Clara Schumann
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2015-2016 New Music Festival
Tenth Annual New Music Festival 4 events I 5 world premieres I 40 performers Ellen Taaffe Zwilich, Composer-in Residence Lisa Leonard, Director February 23 - February 26, 2016 2015-2016 Season SPOTLIGHT I: YOUNG COMPOSERS Tuesday, February 23 at 7:30 p.m. Matthew Hakkarainen Florida MTNA winner (b.2000) The Suite for Three Animals (2015) Hopping Hare Growling Bear Galloping Mare Matthew Hakkarainen, violin David Jonathan Rogers Piano Trio, Op.10 (2015) (b. 1990) Arcs Fractals Collage Yasa Poletaeva, violin; Elizabeth Lee, cello Darren Matias, piano Trevor Mansell Six Miniatures for Wind Trio (2014) (b. 1996) World Premiere Pastorale Nocturne March Minuet Aubade Rondo Cameron Hewes, clarinet; Trevor Mansell, oboe Michael Pittman, bassoon Alfredo Cabrera (b. 1996) from The Whistler Suite, Op. 5 (2015-16) Innocence World Premiere Sadness & Avarice Beauty & Anger Sheng-Yuan Kuan, piano Pause Chen Liang Two movements from String Quartet (2015-2016) (b. 1991) World Premiere Andante Rondo Junheng Chen & Yvonne Lee, violins Hao Chang, viola; Nikki Khabaz Vahed, cello Anthony Trujillo The Four Nocturnes (2015) (b. 1995) World Premiere Matthew Calderon, piano Matthew Carlton Septet (2015) (b. 1992) World Premiere John Weisberg, oboe; Cameron Hewes, bass clarinet Hugo Valverde, French horn; Michael Pittman, bassoon Yaroslava Poletaeva, violin; Darren Matias, piano Anastasiya Timofeeva, celesta MASTER CLASS with ELLEN TAAFFE ZWILICH Wednesday, February 24 at 7:30 p.m. Selections from the following compositions by Lynn student composers will be performed and discussed. Alfredo Cabrera (b. 1996) from The Whistler Suite, Op. 5 (2015-16) Innocence Sadness & Avarice Beauty & Anger Sheng-Yuan Kuan, piano Chen Liang Two movements from String Quartet (2015-2016) (b. -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
The Structural Fragmentation in Zwilich's Millennium Fantasy
The structural fragmentation in Zwilich’s Millennium Fantasy Kheng K. Koay* Abstract This study explores Zwilich’s Millennium Fantasy (2000), which not only exemplifies the nature of Zwilich’s personal creativity, but also reveals different musical influences on the composer. In her music Zwilich employs a variety of techniques to promote different playful impressions and surprises. The continuous playing of tricks on listeners throughout the two movements is one of the musical characters of the piece. In most cases, the sense of fragmentation created in the composition also results from Zwilich’s playful musical construction. In addition, jazz, popular and traditional idioms are nicely and evenly treated in the composition; the composition is not confined to one musical style. This piece might serve as a model of the perfect balance which Zwilich strikes between traditional and popular styles. Keywords 20th century – American music – woman composer – contemporary music – musical analysis – musical style. Resumo Este estudo aborda a Fantasia Milênio (2000), de Zwilich, obra que exemplifica a natureza da criatividade pessoal da compositora e revela diversas influências musicais. Na sua música Zwilich emprega uma variedade de técnicas para promover diferentes impressões lúdicas e surpresas. O jogo contínuo de truques sobre ouvintes ao longo dos dois movimentos é uma das características da peça musical. Na maioria dos casos, o sentido de fragmentação criado na composição também resulta da construção de musical lúdica de Zwilich. Além disso, o jazz, idiomas populares e tradicionais são tratados com destreza na composição, que não se confina em um estilo musical. Essa peça pode servir como um modelo do equilíbrio com que Zwilich maneja estilos tradicionais e populares. -
