Elias String Quartet BEETHOVEN the Complete String Quartets
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The Third Period of César Franck Author(S): Sydney Grew Source: the Musical Times, Vol
The Third Period of César Franck Author(s): Sydney Grew Source: The Musical Times, Vol. 60, No. 919 (Sep. 1, 1919), pp. 462-464 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3701958 Accessed: 25-03-2015 19:50 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 128.235.251.160 on Wed, 25 Mar 2015 19:50:30 UTC All use subject to JSTOR Terms and Conditions 462 THE MUSICAL TIMES.-SEPTEMBER I, 1919. He is content to spend days on a single passage I wasnot sorrowful. (Boosey.) The Cost. 2. The so that he gives it the one ultimate formwhich (I. Blind; Cost.) (WinthropRogers.) afterwards to be the inevitable form it The Soldier. (WinthropRogers.) proves Blowout, you bugles. (WinthropRogers.) should take. Yet this constant preoccupation The Heart'sDesire. (WinthropRogers.) with precision in detail has nowhere resulted in Earth's Call. (Rhapsodyfor voice and pianoforte.) laboured writing. His harmonic texture may be (WinthropRogers.) or suave or SpringSorrow. -
César Franck's Violin Sonata in a Major
Honors Program Honors Program Theses University of Puget Sound Year 2016 C´esarFranck's Violin Sonata in A Major: The Significance of a Neglected Composer's Influence on the Violin Repertory Clara Fuhrman University of Puget Sound, [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/honors program theses/21 César Franck’s Violin Sonata in A Major: The Significance of a Neglected Composer’s Influence on the Violin Repertory By Clara Fuhrman Maria Sampen, Advisor A thesis submitted in partial fulfillment of the requirements as a Coolidge Otis Chapman Scholar. University of Puget Sound, Honors Program Tacoma, Washington April 18, 2016 Fuhrman !2 Introduction and Presentation of My Argument My story of how I became inclined to write a thesis on Franck’s Violin Sonata in A Major is both unique and essential to describe before I begin the bulk of my writing. After seeing the famously virtuosic violinist Augustin Hadelich and pianist Joyce Yang give an extremely emotional and perfected performance of Franck’s Violin Sonata in A Major at the Aspen Music Festival and School this past summer, I became addicted to the piece and listened to it every day for the rest of my time in Aspen. I always chose to listen to the same recording of Franck’s Violin Sonata by violinist Joshua Bell and pianist Jeremy Denk, in my opinion the highlight of their album entitled French Impressions, released in 2012. After about a month of listening to the same recording, I eventually became accustomed to every detail of their playing, and because I had just started learning the Sonata myself, attempted to emulate what I could remember from the recording. -
Takács Quartet Beethoven String Quartet Cycle
Takács Quartet Beethoven String Quartet Cycle Concerts V and VI March 25–26, 2017 Rackham Auditorium Ann Arbor CONTENT Concert V Saturday, March 25, 8:00 pm 3 Beethoven’s Impact: Steven Mackey 7 Beethoven’s Impact: Adam Sliwinski 13 Concert VI Sunday, March 26, 4:00 pm 15 Beethoven’s Impact: Lowell Liebermann 18 Beethoven’s Impact: Augusta Read Thomas 21 Artists 25 Takács Quartet Concert V Edward Dusinberre / Violin Károly Schranz / Violin Geraldine Walther / Viola András Fejér / Cello Saturday Evening, March 25, 2017 at 8:00 Rackham Auditorium Ann Arbor 51st Performance of the 138th Annual Season 54th Annual Chamber Arts Series This evening’s presenting sponsor is the William R. Kinney Endowment. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. Special thanks to Steven Whiting for his participation in events surrounding this weekend’s performances. The Takács Quartet records for Hyperion and Decca/London Records. The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at Wigmore Hall, London. The Takács Quartet appears by arrangement with Seldy Cramer Artists. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Beethoven String Quartets Concert V String Quartet in B-flat Major, Op. 18, No. 6 Allegro con brio Adagio ma non troppo Scherzo: Allegro La malinconia: Adagio — Allegretto quasi Allegro String Quartet in F Major, Op. 135 Allegretto Vivace Lento assai e cantante tranquillo Grave — Allegro — Grave, ma non troppo tratto — Allegro Intermission String Quartet in C Major, Op. -
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. -
Female Composer Segment Catalogue
