Martyna Kučinskaitė Piano Recital Program Notes
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1) Aspects of the Musical Careers of Grieg, Debussy and Ravel
Edvard Grieg, Claude Debussy and Maurice Ravel. Biographical issues and a comparison of their string quartets Juliette L. Appold I. Grieg, Debussy and Ravel – Biographical aspects II. Connections between Grieg, Debussy and Ravel III. Observations on their string quartets I. Grieg, Debussy and Ravel – Biographical aspects Looking at the biographies of Grieg, Debussy and Ravel makes us realise, that there are few, yet some similarities in the way their career as composers were shaped. In my introductory paragraph I will point out some of these aspects. The three composers received their first musical training in their childhood, between the age of six (Grieg) and nine (Debussy) (Ravel was seven). They all entered the conservatory in their early teenage years (Debussy was 10, Ravel 14, Grieg 15 years old) and they all had more or less difficult experiences when they seriously thought about a musical career. In Grieg’s case it happened twice in his life. Once, when a school teacher ridiculed one of his first compositions in front of his class-mates.i The second time was less drastic but more subtle during his studies at the Leipzig Conservatory until 1862.ii Grieg had despised the pedagogical methods of some teachers and felt that he did not improve in his composition studies or even learn anything.iii On the other hand he was successful in his piano-classes with Carl Ferdinand Wenzel and Ignaz Moscheles, who had put a strong emphasis on the expression in his playing.iv Debussy and Ravel both were also very good piano players and originally wanted to become professional pianists. -
Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
Next on Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of the entire Discoveries series every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, August 4th, 2012, 5:00-6:00 p.m. Claude Debussy (1862-1918). Danse (Tarantelle styrienne) (1891, 1903). David Allen Wehr, piano. Connoiseur Soc 4219, Tr 4, 5:21 Debussy. Danse, orch. Ravel (1923). Philharmonia Orchestra, Geoffrey Simon. Cala 1024, Tr 9, 5:01 Maurice Ravel (1875-1937). Shéhérazade (1903). Anne Sofie von Otter, mezzo-soprano, Cleveland Orchestra, Pierre Boulez. DG 2121, Tr 1-3, 17:16 Ravel. Introduction and Allegro (1905). Rachel Masters, harp, Christopher King, clarinet, Ulster Orchestra, Yan Pascal Tortelier. Chandos 8972, Tr 7, 11:12 Debussy. Sarabande, from Pour le piano (1901). Larissa Dedova, piano. Centaur 3094, Disk 4, Tr 6, 4:21 Debussy. Sarabande, orch. Ravel (1923). Ulster Orchestra, Yan Pascal Tortelier. Chandos 9129, Tr 2, 4:29 This time, he’d show them. The Paris Conservatoire accepted Ravel as a piano student at age 16, and even though he won a piano competition, more than anything he wanted to compose. But the Conservatory was a hard place. He never won the fugue prize, never won the composition prize, never won anything for writing music and they sent him packing. Twice. He studied with the great Gabriel Fauré, in school and out, but he just couldn’t make any headway with the ruling musical authorities. If it wasn’t clunky parallelisms in his counterpoint, it was unresolved chords in his harmony, but whatever the reason, four times he tried for the ultimate prize in composition, the Prix de Rome, and four times he was refused. -
Brentano String Quartet
