DOCSLIB.ORG

Bemerkungen Bezeichnungen Wie (Aa), (Ab), (Aba), 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bemerkungen Bezeichnungen Wie (Aa), (Ab), (Aba), 3 107 Bemerkungen Bezeichnungen wie (Aa), (Ab), (ABa), 3. Walzer cis-moll op. 64 Nr. 2 (ABb) usw. sollen zur Identifizierung Quellen: A1 (Ab; Bibliothèque Natio- der benutzten handschriftlichen Quel- nale, Paris); A2 (Ac; Privatsammlung p len nach dem Kobyla ska-Katalog in Basel); F (Brandus, Paris, Nr. 4743); dienen. D (Breitkopf & Härtel, Leipzig, A = Autograph; S = Skizze; AB = Ab- Nr. 7716); Dn und M. schrift; F = Französische Erstausgabe; 1. Walzer a-moll op. 34 Nr. 2 A1 stellt mehr einen Entwurf als eine D = Deutsche Erstausgabe; Dn = Nach- Quellen: F (M. Schlesinger, Paris, Nr. ausgearbeitete Fassung dar. A2 diente druck von D; W = Englische Erstaus- 2716); D (Breitkopf & Härtel, Leipzig, als Stichvorlage für F. gabe; P = Polnische Erstausgabe; Nr. 6033); Dn und M. Textgrundlage: A2 unter Heranzie- O’M = Französische Erstausgabe aus Textgrundlage: F hung von F dem Besitz von Chopins Schülerin 2, 4 u: Hier und an Parallelstellen endet 3 o: In F hier und in analogen Takten O’Méara mit handschriftlichen Eintra- der Bogen der Mittelstimme manch- vereinzelt Vorschlagsbögelchen; da gungen des Komponisten; Je = Exem- mal am Taktende, manchmal erst bei sie jedoch in A1, A2 und D fehlen, plar von Ludwika Jędrzejewicz, der der Halben des folgenden Taktes. Es wurden sie überall weggelassen. Schwester Chopins; St = Exemplar wurde sinngemäß vereinheitlicht. 8–12 o: Phrasierung in allen Quellen von Chopins Schülerin Jane Stirling; 8, 160, 196 o: In den Handexemplaren hier und T 136–140 (ebenso T 24 ff. M = Ausgabe von Mikuli, dem Schüler (O’M, Je, St) autographe Korrektur: und 152 ff.) uneinheitlich. Chopins; Oxf = Oxford Edition 2 2 d 1/gis1/c2 –d 1/gis1/h1. In wichtigen 27 f. o: Haltebogen cis –cis nach A1; (Edouard Ganche); Pad = Polnische Ausgaben überlieferte und vielge- fehlt in A2; ebenso T 155 f. Ausgabe (Paderewski); Sch = Ausgabe spielte Lesart. 42 u: Akkord im 2. und 3. Viertel in F von Hermann Scholtz; KK = K. Ko- 1 68 o: Bogenbeginn nach M; in den Quel- und D mit cis ; in D auch in T 162. bylapska: Frédéric Chopin, Thema- len erst ab T 69; vgl. jedoch T 136. A1 und A2 etwas undeutlich; s. aber tisch-Bibliographisches Werkverzeich- 79: F und D (nicht Dn) haben außer T 34, 50 und 58. nis, München 1979; T = Takt(e); 1 dem Vorschlag noch einen Praller auf 45 u: In F Akkord im 3. Viertel mit a ; o/u = oberes/unteres System 1 1. Viertel (zweifellos Versehen). in A1 Akkord fis/a/d ; ebenso T 61. 2 2 Ebenso T 147. 66 f. o: Haltebogen e –e am Taktüber- 160 u: In den Quellen hier und T 196 gang nach D, fehlt in A1, A2 und F; Um die Fülle der textkritischen Anmer- keine Bogenunterbrechung; vgl. je- ebenso T 70 f., 75 f., 76 f., 91 f. und kungen, die sich ergeben haben, in an- doch T 8. 92 f.; siehe jedoch Takte 73 f., 81 f., gemessener Begrenzung zu halten, wur- 170 ff. o: Die Bögen g1 –g1 usw. sind 82 f. usw. den Lesarten der Nebenquellen nicht sicher als Portatobögen aufzufassen. 