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A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Franz Anton Hoffmeister’S Concerto for Violoncello and Orchestra in D Major a Scholarly Performance Edition
FRANZ ANTON HOFFMEISTER’S CONCERTO FOR VIOLONCELLO AND ORCHESTRA IN D MAJOR A SCHOLARLY PERFORMANCE EDITION by Sonja Kraus Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2019 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Emilio Colón, Research Director and Chair ______________________________________ Kristina Muxfeldt ______________________________________ Peter Stumpf ______________________________________ Mimi Zweig September 3, 2019 ii Copyright © 2019 Sonja Kraus iii Acknowledgements Completing this work would not have been possible without the continuous and dedicated support of many people. First and foremost, I would like to extend my deepest gratitude to my teacher and mentor Prof. Emilio Colón for his relentless support and his knowledgeable advice throughout my doctoral degree and the creation of this edition of the Hoffmeister Cello Concerto. The way he lives his life as a compassionate human being and dedicated musician inspired me to search for a topic that I am truly passionate about and led me to a life filled with purpose. I thank my other committee members Prof. Mimi Zweig and Prof. Peter Stumpf for their time and commitment throughout my studies. I could not have wished for a more positive and encouraging committee. I also thank Dr. Kristina Muxfeldt for being my music history advisor with an open ear for my questions and helpful comments throughout my time at Indiana University. I would also like to thank Dr. -
2016 Program Booklet
Rebecca Penneys Piano Festival Fourth Year July 12 – 30, 2016 University of South Florida, School of Music 4202 East Fowler Avenue, Tampa, FL The family of Steinway pianos at USF was made possible by the kind assistance of the Music Gallery in Clearwater, Florida Rebecca Penneys Ray Gottlieb, O.D., Ph.D President & Artistic Director Vice President Rebecca Penneys Friends of Piano wishes to give special thanks to: The University of South Florida for such warm hospitality, USF administration and staff for wonderful support and assistance, Glenn Suyker, Notable Works Inc., for piano tuning and maintenance, Christy Sallee and Emily Macias, for photos and video of each special moment, and All the devoted piano lovers, volunteers, and donors who make RPPF possible. The Rebecca Penneys Piano Festival is tuition-free for all students. It is supported entirely by charitable tax-deductible gifts made to Rebecca Penneys Friends of Piano Incorporated, a non-profit 501(c)(3). Your gifts build our future. Donate on-line: http://rebeccapenneyspianofestival.org/ Mail a check: Rebecca Penneys Friends of Piano P.O. Box 66054 St Pete Beach, Florida 33736 Become an RPPF volunteer, partner, or sponsor Email: [email protected] 2 FACULTY PHOTOS Seán Duggan Tannis Gibson Christopher Eunmi Ko Harding Yong Hi Moon Roberta Rust Thomas Omri Shimron Schumacher D mitri Shteinberg Richard Shuster Mayron Tsong Blanca Uribe Benjamin Warsaw Tabitha Columbare Yueun Kim Kevin Wu Head Coordinator Assistant Assistant 3 STUDENT PHOTOS (CONTINUED ON P. 51) Rolando Mijung Hannah Matthew Alejandro An Bossner Calderon Haewon David Natalie David Cho Cordóba-Hernández Doughty Furney David Oksana Noah Hsiu-Jung Gatchel Germain Hardaway Hou Jingning Minhee Jinsung Jason Renny Huang Kang Kim Kim Ko 4 CALENDAR OF EVENTS University of South Florida – School of Music Concerts and Masterclasses are FREE and open to the public Donations accepted at the door Festival Soirée Concerts – Barness Recital Hall, see p. -
EASTMAN NOTES JUNE 2004 Draft: Final Date: 6/15/2004 INSIDE