“Passionate, uninhibited, and spellbinding” —London Independent Brentano String Quartet Saturday, October 17, 2015 Riverside Recital Hall Hancher University of Iowa A collaboration with the University of Iowa String Quartet Residency Program with further support from the Ida Cordelia Beam Distinguished Visiting Professor Program. THE PROGRAM BRENTANO STRING QUARTET Mark Steinberg violin Serena Canin violin Misha Amory viola Nina Lee cello Selections from The Art of the Fugue Johann Sebastian Bach Quartet No. 3, Op. 94 Benjamin Britten Duets: With moderate movement Ostinato: Very fast Solo: Very calm Burlesque: Fast - con fuoco Recitative and Passacaglia (La Serenissima): Slow Intermission Quartet in B-flat Major, Op. 67 Johannes Brahms Vivace Andante Agitato (Allegretto non troppo) Poco Allegretto con variazioni The Brentano String Quartet appears by arrangement with David Rowe Artists www.davidroweartists.com. The Brentano String Quartet record for AEON (distributed by Allegro Media Group). www.brentanoquartet.com 2 THE ARTISTS Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves the London Independent; the New York Times extols its “luxuriously warm sound [and] yearning lyricism.” In 2014, the Brentano Quartet succeeded the Tokyo Quartet as Artists in Residence at Yale University, departing from their fourteen-year residency at Princeton University. The quartet also currently serves as the collaborative ensemble for the Van Cliburn International Piano Competition. The quartet has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House. -
MAURICE RAVEL Miroirs (“Mirrors”) Work Composed: 1904–05 in Contrast to the Voluptuous, Sens
MAURICE RAVEL Miroirs (“Mirrors”) Work composed: 1904–05 In contrast to the voluptuous, sensuous and intentionally ambiguous music of Debussy, Ravel’s compositions are precise, clear in design and economical in scoring. Nonetheless, the music of both composers — and many strikingly similar titles — clearly shares an overlapping sensibility and sense of fantasy. Ravel presented his freshly minted piano score Miroirs (“Mirrors”) to his inner circle of artist friends known collectively as the Apaches, dedicating each movement to a specific member of the tight-knit group. The five-part suite reflects the gauzy evanescence of Debussy’s impressionism while paying homage to Liszt’s pianistic pyrotechnics. The influence of Debussy is felt immediately in the first movement, Noctuelles (“Night moths”). Schumann and other composers have rhapsodized about butterflies but Ravel, who always maintained a fascination for the outré, obviously delighted in the intentional grotesqueries evoked in the music. Not coincidentally, he dedicated this piece to Léon-Paul Fargue, who authored this phrase: “The owlet-moths fly clumsily out of the old barn to drape themselves round other beams.” Rapidly scurrying passagework vividly portrays the rapidly changing flight patterns of the winged insects. In the second piece, Oiseaux tristes (“Sad Birds”), dedicated to pianist Ricardo Viñes, Ravel sought to evoke “birds lost in the torpor of a dark forest during the hottest hours of the summer,” or so the composer explained. Even so, the textures are more crisply chiseled than one might expect from the descriptive explanation. Unlike his latter compatriot, Messiaen, Ravel does not imitate bird-song but conveys an unmistakable avian aura. -
GIOCOSO QUARTET Thursday 5 April 2018, 8Pm Hobart Town Hall
GIOCOSO QUARTET Thursday 5 April 2018, 8pm Hobart Town Hall Programme Joseph HAYDN (1732-1809) String Quartet in D major, op 71 no 2 (1793) 19 min I Adagio – allegro II Adagio cantabile III Menuetto: Allegretto – Trio IV Finale: Allegretto Robert SCHUMANN (1810-1856) String Quartet no 1 in A minor, op 41 no 1 (1842) 26 min I Andante espressivo-Allegro II Scherzo: Presto III Adagio IV Allegro INTERVAL Maurice RAVEL (1875-1937) String Quartet in F major (1902-03) 28 min I Allegro moderato II Assez vif, très rythmé III Très lent IV Vif et agité Programme Notes Joseph Haydn (1732-1809) String Quartet in D major, op 71 no 2 (1793) I Adagio - Allegro II Adagio cantabile III Menuetto: Allegro & Trio IV Finale: Allegretto – Allegro Upon his triumphal return to London in February 1794, Haydn brought with him one whole symphony (no 99), parts for two others (nos 100 &101) and six new string quartets, soon to be known as op 71 and 74 (because they were issued in two sets, each