68 f. u: Bogenführung in den Quellen erwähnt, es sei denn, sie böten beson- hier sowie in T 72 f. und 88 f. kor- ders interessante Aufschlüsse; Abwei- rumpiert; an die sicher überall be- chungen unseres Notentextes von den 2. Walzer Des-dur op. 64 Nr. 1 absichtigte Lesart von T 84 f. ange- die Textgrundlage bildenden Quellen Quellen: S (Aa; Bibliothèque Nationale, glichen. werden nicht angeführt, wenn sie durch Paris); A1 (Ab; Bibliothèque Nationale, 76 u: In F auf eins Akkord b/es1/b1 an eine Parallelstelle und zugleich durch Paris); A2 (Ac; Privatsammlung in den letzten Akkord T 75 angebun- Nebenquellen gerechtfertigt erscheinen. Basel); F (Brandus, Paris, Nr. 4743); den; wir folgen A2 und D. Auch in der Textgrundlage nicht vor- D (Breitkopf & Härtel, Leipzig, 86 u: In allen Quellen schon auf 2. Vier- handene Akzidentien, Verlängerungs- Nr. 7715); Dn und M. tel h statt b; siehe jedoch T 66, 70 punkte, Pedalzeichen u. Ä. finden keine A1 weist noch stärkere Abweichun- und 82. Erwähnung, wenn ihr Fehlen eindeutig gen von der endgültigen Fassung auf. 92: poco ritenuto nur in F. auf einem Versehen beruht. Ebenso A2 diente als Stichvorlage für F. 159 f. o: Übergebundenes gis1 nur in F. bleiben eindeutige Druckfehler uner- Textgrundlage: A2 unter Heranzie- wähnt. hung von F Eine vollständige Angabe der Text- S hat als Tempobezeichnung Vivace, A1 varianten erfolgt dagegen bei der Polo- Tempo di Valso. 4. Walzer As-dur op. post. 69 Nr. 1 naise op. 26 Nr. 1, da erst nach dem 34 o: 6. Achtel in A2 mit h ; wahrschein- (Fassung nach der Eigenschrift) Erscheinen der Polonaisen und des Kri- lich Schreibfehler. Quellen: A1 (Aa; verschollen, Photo- tischen Berichtes im G. Henle Verlag 46 u: 2. Akkord nach A1; in A2, F und grammarchiv Österreichische National- das Autograph und die englische Erst- D ohne c1 (wohl Versehen). bibliothek, Wien, Nr. 354); A2 (Ab; ausgabe zu diesem Werk verfügbar wur- 50 u: 1. Viertel nach A2 und D; in F Deposit in der Harvard University, den und somit hier erstmals ausgewertet eine Oktave tiefer. Dumbarton Oaks Research Library, werden konnten. 53: p nur in A2. Washington); A3 (Ac; Bibliothèque Na- 108 tionale, Paris); AB (ABd; Bibliothèque Hier bestehen erhebliche Abweichun- Textgrundlage: A und Dn Nationale, Paris). gen zwischen A und den Erstausgaben. 1: AB1, F und W haben presto statt Textgrundlage: A1 Interessant ist, dass A, sparsamer mit mesto (Lesefehler aus A?); AB2 ohne 7 u: Akkord im 2. Viertel in A1–3 mit g Artikulationszeichen versehen, formal Bezeichnung. statt b (Verdoppelung des Leittons!). von der gedruckten Fassung nach fol- 29, 30 u: Lesart gemäß Korrektur in A. Die schon in D und F vorgenommene gendem Formschema abweicht. In AB1, F und W wie T 21, 22. In Korrektur scheint im Hinblick auf Gedruckte Fassung: AB2 und Dn 2. wie 3. Viertel. T 15 gerechtfertigt. A A B A B A C A C A 17: Die Wiederholung der T 17–24 ist Autograph: 5. Mazurka C-dur op. 33 Nr. 3 in A1 zweifelhaft, in A2 und A3 aber A A B A C A (A B A) Quellen: A, AB1 (ABa; Abschrift Fon- eindeutig erkennbar. Die Wiederholung der eingeklammer- tana), AB2 (ABb; Abschrift