musical setting. Key issues of reception history, which have contributed to the neglect of Schubert’s piano duets within Schubert scholarship, will also be addressed. Following an exploration as to why these works have been neglected within scholarship, the history of the duet genre will be considered in order to place Schubert’s contribution in a broader context. Finally, Schubert’s own contribution will be assessed, alongside how traditional musicological approaches to the duets have begun to be overturned. Cultural contexts: the Viennese salon In her discussion on Viennese salon music during the nineteenth century, Alice Hanson acknowledges how musical activity during this era moved away from the support of aristocratic patrons to the salons of the affluent middle classes.1 These prosperous middle class families played an intrinsic role in this salon culture as they purchased pianos which in turn supported both instrument makers and music 1 Alice Hanson, Musical Life in Biedermeier Vienna (Cambridge: Cambridge University Press, 1985), p.
    [Show full text]