one provided, wrongly with a separate opus number). The quartets were destined to serve as a double purpose. They had been commissioned by an old friend and patron, Anton Georg, Count von Apponyi, a Freemason who sponsored Haydn's entrance into the Craft in 1785. It was customary for a commissioner to have exclusive performing rights of such works for a period of years, but in this case Haydn obviously intended the works - completed and delivered only in the previous year, 1793 - not so much for the limited circle of Apponyi and his Austrian friends, as for the forthcoming season in the fashionable concert rooms of his London impresario, the violinist Johann Peter Salomon. -
May, 1952 TABLE of CONTENTS
111 AJ( 1 ~ toa TlE PIANO STYI2 OF AAURICE RAVEL THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Jack Lundy Roberts, B. I, Fort Worth, Texas May, 1952 TABLE OF CONTENTS LIST OFLLUSTRTIONS. Chapter I. THE DEVELOPMENT OF PIANO STYLE ... II. RAVEL'S MUSICAL STYLE .. # . , 7 Melody Harmony Rhythm III INFLUENCES ON RAVEL'S EIANO WORKS . 67 APPENDIX . .* . *. * .83 BTBLIO'RAWp . * *.. * . *85 iii LIST OF ILLUSTRATIONS Figure Page 1. Jeux d'Eau, mm. 1-3 . .0 15 2. Le Paon (Histoires Naturelles), mm. la-3 .r . -* - -* . 16 3. Le Paon (Histoires Naturelles), 3 a. « . a. 17 4. Ondine (Gaspard de a Nuit), m. 1 . .... 18 5. Ondine (Gaspard de la Nuit), m. 90 . 19 6. Sonatine, first movement, nm. 1-3 . 21 7. Sonatine, second movement, 22: 8. Sonatine, third movement, m m . 3 7 -3 8 . ,- . 23 9. Sainte, umi. 23-25 . * * . .. 25 10. Concerto in G, second movement, 25 11. _Asi~e (Shehdrazade ), mm. 6-7 ... 26 12. Menuet (Le Tombeau de Coupe rin), 27 13. Asie (Sh6hlrazade), mm. 18-22 . .. 28 14. Alborada del Gracioso (Miroirs), mm. 43%. * . 8 28 15. Concerto for the Left Hand, mii 2T-b3 . *. 7-. * * * .* . ., . 29 16. Nahandove (Chansons Madecasses), 1.Snat ,-5 . * . .o .t * * * . 30 17. Sonat ine, first movement, mm. 1-3 . 31 iv Figure Page 18. Laideronnette, Imperatrice des l~~e),i.......... Pagodtes (jMa TV . 31 19. Saint, mm. 4-6 « . , . ,. 32 20. Ondine (caspard de la Nuit), in. 67 .. .4 33 21. -
Arnold Schoenberg in America
Arnold Schoenberg in America Bericht zum Symposium Report of the Symposium 2. – 4. Mai 2001 JASC4-2002.indb 1 05.06.02, 13:07:56 Process Cyan Process Magenta Process Yellow Process Black Gedruckt mit Unterstützung von Bundesministerium für Bildung, Wissenschaft und Kultur in Wien Wissenschafts- und Forschungsförderung der Stadt Wien, MA 7 – Kultur Cover-Abbildung: Arnold Schönberg beim Unterricht in seinem Haus in Brentwood Park, West Los Angeles. Im Vordergrund: Natalie Limonick, H. Endicott Hansen und Alfred Carlson. Impressum Redaktion: Therese Muxeneder, Iris Pfeiffer und Verena Zemanek Medieninhaber: Arnold Schönberg Center Privatstiftung Lektorat und Satz: Schwarzenbergplatz 6 Forte OEG, Renate Stark-Voit und Thomas Stark A-1030 Wien www.schoenberg.at Koordination: Edith Barta Eine Kooperation von Arnold Schönberg Center Cover und Gestaltungskonzept: und Bohatsch Graphic Design GmbH Arnold-Schönberg-Institut der Universität für Musik und darstellende Kunst Wien Druck: G. Grasl GesmbH Herausgeber und für den Inhalt verantwortlich: © Arnold Schönberg Center, Wien 2002 Christian Meyer ISBN 3-902012-04-8 JASC4-2002.indb 2 05.06.02, 13:08:01 Process Cyan Process Magenta Process Yellow Process Black Richard Kurth The Art of Cadence in Schönberg’s Fourth String Quartet Metric Discourse or Metric Dialectic? I. One of the remarkable aspects of Schönberg’s music is the stunning variety and originality of the cadential gestures he invents. Cadences articulate the tempo- ral experiences that compose a musical form, and moments of cadence (within a piece or movement) are experienced as temporal turning points, through which the recent past comes into fully-formed shape, and the impending future arouses an invigorated sense of expectation. -
A La Valse for String Quartet Sheet Music
