20Th-Century Repertory
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Sonata for Flute and Piano in D Major, Op. 94 by Sergey Prokofiev
SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE HONORS THESIS Presented to the Honors Committee of Texas State University-San Marcos in Partial Fulfillment of the Requirements for Graduation in the Honors ColLege by Danielle Emily Stevens San Marcos, Texas May 2014 1 SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE Thesis Supervisor: ________________________________ Kay Lipton, Ph.D. School of Music Second Reader: __________________________________ Adah Toland Jones, D. A. School of Music Second Reader: __________________________________ Cynthia GonzaLes, Ph.D. School of Music Approved: ____________________________________ Heather C. GaLLoway, Ph.D. Dean, Honors ColLege 2 Abstract This thesis contains a performance guide for Sergey Prokofiev’s Sonata for Flute and Piano in D Major, Op. 94 (1943). Prokofiev is among the most important Russian composers of the twentieth century. Recognized as a leading Neoclassicist, his bold innovations in harmony and his new palette of tone colors enliven the classical structures he embraced. This is especially evident in this flute sonata, which provides a microcosm of Prokofiev’s compositional style and highlights the beauty and virtuosic breadth of the flute in new ways. In Part 1 I have constructed an historical context for the sonata, with biographical information about Prokofiev, which includes anecdotes about his personality and behavior, and a discussion of the sonata’s commission and subsequent premiere. In Part 2 I offer an anaLysis of the piece with generaL performance suggestions and specific performance practice options for flutists that will assist them as they work toward an effective performance, one that is based on both the historically informed performance context, as well as remarks that focus on particular techniques, challenges and possible performance solutions. -
School of Music Program Notes
First Half Deanna Buringrud,flute Gail Novak,piano Honors Project Recital Hall I April 7, 2019 j 12 p.m. Program Sonata for Flute and Piano Francis Poulenc Allegro malinconico Cantilena Presto giocoso First Sonata, for Flute and Piano Bohuslav Martinu I II III INTERMISSION ARIZONA STATE UNIVERSITY School of Music Program Notes First Sonata for Flute and Piano, Bohuslav Marinu (Dec. 1890 - 1959) Bohuslav Marinu was a Czech composer of early-mid 20th century. Bohuslav grew up in a family without material wealth. He began violin at a young age and excelled quickly. The town was impressed by his talent when attending his recitals, and raised the funds to send him to the Prague Conservatory in 1906. Martinu was expelled from the Prague conservatory in 1910 due to "incorrigible negligence." Martinu became more interested in the composition aspect of music than his individual performance, and as such did not practice his violin enough. First Sonata for Flute and Piano was composed in 1945 in South Orleans, Cape Cod. During this time, Marinu was living in the United States to escape France when it was occupied by the Nazis in WW2. Though he didn't speak english very well, Martinu quickly adapted to his environment and ended up teaching both at Princeton and the Tanglewood institution in Berkshire. First Sonata was written for Georges Laurent, the principle flutist of the Boston Symphony. It premiered in New York 1949. Remnants ofMartinu's past can be heard throughout the sonata, such as the perfect fourths in the first movement that represent the church bells his father rang. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
H O N Y Post Office Box #515 Highland Park, Illinois 60035 FAX #847-831-5577 E-Mail: [email protected] Website: Lawrence H
P O L Y P H O N Y Post Office Box #515 Highland Park, Illinois 60035 FAX #847-831-5577 E-Mail: [email protected] Website: http://www.polyphonyrecordings.com Lawrence H. Jones, Proprietor Auction Catalog #156 Closing: Noon, Central Standard Time; Tuesday, December 3rd, 2019 Dear Fellow Record Collectors - WELCOME TO THE ONLINE VERSION OF POLYPHONY’S AUCTION CATALOG #156! All items are offered at auction; the minimum acceptable bid for each is shown at the end of its listing. The deadline for receipt of bids is Noon, Central Standard Time; Tuesday, December 3rd, 2019. INSTRUCTIONS FOR ONLINE: This version is the same as the print version except no bidsheet is provided, since you can simply send an e-mail with notation of your bids and lot numbers of the items in which you are interested. A brief description of the item helps to confirm correct lot number. If you wish to authorize me to charge your winnings to a credit card which I do not already have on file, I do not suggest that you send this information via e- mail since it is not secure. You may quote an account number via phone/FAX or mail in advance – or you may wait for me to send you a copy of your invoice. If you have questions, by all means e-mail me at the address above! SEE PAGE 5 FOR TABLE OF CONTENTS, PAGE 4 FOR ABBREVIATIONS, PAGE 3 FOR CONDITION GRADING. For those of you receiving one of my catalogs for the first time, here are a few comments about the contents and their arrangement. -