FEMALE CLASSICAL COMPOSERS from past to present ʻFreed from the shackles and tatters of the old tradition and prejudice, American and European women in music are now universally hailed as important factors in the concert and teaching fields and as … fast developing assets in the creative spheres of the profession.’ This affirmation was made in 1935 by Frédérique Petrides, the Belgian-born female violinist, conductor, teacher and publisher who was a pioneering advocate for women in music. Some 80 years on, it’s gratifying to note how her words have been rewarded with substance in this catalogue of music by women composers. Petrides was able to look back on the foundations laid by those who were well-connected by family name, such as Clara Schumann and Fanny Mendelssohn-Hensel, and survey the crop of composers active in her own time, including Louise Talma and Amy Beach in America, Rebecca Clarke and Liza Lehmann in England, Nadia Boulanger in France and Lou Koster in Luxembourg. She could hardly have foreseen, however, the creative explosion in the latter half of the 20th century generated by a whole new raft of female composers – a happy development that continues today. We hope you will enjoy exploring this catalogue that has not only historical depth but a truly international voice, as exemplified in the works of the significant number of 21st-century composers: be it the highly colourful and accessible American chamber music of Jennifer Higdon, the Asian hues of Vivian Fung’s imaginative scores, the ancient-and-modern syntheses of Sofia Gubaidulina, or the hallmark symphonic sounds of the Russian-born Alla Pavlova. -
Quartet Dimensions
concert program ii: Quartet Dimensions JOHANN SEBASTIAN BACH (1685–1750)! July 21 WOLFGANG AMADEUS MOZART (1756–1791) Sunday, July 21, 6:00 p.m., The Center for Performing Arts Fugue in E-flat Major, BWV 876, and Fugue in d minor, BWV 877, from at Menlo-Atherton Das wohltemperierte Klavier; arr. String Quartets nos. 7 and 8, K. 405 JOSEPH HAYDN (1732–1809) PROGRAM OVERVIEW String Quartet in d minor, op. 76, no. 2, Quinten (1796) The string quartet medium, arguably the spinal column of the Allegro chamber music literature, did not exist in Bach’s lifetime. Yet Andante o più tosto allegretto Minuetto: Allegro ma non troppo even here, Bach’s legacy is inescapable. The fugues of his semi- Finale: Vivace assai nal The Well-Tempered Clavier inspired no less a genius than Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Mozart, who arranged a set of them for string quartet. The influ- Fredrik Schøyen Sjölin, cello ence of Bach’s architectural mastery permeates the ingenious DMITRY SHOSTAKOVICH (1906–1975) Quinten Quartet of Joseph Haydn, the father of the modern Piano Quintet in g minor, op. 57 (1940) string quartet, and even Dmitry Shostakovich’s Piano Quintet, Prelude composed nearly two hundred years after Bach’s death. The Fugue Scherzo centerpiece of Beethoven’s Opus 132—the Heiliger Dankgesang Intermezzo CONCERT PROGRAMSCONCERT eines Genesenen an die Gottheit (“A Convalescent’s Holy Song Finale PROGRAMSCONCERT of Thanksgiving to the Divinity”)—recalls another Bachian signa- Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; ture: the Baroque master’s sacred chorales. -
Danish String Quartet Denver February 13, 2017
FREDERIK ØLAND, VIOLIN RUNE TONSGAARD SØRENSEN, VIOLIN ASBJØRN NØRGAARD, VIOLA FREDRIK SCHØYEN SJÖLIN, CELLO DANISH STRING QUARTET DENVER FEBRUARY 13, 2017 LUDWIG VAN Quartet No. 2 in G major, Op. 18, no. 2 BEETHOVEN Allegro (1770-1827) Adagio cantabile Scherzo: Allegro Allegro molto, quasi presto ALFRED Quartet No. 3 SCHNITTKE Andante (1934-1998) Agitato Pesante INTERMISSION BEETHOVEN Quartet in B-flat major, Op. 130, no. 13 Adagio ma non troppo Presto Andante con moto ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Finale: Grosse Fuge, Op. 133 FREDERIK ØLAND DANISH STRING QUARTET violin RUNE TONSGAARD Embodying the quintessential elements of a fine chamber SØRENSEN music ensemble, the Danish String Quartet has established violin a reputation for their integrated sound, impeccable ASBJØRN NØRGAARD intonation, and judicious balance. Since making their debut viola in 2002 at the Copenhagen Festival, the musical friends have demonstrated a passion for Scandinavian composers, FREDRIK SCHØYEN who they frequently incorporate into adventurous SJÖLIN contemporary programs, while also giving skilled and cello profound interpretations of the classical masters. The New York Times selected the quartet’s concerts as highlights of the season during their Chamber Music Society of Lincoln Center Two Residency, and in February 2016 they received the Borletti Buitoni Trust provided to support outstanding young artists in their international endeavors, joining an illustrious roster of past recipients. The Danish String Quartet’s 2016-2017 season includes debuts at the Edinburgh Festival and Zankel Hall at Carnegie Hall. In addition to over thirty North American engagements, the quartet’s robust international schedule takes them to their home country, Denmark, as well as throughout Germany, Austria, the United Kingdom, Poland, Israel, as well as Argentina, Peru, and Colombia. -