eines un- 43 ff. o: Die in den Quellen sehr unglei- ten Teile ist nach A wahrscheinlich, je- bekannten Kopisten), Dn (Breitkopf & che Bogensetzung wurde sinngemäß doch nicht eindeutig. Härtel, Leipzig, Nr. 5985), F (M. Schle- vereinheitlicht. AB entspricht in der formalen Anlage singer, Paris, Nr. 2714), W (Wessel, 48 o: Akkord in A2 ohne as1; als Über- A, verkürzt allerdings den Teil B um 2 London, Nr. 2279). gang in die Wiederholung vielleicht Takte und weist starke Abweichungen Textgrundlage: A und Dn k 1 organischer. von den übrigen Quellen auf, z. B. in 13 o: Dn und AB2 haben ein vor f , 48: Die Wiederholung der T 48–64 ist T 2, wo die Melodie durch eine von b1 das gemäß T 1 und 9 erwartet wer- in A1 zweifelhaft, in A2 und A3 ein- nach f 2 stufenweise aufsteigende Quin- den könnte. deutig ausgelassen. tole gebildet wird, und in T 11, in dem 22, 30 u: 2. Viertel in Dn und AB2 ohne 1 nur glatte Achtel – jedes mit Akzent c ; A und AB1 unklar. 32 o: In Dn und AB2 ist nur die Sext 5. Walzer e-moll KK IVa Nr. 15 versehen – notiert sind. c1/as1 als Vorschlag notiert; in F und Quellen: D (Schott, Mainz, Nr. 19551); Textgrundlage: F W fehlt im Vorschlag c1. M. Textgrundlage: D 2. Mazurka B-dur op. 17 Nr. 1 6. Mazurka cis-moll op. 41 Nr. 4 63 o: D hat in der ausgeschriebenen Quellen: Dn (Breitkopf & Härtel, Quellen: AB (Abschrift eines unbe- Wiederholung auf 1. Achtel Sexte Leipzig, Nr. 5527), F (M. Schlesinger, kannten Kopisten), D (Breitkopf & Här- a1/fis2 ohne Vorschlag. Paris, Nr. 1704), W. (Wessel, London, tel, Leipzig, Nr. 6335), Dn (Breitkopf & 67 u: 1. Viertel nach M; in D mit Obe- Nr. 1144). Härtel), F (Troupenas, Paris, Nr. 978), roktave e1 (wohl Versehen). Textgrundlage: F W (Wessel, London, Nr. 3558). AB und 71 o: a1 in D in der ausgeschriebenen D bilden eine Quellenschicht. Wiederholung als Hauptnote an ei- 3. Mazurka e-moll op. 17 Nr. 2 Textgrundlage: AB und D nem Hals mit fis2 notiert. Quellen: S (A), Dn (Breitkopf & Härtel, 33: p nur in F und W. Leipzig, Nr. 5527), F (M. Schlesinger, 37–41 o: Legatobögen nur in F und W. 6. Walzer a-moll KK IVb Nr. 11 Paris, Nr. 1704), W (Wessel, London, 63 u: In F und W 1. Viertel mit cis1 statt Quellen: A1 (Aa, Skizze; Bibliothèque Nr. 1144). h; mit Haltebogen an die vorherge- Nationale, Paris); A2 (Ab; Bibliothèque Textgrundlage: F hende Halbe Note angebunden. Das k 2 Nationale, Paris). 12 o: vor d nur in Dn; es bestimmt kurze Ausweichen in die Moll-Domi- Das Stück erschien erstmals im den Akkord als Dominante zum fol- nante gemäß AB und D kann aber als Druck in der französischen Zeitschrift genden e-moll. reizvolle Nuancierung gegenüber La Revue Musicale, 1955. T 55 durchaus beabsichtigt sein. 4. Mazurka gis-moll op. 33 Nr. 1 Textgrundlage: A2 unter Heranzie- 72 u: In AB und D endet der Legatobo- hung von A1 Quellen: A, AB1 (ABa; Abschrift Fon- gen schon beim 1. Achtel; hier gemäß 38 o: Praller nach A1; in A2 nicht zu tana), AB2 (ABb; Abschrift eines un- F und W weitergeführt. identifizierendes Zeichen. bekannten Kopisten), Dn (Breitkopf & 97 ff. o: In AB und D in T 97 und 101 39 u: h im 3.