NOTES JUNE 2004 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR The right “stu≠” Dear Eastman Alumni: We like Notes’ new look, and it seems you do too. Response has been unani- mously favorable; perhaps we should consider a Steve Boerner–David Cowles NOTES presidential ticket for 2008. I’d vote for them; these two artists made “Notes Volume 22, Number 2 nouveau” a pleasure, and I’m glad the pleasure was conveyed in the magazine June 2004 itself. I write the stuff, but they (and our photographers) make it look good! We also had a tremendous response to our “Eastman Alumni on CD” feature; Editor see pages 33¬34. And enough of you commented on different editorial aspects of David Raymond Notes (not always favorably) that we have a “Letters to the Editor” section, which Assistant editor may be a first for us. Christina Casey This issue of Notes is admittedly filled with history, but Susan Conkling’s re- Contributing writers minder of the great women who shaped both American music and Eastman, and Martial Bednar Amy Blum Paul Burgett’s reminder of four black composers who Christine Corrado played an important part in Eastman history, are stories Contributing photographers worth telling. As is the story of the success of Howard Kurt Brownell Hanson’s Merry Mount at the Met in 1934—a remarkable Gelfand-Piper Photography event, when you think about it. I should add a special Bob Klein Photography word of thanks here to David Peter Coppen, the Sibley Carlos Ortiz Don Ver Ploeg/VP Communications Library Archivist, who is always helpful with providing Amy Vetter historical photographs and other materials for Notes, but Photography coordinator outdid himself for these three articles. -
L'air Français, Un Art Intime
©Denis Rouvre ©Philippe Parent Les Arts Florissants – William Christie L’air français, un art intime Conciertos en seis ciudades de América Latina Les Arts Florissants presentan su primera gira en América Latina desde 2004: L’air français, un art intime El aria francesa, un arte íntimo Al final del reinado de Louis XIV; cambia el estilo de vida aristocrático, y el desarrollo de los salons da como resultado una vuelta de la sociedad elegante desde Versalles a París. Este fue el inicio de una nueva era socio-cultural: en música, esto provocó una evolución en la ambición y el formato. Aunque las formas a gran escala, sobre todo la Tragedia – lírica, continuaron siendo los modelos más avanzados para el entretenimiento de la corte, un arte más confidencial se desarrollaba, favoreciendo formas más modestas, como la sonata. En el ámbito de la música vocal, el air de cour se había vuelto muy popular desde el siglo XVI, y se le unió, a principios del XVIII, un nuevo género: La cantate. Esta forma se extendió a través de los círculos musicales franceses, coexistiendo con la más Antigua y muy en boga: cantata Italiana. La cantate francesa se distinguía de su prima italiana por su estilo, heredado de la tragédie lyrique, y en particular por la atención puesta en el texto. Estas obras eran la quintaesencia de “el buen gusto francés”, combinando los delicados ritmos de elocuencia poética con graciosas melodías. Estas arias à la française eran cantadas por uno o dos cantantes, acompañados de un clave, al que se le podían unir varios instrumentos: flauta, violín, viola, por ejemplo. -
Copyright by Denise Parr-Scanlin 2005
Copyright by Denise Parr-Scanlin 2005 The Treatise Committee for Denise Parr-Scanlin Certifies that this is the approved version of the following treatise: Beethoven as Pianist: A View Through the Early Chamber Music Committee: K.M. Knittel, Supervisor Anton Nel, Co-Supervisor Nancy Garrett Robert Mollenauer David Neumeyer David Renner Beethoven as Pianist: A View Through the Early Chamber Music by Denise Parr-Scanlin, B.M., M.F.A. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December, 2005 Dedication To my mother and first piano teacher, Daisy Elizabeth Liles Parr Acknowledgements I wish to acknowledge the kind assistance of my treatise committee, Dr. Kay Knittel, Dr. Anton Nel, Professor Nancy Garrett, Dr. Robert Mollenauer, Dr. David Neumeyer, and Professor David Renner. I especially thank Dr. Kay Knittel for her expert guidance throughout the project. I also thank Janet Lanier for her assistance with the music examples and my husband, Paul Scanlin, for his constant support and encouragement v Beethoven as Pianist: A View Through the Early Chamber Music Publication No._____________ Denise Parr-Scanlin, D.M.A. The University of Texas at Austin, 2005 Supervisors: K.M. Knittel, Anton Nel Our inability to reconstruct what Ludwig van Beethoven must have sounded like as a pianist is one of the more vexing questions of music history. Unreliable sources and his short performing career, in addition to a lack of virtuoso public pieces, have contributed to this situation. -