A La Valse For String Quartet Sheet Music Download a la valse for string quartet sheet music pdf now available in our library. We give you 6 pages partial preview of a la valse for string quartet sheet music that you can try for free. This music notes has been read 3004 times and last read at 2021-09-29 07:03:14. In order to continue read the entire sheet music of a la valse for string quartet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Cello, Viola, Violin Ensemble: String Quartet Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Valse Daccord Romantic Valse String Orchestra Valse Daccord Romantic Valse String Orchestra sheet music has been read 3961 times. Valse daccord romantic valse string orchestra arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-10-01 08:27:08. [ Read More ] Valse Melancolique String Quartet Valse Melancolique String Quartet sheet music has been read 3246 times. Valse melancolique string quartet arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-09-30 09:05:38. [ Read More ] Valse Lente String Quartet Valse Lente String Quartet sheet music has been read 4214 times. Valse lente string quartet arrangement is for Intermediate level. The music notes has 4 preview and last read at 2021-10-01 04:25:18. [ Read More ] Valse Scherzo For Trumpet Soloist String Quartet And String Orchestra Valse Scherzo For Trumpet Soloist String Quartet And String Orchestra sheet music has been read 3708 times. -
March 14 & 15, 2020
PROGRAM NOTES | MARCH 14 & 15, 2020 By Don Reinhold, CEO, Wichita Symphony Chris Rogerson LUMINOSITY In his own words, Rogerson describes Born in Amherst, NY, 1988 Luminosity as follows: First performances by the Wichita Symphony Luminosity opens with an energetic gesture Already hailed as a leading composer that is reminiscent of fireworks. After the punchy of his generation, Chris Rogerson has and rhythmic opening, the piece relaxes into a received commissions and performances middle section that is more lyrical and songlike. from orchestras such as the San Francisco This material is then reimagined as the heroic Symphony, the Atlanta Symphony, the Kansas and majestic climax of the piece, which features City Symphony, and over two dozen other a repeated downward gesture in the percussion, orchestras in addition to many solo artists strings, and winds – my attempt at evoking slowly and chamber ensembles. As the 2010 – 2012 falling willow-like fireworks. The opening rhythmic Young Concert Artists Composer-in-Residence, drive and energy return to close the work. his works were performed on the YCA Series in both New York and Washington, DC. Luminosity is scored for two each of flutes, oboes, clarinets and bassoons, four horns, Rogerson started playing the piano at the two trumpets and two trombones, tuba, age of two and cello at eight. He studied at timpani and percussion, harp, and strings. the Curtis Institute, Yale School of Music, and The work lasts about five minutes. Princeton University with composers Jennifer Higdon, Aaron Jay Kernis, Martin Bresnick, Maurice Ravel and Steve Mackey. He currently serves on the PIANO CONCERTO IN G MAJOR Musical Studies Faculty of the Curtis Institute. -
San Diego Symphony Orchestra a Jacobs Masterworks Concert
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT May 15, 16 and 17, 2015 EMMANUEL CHABRIER España ÉDOUARD LALO Symphonie espagnole, Op. 21 Allegro non troppo Scherzando: Allegro molto Intermezzo: Allegretto non troppo Andante Rondo Ray Chen, violin INTERMISSION MAURICE RAVEL Alborada del gracioso MANUEL DE FALLA Selections from The Three-Cornered Hat Suites 1 and 2 Introduction Dance of the Miller’s Wife (Fandango) The Neighbors Miller’s Dance (Farruca) Final Dance PROGRAM NOTES España EMMANUEL CHABRIER Born January 18, 1841, Ambert, Puy-de-Dôme Died September 13, 1894, Paris Approx. 