A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels
Graduate Theses, Dissertations, and Problem Reports 2017 A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels Achareeya Fukiat Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Fukiat, Achareeya, "A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels" (2017). Graduate Theses, Dissertations, and Problem Reports. 5630. https://researchrepository.wvu.edu/etd/5630 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A SURVEY OF SELECTED PIANO CONCERTI FOR ELEMENTARY, INTERMEDIATE, AND EARLY-ADVANCED LEVELS Achareeya Fukiat A Doctoral Research Project submitted to College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger, -
A Stylistic and Analytical Study of Concerto No.2 for Piano And
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 A stylistic and analytical study of Concerto No.2 for Piano and Orchestra, Op.33, by Lee Hoiby Ji-Won Mun Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Mun, Ji-Won, "A stylistic and analytical study of Concerto No.2 for Piano and Orchestra, Op.33, by Lee Hoiby" (2002). LSU Doctoral Dissertations. 1027. https://digitalcommons.lsu.edu/gradschool_dissertations/1027 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A STYLISTIC AND ANALYTICAL STUDY OF CONCERTO NO. 2 FOR PIANO AND ORCHESTRA, OP. 33, BY LEE HOIBY A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music By Ji-Won Mun B.M., Pusan National University, 1996 M.M., Louisiana State University, 1999 May 2002 ACKNOWLEDGEMENTS I wish to express my gratitude to the members of my committee--Professor Constance Carroll, Dr. Jeffrey Perry, Professor Michael Gurt, and Dr. Jennifer Hayghe--for their support throughout this project. I would especially like to thank Dr. Perry and Dr. Hayghe for providing expert advice, insightful editing, and constant encouragement. -
R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research. -
TOLEDO SYMPHONY 2018-2019 SEASON Phone the Toledo Symphony Box Office at 419.246.8000, Monday-Friday, 9 AM to 5 PM
TOLEDO SYMPHONY 2018-2019 SEASON Phone the Toledo Symphony Box Office at 419.246.8000, Monday-Friday, 9 AM to 5 PM. Visit the Toledo Symphony Box Office (located at 1838 Parkwood Avenue) Monday-Friday, 9 AM to 5 PM. Order Online at toledosymphony.com. It’s fast, easy, and available 24/7. At the Concert The Box Office opens 60 minutes prior to any of our concerts for walk-up ticket buyers. Cover photo: TSO Music Director Alain Trudel THE 2018-2019 TOLEDO SYMPHONY SEASON SCHEDULE September 9, 2018 Friends of Music Toledo Blade Chamber September 21 & 22, 2018 Trudel’s Debut ProMedica Masterworks September 29, 2018 West Side Story: KeyBank Pops Film with Live Orchestra October 20, 2018 Colors ProMedica Masterworks October 27, 2018 Jupiter! Welltower Mozart in the Afternoon October 28, 2018 Halloween Spooktacular Anderson Foundation Family November 3, 2018 Ellis Hall: A Tribute KeyBank Pops to Ray Charles November 4, 2018 Fantasy Pieces Toledo Blade Chamber November 10, 2018 Queen Latifah Spotlight Event November 16 & 17, 2018 A Hero’s Life ProMedica Masterworks December 1, 2018 Christmas at the Anderson Foundation Peristyle Family December 2, 2018 Handel’s Messiah Special Event December 8 & 9, 2018 Toledo Ballet’s Nutcracker Special Event January 11 & 12, 2019 Nordic Air ProMedica Masterworks January 13, 2019 Wazdastyle! Anderson Foundation Family January 19, 2019 Moz-Art à la Haydn Welltower Mozart in the Afternoon January 26, 2019 Big Bad Voodoo Daddy KeyBank Pops January 27, 2019 Night Music Toledo Blade Chamber February 1 & 2, 2019 André -
Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No. -
2021 Streaming JEFFREY BIEGEL, Piano
2021 Streaming Thursday, February 11, 2021 8:00 PM An interactive live online performance streaming FREE online on YouTube: https://youtu.be/88qjdR5ib7g Jeffrey Biegel, piano Klassical Klavier Konversations Classical Masters of the Piano W.A.Mozart Sonata No. 13 in B-flat Major K333 (1783) (1756-1791) Beethoven Sonata No. 23 in F minor, Op. 57 “Appassionata” (1770-1827) Jeffrey Biegel will respond to comments posted in the chat section following the performance. Learn more about Jeffrey Biegel, his career, recordings, performances and more at jeffreybiegel.com. www.troychromaticconcerts.org All programs, dates and times are subject to change. Streaming concerts are supported in part by your voluntary contributions. ©2021 Troy Chromatic Concerts Inc. www.troychromaticconcerts.org Jeffrey Biegel Since 1999, Jeffrey Biegel has commissioned ten composers to bring new music for piano and orchestra to the repertoire. On February 10, 2019, Kenneth Fuchs's "Piano Concerto: 'Spiritualist'" with the London Symphony Orchestra led by JoAnn Falletta garnered a Grammy win in the Best Classical Compendium category, featuring Mr. Biegel as its soloist. Considered the most prolific artist of his generation, Moravian College in Bethlehem, PA, conferred the Honorary Degree of Doctor of Humane Letters upon Mr. Biegel, for his achievements in performance, recordings, chamber music, champion of new music, composer, arranger and educator. Among his recent recordings and performances, Mr. Biegel performed the World Premiere of Giovanni Allevi's 'Concerto for Piano and Orchestra' with Orchestra Kentucky and in Milan's Teatro dal Vermes, recording with Orchestra Sinfonica Italiana. During 2018, Naxos released Kenneth Fuchs's Grammy- winning recording, "Piano Concerto: Spiritualist" and, he performed the World Premiere of Christopher Theofanidis's "Concerto no. -
Bassoon Pedagogy: a Panel Discussion at the 2003 IDRS Conference
Bassoon Pedagogy: A Panel Discussion at the 2003 IDRS Conference By: Michael Burns Burns, Michael. “Bassoon Pedagogy: Report on the Pedagogy Round Table.” The Double Reed, vol. 27-2, 2004. Made available courtesy of International Double Reed Society: http://www.idrs.org/publications/ ***Note: This version of the document is not the copy of record. ***Note: Figures may be missing from this format of the document The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one of the events consisted of a Bassoon Pedagogy Round Table in which several distinguished international panellists were asked to discuss aspects of bassoon pedagogy in front of an audience. Prior to the conference. each panellist was sent a list of questions to answer by the moderator and co-host of IDRS 2003. Michael Burns, The following are the answers to those questions sent in advance and dispersed at the round-table as a handout. Burns then asked each of the panelists to illuminate their answers more in person which led to some wonderful additional inter- :haw amongst these bassoonists as well as question and answer sessions with the audience. I would like to once again thank my colleagues for their expertise and willingness to share their ideas. The panel consisted of: Meyrick Alexander, principal Philharmonia Orchestra, bassoon professor. Guildhall School of Music and Drama. London Judith Farmer, principal Santa Barbara Chamber Orchestra. bassoon professor. University of Southern California. Kiyoshi Koyama. principal Japan Philharmonic Symphony Orchestra Kim Walker, bassoon professor. Indiana University. International soloist Liu Zhaolu, principal Shanghai Symphony, bassoon professor, Shanghai Conservatory of Music MYRICK ALEXANDER'S ANSWERS How do you leach technique on the bassoon? I provide students with a quick and simple daity routine of scales and exercises which produces a retiable. -