Boston Symphony Orchestra Concert Programs, Season 33,1913-1914, Trip
SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 26 AT 8.00 COPYRIGHT, 1914, BY C. A. ELLIS PUBLISHED BY C, A. ELLIS, MANAGER M MELBA KUBELTK These world famous artists prefer and use exclusively Everywhere acknowledged to be, musically, the most beautiful piano the world has ever known. Send for a description of the MASON & HAM- LIN TENSION RESONATOR, the greatest discovery in pianoforte construction in the last fifty years. ESTABLISHED 1854 492-494 BOYLSTON STREET. BOSTON SANDERS THEATRE CAMBRIDGE HARVARD UNIVERSITY Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor SEVENTH CONCERT THURSDAY EVENING, MARCH 26 AT 8.00 PROGRAMME Chadwick Symphony No. 3, F major I, Allegro sostenuto. II. Larghetto. III. Vivace non troppo: L'istesso tempo. IV. Finale : Allegro molto energico. Wagner "A Siegfried Idyl Tschaikowsky . Concerto in D major, for Violin, Op. 35 I. Allegro moderato. II. Canzonetta: Andante. III. Finale: Allegro vivacissimo. Wagner • • Overture, "Tannhauser" SOLOIST FRITZ KREISLER There will be an intermission of ten minutes after the symphony 3 Victrolas $15 to $200 at Steinert's If you have a Victrola you should know how convenient and satis- factory it is to buy records at our stores. You can make selections from very large stocks. You will be pleased with the prompt, cour- teous and intelligent service. Mail orders promptly filled Accounts solicited Records delivered anywhere in New England We invite you to call and hear at either of our Boston stores 35 ARCH STREET STEINERT HALL Largest Exclusive Victor Store 162 BOYLSTON STREET in New England Piano and Victor Departments Branches in Bangor, Portland, Brockton, Fall River, New Bedford, Fitchburg, Worcester, Springfield, Lowell, Haverhill, Providence, Pawtucket, Manchester, New Haven, Bridgeport, and other principal cities. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
The String Quartet from 1750 to 1870: from the Private to the Public Sphere
INTERNATIONAL CONFERENCE THE STRING QUARTET FROM 1750 TO 1870: FROM THE PRIVATE TO THE PUBLIC SPHERE 29 November – 1 December 2013 Lucca, Complesso monumentale di San Micheletto PROGRAMME ORGANIZED BY CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org THE STRING QUARTET FROM 1750 TO 1870: FROM THE PRIVATE TO THE PUBLIC SPHERE International Conference 29 November – 1 December 2013 Lucca, Complesso monumentale di San Micheletto Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Palazzetto Bru Zane - Centre de musique romantique française, Venice In association with Italian National Edition of Luigi Boccherini’s Complete Works Ad Parnassum Journal ef SCIENTIFIC COMMITEE Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini) Étienne Jardin (Palazzetto Bru Zane - Centre de musique romantique française) Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini) Luca Lévi Sala (Université de Poitiers) Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini) Christian Speck (Universität Koblenz-Landau) ef KEYNOTE SPEAKERS Cliff Eisen (King’s College, London) Christian Speck (Universität Koblenz-Landau) FRIDAY 29 NOVEMBER 9.00-10.00: Welcome and Registration 10.00-10.30: Opening • MASSIMILIANO SALA (President Centro Studi Opera Omnia Luigi Boccherini) • ÉTIENNE JARDIN (Scientific Coordinator Palazzetto Bru Zane) • CHRIstIAN SPECK (President Italian National Edition of Boccherini’s Complete Works) Room 1 – Beethoven and the String Quartet (Chair: Rohan H. Stewart-MacDonald, Cheltenham, UK) 10.30-12.30 • Nancy -
RCM and Its Community, Part 2: the Hair-Raising Exploits of RCM Staff