8 minutes Emmanuel Chabrier was a piano prodigy as a child, and he grew up longing to be a composer. But his parents insisted on a “sensible” career, and Chabrier spent several decades as a minor clerk in the Ministry of the Interior who dabbled in composition in his spare time. Then in the spring of 1882 Chabrier and his wife took a vacation trip to Spain, where – like so many other French composers – he was intoxicated by Spanish music. Back in France, he noted down several characteristic melodies and dance rhythms that he had heard in Andalusia, and from these he fashioned what he called a fantasia for solo piano. When the conductor Charles Lamoureux heard Chabrier play this piece, he urged him to orchestrate it. Lamoureux led the premiere of the orchestral version, now titled España, in Paris on November 4, 1883. It was an instant success, and Chabrier woke the next morning to find himself famous. Even now, 130 years later, España remains his best-known work. -
Debussy Ravel Pascal & Ami Rogé
DEBUSSY LA MER · PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE FÊTES RAVEL MA MÈRE L’OYE RAPSODIE ESPAGNOLE SAINT-SAËNS: SCHERZO *** PASCAL & AMI ROGÉ CLAUDE DEBUSSY (1862–1918) 1 Prélude à I’après-midi d’un faune 9.02 2 Fêtes transcr. Ravel 5.49 MAURICE RAVEL (1875–1937) Ma Mère l’Oye 3 I Pavane de la Belle au bois dormant 1.20 4 II Petit Poucet 2.39 5 III Laideronnette, lmpératrice des Pagodes 3.03 6 IV Les entretiens de la Belle et de la Bête 3.51 7 V Le jardin féerique 2.25 Rapsodie espagnole 8 I Prélude à la nuit 5.11 9 II Malagueña 2.00 10 III Habanera 3.01 11 IV Feria 6.16 CLAUDE DEBUSSY La Mer arr. Pascal & Ami Rogé 12 I De I’aube à midi sur la mer 8.19 13 II Jeux de vagues 7.33 14 III Dialogue du vent et de la mer 7.43 CAMILLE SAINT-SAËNS (1835–1921) 15 Scherzo op.87 10.12 Total timing: 79.08 Pascal Rogé and Ami Rogé pianos French music for two pianos: Saint-Saëns, Debussy, Ravel Saint-Saëns’s Scherzo op.87, at once among the least known and most original of his keyboard works, was written at a low point in the composer’s life. His mother, the driving force and great love of his life, had died in December 1888. Now 54 years old, he was devastated, unable to compose, suffered from insomnia and talked of suicide. Ten months later, he moved out of his apartment in the rue Monsieur le Prince, had all his furniture, objets d’art, pictures and manuscripts sent to Dieppe to be housed in a museum there, and set off for Andalusia and thence to Cádiz. -
Elias String Quartet BEETHOVEN the Complete String Quartets
b0073_WH booklet template.qxd 08/12/2014 22:57 Page 1 Elias String Quartet BEETHOVEN The Complete String Quartets Op. 18 No. 4 Op. 74 ‘Harp’ Opp. 130 & 133 1 b0073_WH booklet template.qxd 08/12/2014 22:57 Page 2 Elias string QuartEt plays BEEthovEn – 1 There is something particularly special about replace the fugue with a slighter final movement. Beethoven’s cycle of string quartets. At the heart This does so much to change the experience of the of Beethoven’s life’s statement as a composer, work as a whole that the Elias String Quartet they are pieces that one simply needs to know. played Op. 130 twice in their Wigmore Hall cycle, The cycle of piano sonatas may be more complete. once with each finale – an excellent idea. The five cello sonatas are perhaps the most Arguably, if I had to choose a single Beethoven perfectly concise and representative series. The work to sum him up as a composer, this would be symphonies of course are the mightiest of all, it. Written on a grand scale, it contains the whole each a masterpiece. Every one of these cycles world within it: earthiness, humour, monstrous inspired and also weighed heavily upon the intellect, heaven and hell, redemption. One may generations that followed but the cycle of choose one’s own words of course because this sixteen string quartets has retained a special music is at once objective and also wonderfully status and reverence that perhaps eclipses all of abstract. It defies words. them. Why? The opening movement of Op.