World Premieres Composer Work Date Conductor Loder Concert Overture, Marmion 17-Jan 1846 Loder Bristow Concert Overture, Op
World Premieres Composer Work Date Conductor Loder Concert Overture, Marmion 17-Jan 1846 Loder Bristow Concert Overture, Op. 3 9-Jan 1847 Timm Bristow Symphony No. 4, Arcadian 14-Feb 1874 Bergmann Liszt Symphonic Poem No. 2, Tasso: 24-Mar 1877 L.Damrosch lamento e trionfo Tchaikovsky Piano Concerto No. 2 12-Nov 1881 Thomas R. Strauss Symphony in F minor, Op. 12 13-Dec 1884 Thomas *Lalo Arlequin 28-Nov 1892 W. Damrosch Beach Scena and Aria from Mary Stuart 2-Dec 1892 W.Damrosch Dvořák Symphony No. 9, From the New 16-Dec 1893 Seidl World (formerly No. 5) Herbert Cello Concerto No. 2 9-Mar 1894 Seidl Hadley Symphony No. 2, The Four Seasons 21-Dec 1901 Paur Burmeister Dramatic Tone Poem, The Sisters 10-Jan 1902 Paur Rezniček Donna Dianna 23-Nov 1907 W. Damrosch Lyapunov Concerto for Piano and Orchestra 7-Dec 1907 W. Damrosch Hofmann Concerto for Pianoforte No. 3 28-Feb 1908 Safonoff *Rachmaninoff Piano Concerto No. 3 28-Nov 1909 W.Damrosch *W. Damrosch Excerpt from Canterbury Pilgrims 20-Feb 1910 W.Damrosch *Wallace Symphonic Poem, François Villon 6-Nov 1910 W.Damrosch Busoni Berceuse élégiaque 21-Feb 1911 Mahler *Kolar Symphonic Poem, Hiawatha 12-Mar 1911 Damrosch Laucella Symphonic Poem, Consalvo 26-Nov 1911 Stransky Van der Pals Two Symphonic Pieces 17-Dec 1911 Stransky *W. Damrosch Ballad, The Looking Glass 31-Dec 1911 W.Damrosch *W. Damrosch Juanita's Song from Dove of Peace 31-Dec 1911 W.Damrosch *Wolf "Fairy Song" from A Midsummer 2-Feb 1912 Harris Night's Dream Stahlberg Two Symphonic Sketches from Im 4-Feb 1912 W.Damrosch Hochland *Wolf-Ferrari Two Intermezzi from Jewels of 11-Feb 1912 W.Damrosch Madonna *Handel/Reger Concerto Grosso No. -
Listen to Discoveries from the Fleisher Collection on WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
Listen to Discoveries from the Fleisher Collection on WRTI 90.1 FM Philadelphia or online at wrti.org Saturday, September 6th, 2003, 5:00-6:00 p.m. • Ellen Taaffe Zwilich (b.1939). Concerto for Piano (1986). Florida State University Orchestra, Michael Stern, Joseph Kalichstein, Koch 7537. 24:59 • Wolfgang Amadeus Mozart (1756-1791). Concerto for Clarinet and Orchestra, III. Allegro. Mostly Mozart Orchestra, Gerard Schwartz, David Shifrin, Delos 3020. 9:13 • Interview with Ellen Taaffe Zwilich and Donald Spieth, Music Director of the Lehigh Valley Chamber Orchestra On this month’s program we are delighted not only to hear the beautiful and expressive Piano Concerto of Ellen Taaffe Zwilich, but to speak to the composer as well. As examples of the public and critical esteem in which she is held, we need only mention that she was named the 1999 Musical America Composer of the Year, and of course in 1983 she received the Pulitzer Prize in Music, the first woman ever to be so recognized. Donald Spieth has programmed Zwilich’s new Clarinet Concerto for the September 12th and 13th concerts of the Lehigh Valley Chamber Orchestra, performed by the soloist for whom it was written, David Shifrin. Also on the program will be Mozart’s Clarinet Concerto, and today we’ll hear just a bit of it, the Rondo finale. Listen for the lovely sound of Shifrin’s clarinet, which is actually an extended “basset” clarinet (with extra low notes). Mozart composed this work for this longer instrument, and scholars have only recently reconstructed the work and rediscovered this unusual forerunner to the modern clarinet.