Load more

Recommended publications
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski 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 Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 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 TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation 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 Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
    [Show full text]
  • Chopin and Poland Cory Mckay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1
    Chopin and Poland Cory McKay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1 The nineteenth century was a time when he had a Polish mother and was raised in people were looking for something new and Poland, his father was French. Finally, there exciting in the arts. The Romantics valued is no doubt that Chopin was trained exten- the exotic and many artists, writers and sively in the conventional musical styles of composers created works that conjured im- western Europe while growing up in Poland. ages of distant places, in terms of both time It is thus understandable that at first glance and location. Nationalist movements were some would see the Polish influence on rising up all over Europe, leading to an em- Chopin's music as trivial. Indeed, there cer- phasis on distinctive cultural styles in music tainly are compositions of his which show rather than an international homogeneity. very little Polish influence. However, upon Fryderyk Franciszek Chopin used this op- further investigation, it becomes clear that portunity to go beyond the conventions of the music that he heard in Poland while his time and introduce music that had the growing up did indeed have a persistent and unique character of his native Poland to the pervasive influence on a large proportion of ears of western Europe. Chopin wrote music his music. with a distinctly Polish flare that was influ- The Polish influence is most obviously ential in the Polish nationalist movement. seen in Chopin's polonaises and mazurkas, Before proceeding to discuss the politi- both of which are traditional Polish dance cal aspect of Chopin's work, it is first neces- forms.
    [Show full text]
  • Whose Chopin? Politics and Patriotism in a Song to Remember (1945)
    Whose Chopin? Politics and Patriotism in A Song to Remember (1945) John C. Tibbetts Columbia Pictures launched with characteristic puffery its early 1945 release, A Song to Remember, a dramatized biography of nineteenth-century composer Frederic Chopin. "A Song to Remember is destined to rank with the greatest attractions since motion pictures began," boasted a publicity statement, "—seven years of never-ending effort to bring you a glorious new landmark in motion picture achievement."1 Variety subsequently enthused, "This dramatization of the life and times of Frederic Chopin, the Polish musician-patriot, is the most exciting presentation of an artist yet achieved on the screen."2 These accolades proved to be misleading, however. Viewers expecting a "life" of Chopin encountered a very different kind of film. Instead of an historical chronicle of Chopin's life, times, and music, A Song to Remember, to the dismay of several critics, reconstituted the story as a wartime resistance drama targeted more to World War II popular audiences at home and abroad than to enthusiasts of nineteenth-century music history.3 As such, the film belongs to a group of Hollywood wartime propaganda pictures mandated in 1942-1945 by the Office of War Information (OWI) and its Bureau of Motion Pictures (BMP)—and subject, like all films of the time, to the censorial constraints of the Production Code Administration (PCA)—to stress ideology and affirmation in the cause of democracy and to depict the global conflict as a "people's war." No longer was it satisfactory for Hollywood to interpret the war on the rudimentary level of a 0026-3079/2005/4601-115$2.50/0 American Studies, 46:1 (Spring 2005): 115-142 115 116 JohnC.Tibbetts Figure 1: Merle Oberon's "George Sand" made love to Cornel Wilde's "Frederic Chopin" in the 1945 Columbia release, A Song to Remember(couvtQsy Photofest).
    [Show full text]
  • The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
    THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting.