The Magazine for the Royal College of MusicI Autumn 2010 RCM and its community, part 2: The hair-raising exploits of RCM staff What’s inside... Welcome to upbeat… Welcome to the second of two special bumper issues of Upbeat, celebrating the extraordinary RCM community. Contents Following a summer issue devoted to RCM students, we now turn our 4 In the news attention to RCM staff. When they’re not here in Prince Consort Road, RCM Latest news from the RCM professors and administrative staff can be found running festivals, working with charities, collaborating with composers, producing CDs and DVDs, and 9 Hello and goodbye! performing in the widest possible variety of locations. They also perform under We welcome our new arrivals this the widest possible variety of names, so if you want to know the meaning of academic year and bid farewell to curious phrases such as My Gosh Marvellous, The G Project and Colombus three key members of staff Giant, then read on! 10 Staff stories Huge thanks to the many staff who submitted their stories, including those Upbeat meets with a variety of we sadly couldn’t quite fit in: we would love to have had the space to tell you RCM staff to explore ways they are contributing to music today about a dramatic year at Kathron Sturrock’s Fibonacci Festival, and Catherine Jack’s appearance on Centre Court at Wimbledon, but that would have blown 18 The big give the budget! With thanks to… As usual, the rest of Upbeat is packed with news from around the RCM. -
An Essay in Carnal Musicology
Boccherini’s Body Boccherini’s Body An Essay in Carnal Musicology Elisabeth Le Guin UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2006 by Elisabeth Le Guin Library of Congress Cataloging-in-Publication Data Le Guin, Elisabeth, 1957– Boccherini’s body : an essay in carnal musicology / Elisabeth Le Guin. p. cm. Includes bibliographical references and index. isbn 0-520-24017-0 (cloth : alk. paper) 1. Boccherini, Luigi, 1743–1805—Criticism and interpretation. 2. Music—Interpretation (Phrasing, dynamics, etc.) I. Title. ml410.b66l4 2006 780'.92—dc22 2005023224 Manufactured in the United States of America 13 12 11 10 09 08 07 06 10987654321 This book is printed on Natures Book, which contains 50% post-consumer waste and meets the minimum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper).8 But what do my cold and exaggerated expressions mean, my lines without character and without life, these lines that I have just traced, one on top of the other? Nothing, nothing at all; one must see the thing. Mais que signifient mes expressions exagérées et froides, mes lignes sans caractères et sans vie, ces lignes que je viens de tracer les unes au-dessus des autres? Rien, mais rien du tout; il faut voir la chose. -
Life Was a Cabaret
Life was a cabaret Jun. 4, 2009 MAXIM REIDER , THE JERUSALEM POST Whether it is seen as a concert or a show, The Jewish Cabaret is going to draw curious audiences. The Atar Piano Trio, together with singers Yeela Avital and Odelia Dahan, will perform the program at Beit Avi Hai in Jerusalem on June 8. The program features chamber music and cabaret songs from 1920s and 1930s Europe by Kurt Weill, Joseph Achron, Arnold Schoenberg, Itzik Manger, Robert Kahn, Ernest Bloch and others, as well as popular Yiddish songs and original arrangements of Jewish folk music. The ensemble, which was established in Jerusalem in 1996 by pianist Ofer Shelley after he finished his studies at the Rubin Academy of Music in Jerusalem, performs extensively in various venues in Israel and it tours Europe and the USA. The other two members, violinist Tanya Beltser and cellist Marina Kats, are also Rubin Academy graduates. Atar is currently one of the busiest chamber ensembles in Israel, giving many concerts, participating in various productions and special musical projects. "We all come from a classical background and this is the repertoire we traditionally perform. But over the years we came to the conclusion that there is room for more," says Shelley, explaining that in their special programs, which are preceded by in-depth research, they cooperate with many local musicians and appeal to a much wider audience. The Jewish Cabaret is an evening for piano, violin and a singer, dedicated to the period before WWII. "Our interest in this music stems from various sources.