Francis Poulenc'in Flüt Ve Piyano Sonati Hakkinda Bir
Balkan Müzik ve Sanat Dergisi Nisan 2021 Cilt 3 Sayı 1 (107-120) 107 DOI: 10.47956/bmsd.898174 İnceleme Makalesi FRANCIS POULENC’İN FLÜT VE PİYANO SONATI HAKKINDA BİR İNCELEME A REWIEV OF FRANCIS POULENC’S FLUTE AND PIANO SONATA Çisem ÖNVER ZAFER* Geliş Tarihi: 16.02.2021 Kabul Tarihi: 15.03.2021 (Received) (Accepted) Öz: Çağdaş dönem müziği denilince akla gelen isimlerden biri olan Francis Poulenc, üflemeli çalgıların repertuvarlarına zenginlik kazandırmıştır. Sadece piyano eşlikli eserler değil, oda müziği alanında da çalışmalar yapan besteci, dönemin özelliklerini müziğine yansıtmıştır. Aynı zamanda kendine has melodik yapıları da eserlerinde kullanan besteci, klasik müzikte tanınan isimler arasında yerini almıştır. Bestecinin melodik üslubunu sergileyen en önemli örnekler arasında üç eser, Flüt ve Piyano için Sonat (1956-57), Klarnet ve Piyano için Sonat (1962) ve Obua ve Piyano için Sonat (1962) sayılabilir. Tek bir nefesli çalgı ve piyano, her üflemeli çalgının tamamen yeteneklerini gösterdiği ve şiirsel bir metnin yokluğu göz önüne alındığında, saf melodik çizginin ifadesi için mükemmeldir. Ayrıca bu eserler altı yıl içinde yazılmış olup, bestecinin en olgun tarzını temsil etmektedirler. Bu bağlamda yazdığı flüt ve piyano sonatı birçok öğrenci ve sanatçının repertuvarında yer alan gözde eserlerin başında gelmektedir. Anahtar Kelimeler: Çağdaş Dönem, Flüt sonatı, Francis Poulenc Abstract: Francis Poulenc, one of the names that comes to mind when it comes to contemporary music, enriched the repertoire of wind instruments. The composer, who not only works with piano accompaniment but also works in the field of chamber music, reflected the characteristics of the period to her music. At the same time, the composer, who uses his own melodic structures in his works, has taken his place among the well-known names in classical music. -
Poulenc, Francis (1899-1963) by Mario Champagne
Poulenc, Francis (1899-1963) by Mario Champagne Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Francis Poulenc with harpsichordist Wanda Landowska. One of the first openly gay composers, Francis Poulenc wrote concerti, chamber music, choral and vocal works, and operas. His diverse compositions are characterized by bright colors, strong rhythms, and novel harmonies. Although his early music is light, he ultimately became one of the most thoughtful composers of serious music in the twentieth century. Poulenc was born on January 7, 1899 into a well-off Parisian family. His father, a devout Roman Catholic, directed the pharmaceutical company that became Rhône-Poulenc; his mother, a free-thinker, was a talented amateur pianist. He began studying the piano at five and was following a promising path leading to admission to the Conservatoire that was cut short by the untimely death of his parents. Although he did not attend the Conservatoire he did study music and composition privately. At the death of his parents, Poulenc inherited Noizay, a country estate near his grandparents' home, which would be an important retreat for him as he gained fame. It was also the source of several men in his life, including his second lover, the bisexual Raymond Destouches, a chauffeur who was the dedicatee of the surrealistic opera Les mamelles de Tirésias (1944) and the World War II Resistance cantata La figure humaine (1943). From 1914 to 1917, Poulenc studied with the Spanish pianist Ricardo Viñes, through whom he met other musicians, especially Georges Auric, Erik Satie, and Manuel de Falla. -
ABSTRACT Title of Dissertation: COMPOSITIONS for FLUTE BY