    [Show full text]
  • SPRING 2013 Allan Park – Northwest Chopin Council VOLUME XXIII/NUMBER 1 Scholarship Committee TABLE of CONTENTS Dr
    The Semi-Annual Magazine of the Chopin Foundation of the USA CHOPIN FOUNDATION OF THE UNITED STATES, INC. Officers & Directors Krzysztof Penderecki Honorary Chairman Blanka A. Rosenstiel - Founder & President Olga Melin - Vice President Dr. William J. Hipp - Treasurer Rebecca Baez - Secretary Dr. Adam Aleksander - Artistic Advisor Jadwiga Viga Gewert - Executive Director Directors Agustin Anievas, , Roberta O. Chaplin, Douglas C. Evans, Rosa-Rita Gonzalez, Renate Ryan, Lorraine Sonnabend Regional Councils Mack McCray – San Francisco Chopin Council SPRING 2013 Allan Park – Northwest Chopin Council VOLUME XXIII/NUMBER 1 Scholarship Committee TABLE OF CONTENTS Dr. Adam Aleksander, Agustin Anievas, Dr. Hanna Cyba Message from the Founder and President ................................................................................... 2 Advisory Board Bonnie Barrett – Yamaha Artist Services Chopin Foundation Donors and Contributors ............................................................................... 3 Dr. Shelton Berg – University of Miami Frost School of Music Ron Losby – Steinway & Sons Message from the Executive Director .......................................................................................... 4 International Artistic Advisory Council Agustin Anievas, Martha Argerich, Emanuel Ax, Jeffrey N. Babcock, Highlights from our Recent Concerts ........................................................................................... 5 John Bayless, Luiz Fernando Benedini, John Corigliano, Ivan Davis, Christopher T. Dunworth,
    [Show full text]
  • The Piano Genre of the Nineteenth-Century Polonaise
    THE PIANO GENRE OF THE NINETEENTH-CENTURY POLONAISE by BARBARA M. SIEMENS B.Mus., The University of British Columbia, 1986 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2002 © Barbara M. Siemens , 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. School of Music The University of British Columbia Vancouver, Canada Date Abstract The polonaise is a genre whose history reaches back over four hundred years. In recent times, the style has come to be characterized by the rhythm found in many nineteenth-century examples in the piano literature. However, while this rhythm is a typical feature in most Romantic samples, the term "typical" becomes problematic when viewing polonaises written in nineteenth-century Poland, as well as in eighteenth-century Germany. In these cases, the above pattern is given a less prominent role and is replaced by other rhythmic features. This dissimilarity between the polonaises of various periods calls into question the validity of labelling a primary characteristic unilaterally "typical." Is it possible to make one statement regarding the basic rhythmic characteristics of a polonaise, or is it more accurate to create definitions which vary according to historical context? The answer lies in an examination of the rhythmic characteristics as they occur, and not as they are thought to occur, throughout the history of the genre.
    [Show full text]
  • FALL 2018 Artistic Consultants Panel Dr
    CHOPIN FOUNDATION OF THE UNITED STATES, INC. Officers & Directors Krzysztof Penderecki - Honorary Chairman Blanka A. Rosenstiel - Founder & President Olga Melin - Vice President Richard Lubman - Treasurer Renate Ryan - Secretary Directors Agustin Anievas, Roberta O. Chaplin, Norman Edelcup, Rosa Rita Gonzalez, Keith Gray, Edith Hall Friedheim, Vivianne Swietelsky Volume XXIX / Number 1 • FALL 2018 Artistic Consultants Panel Dr. Adam Aleksander, Chair Agustin Anievas, Kevin Kenner, Margarita Shevchenko TABLE OF CONTENTS Executive Director Jadwiga Viga Gewert Message from the Founder/President .....................................2 Regional Councils of the Chopin Foundation Donors and Contributors ...............................................................3 San Francisco Chopin Council - Mack McCray, President Message from the Executive Director ......................................4 Northwest Chopin Council - Adam Aleksander, President Virginia Chopin Council - Robert Joskowiak, President Highlights from the 2017-2018 Season .....................................5 Scholarship Committee 2018 Frost Chopin Academy & Festival ....................................6 Dr. Adam Aleksander, Peter Miyamoto, Tian Ying 2018/2019 Chopin Concert Schedule ........................................8 Advisory Board 2020 National Chopin Piano Competition Bonnie Barrett - Yamaha Artist Services Joel Harrison - American Pianists Association Rules and Repertoire .................................................................9 Gary Ingle - Music Teachers National
    [Show full text]
  • The Ballades of Frederic Chopin
    University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects 12-1-1981 The alB lades of Frederic Chopin Janell E. Brakel Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Brakel, Janell E., "The alB lades of Frederic Chopin" (1981). Theses and Dissertations. 451. https://commons.und.edu/theses/451 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. ' 1 f. 1 'c' ,.!'l)~r,T(' ,.,H.,L l, ]3"11 .... J_.;/\ D' ••• ; 'J''1' · ...:'"· 1"i'_ ·, l·,r\ _ . Li1· Janl"ll E. Brakel Bachelor af Science, Mayville State Coll~ge, 1978 A Thesis Submitted to the Graduate Faculty of the University of North Dakota in partial fulfillnl\'!nt of the requirements for the degree of Master of Arts Grand Forks, North Dakota December 1981 I ' ' ,........I 'J-·liis 'l'he:;i.s su:Omitted by Janell E. Brakel in partir1l fulfillment of tl1e requirements for the Degree of !>laster nf Art:s from the University of North Dakota is h~reby ap­ proved Ly the Faculty Advisory Conunittee under whom the work has been done. ' / I' -'' , ~ _/ ,. ' , ,'I / - ,' ' I ./ , I' -~ v (Chairman) c - ' ' ' - ' This Thesis meets the standards for appearance and confor~s to the style and format requirements of the Graduate School of the University of i'Jorth Dakota, and is hereby approved .