ODU Russell Stanger String Quartet and ODU Cello Choir
Program String Quartet No. 2 in D Major Alexander Borodin 1. Allegro Moderato (1833-1887) 3. Notturno - Andante The ODU Russell Stanger String Quartet Jordan Goodmurphy, Violin Emily Pollard, Violin F. Ludwig Diehn School of Music Joshua Clarke, Viola Michael Russo, Cello Trio in C Major, Op. 87 for Three Cellos L.V. Beethoven 3. Minuetto-Allegro molto scherzo. Trio. (1770-1827) trans. A.C. Prell ODU Russell Stanger String Quartet ODU Cello Choir Requiem, Op. 66 for Three Cellos and Piano David Popper Andante Sostenuto (1843-1913) Leslie J. Frittelli, director Carter Campbell, piano Sonata No. 1 in A Major for Three Cellos Arcangelo Corelli 1. Grave (1653-1713) 2. Allegro arr. Erinn Renyer 3. Adagio 4. Allegro ODU Cello Choir Carter Campbell Diehn Center for the Performing Arts Trinity Green Chandler Recital Hall Joshua Kahn Lexi McGinn Avery Suhay Aleta Tomas Lacey Wilson Friday, November 22, 2019 7:30 pm Program String Quartet No. 2 in D Major Alexander Borodin 1. Allegro Moderato (1833-1887) 3. Notturno - Andante The ODU Russell Stanger String Quartet Jordan Goodmurphy, Violin Emily Pollard, Violin F. Ludwig Diehn School of Music Joshua Clarke, Viola Michael Russo, Cello Trio in C Major, Op. 87 for Three Cellos L.V. Beethoven 3. Minuetto-Allegro molto scherzo. Trio. (1770-1827) trans. A.C. Prell ODU Russell Stanger String Quartet ODU Cello Choir Requiem, Op. 66 for Three Cellos and Piano David Popper Andante Sostenuto (1843-1913) Leslie J. Frittelli, director Carter Campbell, piano Sonata No. 1 in A Major for Three Cellos Arcangelo Corelli 1. Grave (1653-1713) 2. -
Rachael Dobosz Senior Recital
Thursday, May 11, 2017 • 9:00 p.m Rachael Dobosz Senior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Thursday, May 11, 2017 • 9:00 p.m. DePaul Recital Hall Rachael Dobosz, flute Senior Recital Beilin Han, piano Sofie Yang, violin Caleb Henry, viola Philip Lee, cello PROGRAM César Franck (1822-1890) Sonata for Flute and Piano Allegretto ben Moderato Allegro Ben Moderato: Recitativo- Fantasia Allegretto poco mosso Beilin Han, piano Lowell Liebermann (B. 1961) Sonata for Flute and Piano Op.23 Lento Presto Beilin Han, piano Intermission John La Montaine (1920-2013) Sonata for Piccolo and Piano Op.61 With driving force, not fast Sorrowing Searching Playful Beilin Han, piano Rachael Dobosz • May 11, 2017 Program Wolfgang Amadeus Mozart (1756-1791) Quartet in C Major, KV 285b Allegro Andantino, Theme and Variations Sofie Yang, violin Caleb Henry, viola Philip Lee, cello Rachael Dobosz is from the studio of Alyce Johnson. This recital is presented in partial fulfillment of the degree Bachelor of Music. As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Rachael Dobosz • May 11, 2017 Program notes PROGRAM NOTES César Franck (1822-1890) Sonata for Flute and Piano Duration: 30 minutes César Franck was a well known organist in Paris who taught at the Paris Conservatory and was appointed to the organist position at the Basilica of Sainte-Clotilde. From a young age, Franck showed promise as a great composer and was enrolled in the Paris Conservatory by his father where he studied with Anton Reicha. -
The Golden Ratio As a Thematic Idea in Beethoven's B-Flat Major String
Durational Thematicism and the Temporal Process: The Golden Ratio as a Thematic Idea in Beethoven's B-flat Major String Quartet, No. 13, Op. 130, and the Grosse Fuge, Op. 133 David Suggate A thesis submitted in fulfilment of the degree, Master of Arts, Music Supervised by Dr. Graeme Downes University of Otago, New Zealand April 2017 Abstract This thesis explores the use of Fibonacci sequences, and other rhythmic proportions corresponding to the golden ratio in Beethoven's string quartet No. 13, Op. 130, and its original finale, the Grosse Fuge, Op. 133. This provides a new angle for considering the problem of the \time-experience" in late Beethoven. The golden ratio not only forms a common thread in all of the late period quartets, but I argue that it is an essential \thematic idea" within the discourse of the whole work, one bearing implications for the unfolding of the temporal process. Firstly I outline preliminary examples of how the composer \exposes" the golden ratio at the beginnings of the Opp. 127, 130, 133 and 135 quartets. They are expressed through such means as five beats on the tonic, three on the dominant, or five beats at forte, and three at piano, or through a particular rhythmic pattern lasting five beats, and another lasting eight, and so on, each amounting to a 5:3 or 5:8 ratio, corresponding to the Fibonacci sequence, and thus to the golden ratio. In order to build a framework for durational thematicism I review literature on problems surrounding the golden ratio in Western music, the nature of rhythm, metre and pulse in tonal music, and on the \time-experience" in late Beethoven.