ABSTRACT Title of Dissertation: COMPOSITIONS FOR FLUTE BY AMERICAN STUDENTS OF NADIA BOULANGER Jessica Guinn Dunnavant, Doctor of Musical Arts, 2004 Dissertation directed by: Professor William Montgomery School of Music Throughout the twen tieth century, young American composers made a pilgrimage across the Atlantic Ocean to study their craft with Nadia Boulanger (1887- 1979). Many of them wrote substantial, interesting works for flute, and this dissertation focuses on performances of a selection of those compositions. Boulanger’s life is well documented, as is her reputation for helping her students find their own musical voices. In this project she serves as a lens through which three generations of American composers may be viewed. This to pic brings together a wide variety of flute music in almost every style imaginable. A selection of music to perform was made because the amount of music far exceeds the amount of available performance time. A list of Nadia Boulanger’s American students was primarily derived from the website nadiaboulanger.org and from composers listed in the two editions of the New Grove Dictionary of Music and Musicians. These lists are far from comprehensive and other notable flute composers have been added. The followin g is an alphabetical list of the works that were performed: Alexander’s Monody, Amlin’s Sonata , Bassett’s Illuminations, Berlinski’s Sonata , Carter’s Scrivo in Vento , Cooper’s Sonata , Copland’s Duo, Dahl’s Variations on a Swedish Folktune, Diamond’s Sonata , Erb’s Music for Mother Bear, Finney’s Two Ballades , Glass’s Serenade, Kraft’s A Single Voice , La Montaine’s Sonata , Lewis’s Monophony I, Mekeel’s The Shape of Silence , Piston’s Sonata , Pasatieri’s Sonata , Rorem’s Mountain Song, and Thomson’s Sonata . -
Keyboard: 6/18/09 3:51 PM Page 105 HAL LEONARD105 KEYBOARD
76164 4 Classical_Keyboard: 6/18/09 3:51 PM Page 105 HAL LEONARD105 KEYBOARD 106 Piano Instruction 108 Solo Keyboard Literature by Composer 180 Solo Keyboard Mixed Collections 185 Schirmer Performance Editions 186 The World’s Great Classical Music Series 187 Get to Know Classical Masterpieces 188 One Piano, Four Hands 194 One Piano, Six Hands 195 Two Pianos, Four Hands 202 Miscellaneous Piano Ensembles 203 Piano with Various Instruments 203 Harmonium 203 Harpsichord 205 Organ 216 Organ with Various Instruments 217 Organ/Piano Duets 218 Accordion 2009-2010 CLASSICAL MUSIC CATALOG 76164 4 Classical_Keyboard: 6/18/09 3:51 PM Page 106 106 PIANO INSTRUCTION ______49005413 Easy Baroque Piano Music (Emonts) PIANO INSTRUCTION Schott ED5096 ...........................................................$13.95 ______49005116 Easy Piano Pieces from Bach’s Sons to Beethoven ADAMS, BRET (ed. Emonts) Schott ED4747 .....................................$13.95 ______50006170 12 Primer Theory Papers ______49005117 Easy Romantic Piano Music – Volume 1 (ed. Emonts) Schirmer SG2566 ..........................................................$4.95 Schott ED4748 ...........................................................$13.95 BENNER, LORA ______49007882 Easy Romantic Piano Music – Volume 2 (ed. Emonts) Schott ED8277 ...........................................................$13.95 ______50330220 Theory for Piano Students Book 1 From Bartók to Stravinsky Easy Modern Piano Pieces Schirmer ED2511 ..........................................................$9.95 ______49005136 -
The Flute Works of Erwin Schulhoff
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 8-2019 The Flute Works of Erwin Schulhoff Sara Marie Schuhardt Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Schuhardt, Sara Marie, "The Flute Works of Erwin Schulhoff" (2019). Dissertations. 590. https://digscholarship.unco.edu/dissertations/590 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 SARA MARIE SCHUHARDT ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THE FLUTE WORKS OF ERWIN SCHULHOFF A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Sara Marie Schuhardt College of Performing and Visual Arts School of Music August 2019 This Dissertation by: Sara Marie Schuhardt Entitled: The Flute Works of Erwin Schulhoff has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing and Visual Arts in School of Music Accepted by the Doctoral Committee ______________________________________________________ Carissa Reddick, Ph.D., Research Advisor ______________________________________________________ James Hall, D.M.A., Committee Member _______________________________________________________ -
20Th-Century Repertory