    [Show full text]
  • Cipc-2021-Program-Notes.Pdf
    PROGRAM NOTES First and Second Rounds Written by musicologists Marissa Glynias Moore, PhD, Executive Director of Piano Cleveland (MGM) and Anna M. O’Connell (AMO) Composer Index BACH 03 LISZT 51 BÁRTOK 07 MESSIAEN 57 BEACH 10 MONK 59 BEETHOVEN 12 MOZART 61 BRAHMS 18 RACHMANINOFF 64 CHOPIN 21 RAMEAU 69 CZERNY 29 RAVEL 71 DEBUSSY 31 PROKOFIEV 74 DOHNÁNYI 34 SAINT-SAËNS 77 FALLA 36 SCARLATTI 79 GRANADOS 38 SCHUBERT 82 GUARNIERI 40 SCRIABIN 84 HAMELIN 42 STRAVINSKY 87 HANDEL 44 TANEYEV 90 HAYDN 46 TCHAIKOVSKY/FEINBERG 92 LIEBERMANN 49 VINE 94 2 2021 CLEVELAND INTERNATIONAL PIANO COMPETITION / PROGRAM NOTES he German composer Johann Sebastian Bach was one of a massive musical family of Bachs whose musical prowess stretched over two Johann Thundred years. J.S. Bach became a musician, earning the coveted role as Thomaskantor (the cantor/music director) for the Lutheran church Sebastian of St. Thomas in Leipzig. At St. Thomas, Bach composed cantatas for just about every major church holiday, featuring a variety of different voice types Bach and instruments, and from which his famed chorales are sung to this day in churches and choral productions. As an organist, he was well known for his ability to improvise extensively on hymn (chorale) tunes, and for reharmonizing (1685-1750) older melodies to fit his Baroque aesthetic. Many of these tunes also remain recognizable in church hymnals. Just as his chorales serve as a basis in composition technique for young musicians today, his collection of keyboard works entitled The Well-Tempered Clavier serves even now as an introduction to preludes and fugues for students of the piano.
    [Show full text]
  • APPENDIXES Appendix I
    APPENDIXES Appendix I CHRONOLOGICAL SEQUENCE OF PUBLICATION I8I7 Military March (lost) November Polonaise in G minor (republ. I927) June Rondo, Op. I I826 Mazurkas in B fiat and G ( wd versions: republ. I 8 5I) Polonaise in B fiat minor (republ. I 879) I828 February Rondo ala Mazur, Op. 5 I830 January Variations for PF. and Orch., Op. 2 I83J Autumn Introduction and Polonaise, Op. 3 I832 December PF. Trio in G minor, Op. 8 3 Nocturnes, Op. 9 4 Mazurkas, Op. 6 5 Mazurkas, Op. 7 July Etudes, Op. Io PF. Concerto, Op. I I Grand Duo (Robert /e Diable) November Variations (Ludovic), Op. 12 December 3 Nocturnes, Op. 15 I77 APPENDIX I 1834 March Introduction and Rondo, Op. I 6 4 Mazurkas, Op. I 7 April Fantaisie on Polish Airs, Op. I 3 June Waltz, Op. I8 July Rondo, 'Krakowiak', Op. I4 October Bolero, Op. I9 February Scherzo, Op. 20 I836 January 4 Mazurkas, Op. 24 April PF. Concerto, Op. 2 I May 2 Nocturnes, Op. 2 7 June Ballade, Op. 2 3 July 2 Polonaises, Op. 26 August Andante spianato and Polonaise, Op. 22 2 Songs ('Zycenie' and 'Wojak'), pub!. anonymously October Etudes, Op. 2 5 December 4 Mazurkas, Op. 30 Scherzo, Op. 3 1 2 Nocturnes, Op. 3 z I838 October 4 Mazurkas, Op. 3 3 December 3 Waltzes, Op. 34 1839 June Hexameron, Variation in E major Preludes, Op. 28 May Sonata, Op. 3 5 Impromptu, Op. 36 June 2 Nocturnes, Op. 37 Waltz in A flat, Op. 42 September Ballade, Op. 38 October Scherzo, Op.
    [Show full text]
  • Myth and Appropriation: Fryderyk Chopin in the Context of Russian and Polish Literature and Culture by Tony Hsiu Lin a Disserta
    Myth and Appropriation: Fryderyk Chopin in the Context of Russian and Polish Literature and Culture By Tony Hsiu Lin A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anne Nesbet, Co-Chair Professor David Frick, Co-Chair Professor Robert P. Hughes Professor James Davies Spring 2014 Myth and Appropriation: Fryderyk Chopin in the Context of Russian and Polish Literature and Culture © 2014 by Tony Hsiu Lin Abstract Myth and Appropriation: Fryderyk Chopin in the Context of Russian and Polish Literature and Culture by Tony Hsiu Lin Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Anne Nesbet, Co-Chair Professor David Frick, Co-Chair Fryderyk Chopin’s fame today is too often taken for granted. Chopin lived in a time when Poland did not exist politically, and the history of his reception must take into consideration the role played by Poland’s occupying powers. Prior to 1918, and arguably thereafter as well, Poles saw Chopin as central to their “imagined community.” They endowed national meaning to Chopin and his music, but the tendency to glorify the composer was in a constant state of negotiation with the political circumstances of the time. This dissertation investigates the history of Chopin’s reception by focusing on several events that would prove essential to preserving and propagating his legacy. Chapter 1 outlines the indispensable role some Russians played in memorializing Chopin, epitomized by Milii Balakirev’s initiative to erect a monument in Chopin’s birthplace Żelazowa Wola in 1894.
    [Show full text]
  • 1999-Jan-June.Pdf
    Frederic Chopin is the composer of piai\o music par excellence ar\d or\e Polonaises. Op. 26 of the best-known musical figures of Impromptu No. 3 in CI flat. Op. 51 Mazurka: Notre temps the early romantic period. He has Mazurka: a E. Gaillard become one of the most popular of Nocturnes. Op.15 compc)sers through works at once Mazurkas. Op. 63 poetic ar`d heroic, such as the Mli.farg Scherzo No. I in 8 minor, Op. 20 and Eroi.ca Polonaises, the Furiera/ 24 Preludes. Op. 28 March Sor\a`a, the Black Keus ar\d Reuo/uli.onarg Eludes, and the Fantaisie-Impromptu. My series of Mazurkas. Op. 67 seven substantial recitals Polonaises. Op. 7] Impromptu No. 1 in A flat, Op. 29 commemorates the 150th anniversary 12 Eludes. Op.10 of Chopin`s death and will embrace all of Chopin's output for solo piano Fantaisie in F minor. Op. 49 Berceuse in D flat. Op. 57 (excepting some minor and early Mazurkas. Op. 30 works) - the Preludes, Etudes, Nocturnes. Op. 27 Ballades, Impromptus, Scherzos, Scherzo No. 3 in C sharp minor, Op. 39 Nocturnes, Polonaises, Mazurkas, Waltzes, the two great Sonatas, and many other works besides. Variations Brillantes in a flat. Op. ]2 Mazurkas, Op. 24 Nocturnes. Op. 9 The recitals will take place in the Nouvelles Eludes appropriately intimate and Polonaise in F. sharp minor, Op. 44 atmc)spheric Hutchesons' Hall, a few Ballade No 2 in F . Op. 38 yards from where Chopin played his Mazurkas. Op. 59 Glasgow recital in 1848, the year Sonata in 8 minor, Op.
    [Show full text]