Mikrokosmos List 635. - 2 - July 2018 ....20TH-CENTURY REPERTORY 1 Andricu, Mihail: Sym a IV-a; Simfonietta 12 - cond.Bacs, Sbarcea S ELECTRECOR ST-ECE 1922 A 12 2 Andriessen, Hendrik: Sym 2 & 3 - cond.Otterloo, Fournet (live with scores) S DONEMUS 70713 A 20 3 Andriessen, Henrik: Sym 1/ Paap: Garlands of Music/ Horst: Reflexions Sonores - DONEMUS DAVS 6804 A 8 cond.Hupperts, Otterloo, Haitink all live with scores S 4 Berio: Epifanie, Folk Songs, Sequenza VI, Chemins II, III - C.Berberian, Trampler, 2 x RCA RK 11530 A 15 Juilliard Ens, London SO, cond.Berio S 5 Blacher: Concertante Music, Pno Con 2 - G.Herzog, cond.Rosbaud (gatefold) DGG LP 16402 A 12 GY2 (p.1956) 10" 6 Blockx, Jan: Vlaamse Kermis/Poot, Marcel: Sinfonietta in G - cond.L.Gras 10" DECCA 143361 A 40 7 Carter, Elliott: Vars for Orch, Double Con - Rosen pno, Jacobs hrpschrd, CBS S 3461093 A 8 cond.Prausnitz S 8 Djabadary: Rhapsodie Geoprgienne (pf, orch); Tiflisiana (orch); Pno Con - H.Goraieb VOXIGRAVE V30ST 7240 A 10 pno, RTL SO, cond.Froment S 9 Draeseke, Felix: Mass in a (Leichlinger Kantorei, cond.Follert), 6 Fugues for Pno POLYPHONIA POL 63018 A 8 (Haas arr and plays organ) 1983 S 10 Egk, Werner: La Tentation de St Antoine/Arriaga: SQ 3 - M.Hendriks ms, Markl AARTON 8335 A 12 Quartet 1983 S 11 Eimert, Herbert: Einfuhrung; Etude; 5 Pieces; Glockenspiel (electronic music) DGG LP 16132 A 50 (p.1957) 10" 12 Enescu: Sonata for Vln & Pno No.2 (Cozighian vln, V.Gheorghiu pno); Sonata for Vcl & ELECTRECOR ST-ECE 1804 A 12 Pno Op.26\2 (Gutu vcl, E.Cosma pno) S 13 Enescu: Vox Maris -
72001 for PDF 11/05
EARL WILD LISZT THE 1985 SESSIONS DISC 1 From “Années de Pèlerinage” Second Year: Italy (S161/R10b) 1 Après une lecture du Dante (Fantasia quasi Sonata) 15:58 [“Dante Sonata”] (Andante maestoso - Presto agitato assai - Tempo I (Andante) - Andante (quasi improvvisato) - Andante - Recitativo - Adagio - Allegro moderato - Più mosso - Tempo rubato e molto ritenuto - Andante - Più mosso - Allegro - Allegro vivace - Presto - Andante (Tempo I)) 2 Sonetto 47 del Petrarca 6:20 (Preludio con moto - Sempre mosso con intimo sentimento) 3 Sonetto 104 del Petrarca 6:31 (Agitato assai - Adagio - Agitato) 4 Sonetto 123 del Petrarca 7:04 (Lento placido - Sempre lento - Più lento - (Tempo iniziale)) From “Années de Pèlerinage” Third Year (S163/R10e) 5 Les jeux d’eau à la Villa d’Este 7:41 (Fountains of the Villa d’Este) (Allegretto) 6 Ballade No.2 in B minor (S171/R16) 13:59 (Allegro moderato - Lento assai - Tempo I - Lento assai - Allegretto - Allegro deciso - Allegretto - Allegretto sempre legato - Allegro moderato - Un poco più mosso - Andantino) From “Liebesträume, 3 Notturnos” (S541/R211) 7 Liebesträume (Notturno) No.2 in E flat Major (2nd Version) 4:27 (“Seliger Tod”) (Quasi lento, abbandonandosi) 8 Liebesträume (Notturno) No.3 in A flat Major 4:26 (“O lieb, so lang du lieben kannst!”) (Poco allegro, con affetto) 9 Concert Étude No.3 in D flat Major (“Un Sospiro”) (S144/R5) 5:14 (Allegro affettuoso) Total Playing Time : 72:16 – 2 – DISC 2 Bach/Liszt: Fantasia and Fugue in G minor (S463/R120) 11:12 1 Fantasia (Grave) 5:49 2 Fugue (Allegro) 5:23 Sonata -
CONITZ-DOCUMENT-2019.Pdf
i Abstract (Re)Examining narratives: Personal style and the viola works of Quincy Porter (1897–1966) By Aaron Daniel Conitz The American composer Quincy Porter (1897–1966) is primarily remembered for his achievements and contributions as a member of the academy and, as a result, his music has largely been cast in the shadows. His compositional style is frequently described as “personal” or “highly individual,” particularly in reference to his works of chamber music, specifically those for string instruments. Porter was a fine violist who performed throughout his professional career in solo recitals and chamber ensembles; these experiences directly influenced his composition. Reexamining Porter’s narrative through the lens of his works for viola reveals a more nuanced perspective of the individual, one that more effectively conveys his personal style through the instrument he played. This body of repertoire forms a unique sector of his oeuvre: the works are valuable for the violist in their idiomatic qualities and compositional appeal, yet also display the composer’s voice at its finest. This document will present the works Porter originally wrote for viola (no transcriptions) as a valuable contribution to the repertory of 20th century American viola music. The works will be presented in chronological fashion and explore analytical aspects, stylistic concerns, historical context, and performance practice. The document begins with a biography to provide context for these works. ii Acknowledgements It is said that it takes a small village to raise a child. The essence and wisdom of this statement has certainly held true throughout the creation of this document; I would like to thank and recognize the small village of individuals that have helped me along this long, but rewarding journey.