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Final Dissertation Document
Abstract Title of Dissertation: INFLUENCES AND TRANSFORMATIONS: 19TH- CENTURY SOLO AND COLLABORATIVE PIANO REPERTOIRE Miori Sugiyama, Doctor of Musical Arts, 2012 Dissertation Directed by: Professor Rita Sloan School of Music, Piano Division This dissertation is an exploration of the inter-relationships of genres in the collaborative piano repertoire, particularly in music of the 19th century, an especially important period for collaborative piano repertoire. During this time, much of the repertoire gave equal importance to the piano in duo and ensemble repertoire. Starting with Schubert, and becoming more apparent with the development of the German lied, the piano became a more integral part of any composition, the piano part being no longer simplistic but rather a collaborative partner with its own voice. Mendelssohn transformed the genre of lieder by writing them, without their words, for solo piano. In addition to creating some of the greatest and most representative lieder in the Romantic period, composers such as Schumann, Brahms, and Strauss continued the evolution of the sonata by writing works that were more technically demanding on the performer, musically innovative, and structurally still evolving. In the case of Chopin who wrote mostly piano works, a major influence came from the world of opera, particularly the Bel Canto style. In exploring two specific genres, vocal and instrumental piano works by these composers; it is fascinating to see how one genre translates to another genre. This was especially true in the vocal and instrumental works by Schubert, Schumann, Brahms, Chopin, and Strauss. All of these composers, with the exception of Chopin, contributed equally to both the song and sonata genres. -
January 24, 2020, 8:00 P.M
PASADENA COMMUNITY ORCHESTRA WWW.PCOMUSIC.ORG Bethany Pflueger, Conductor Friday, January 24, 2020, 8:00 p.m. PROGRAM Coriolan Overture, Op. 62…………………………….……….Ludwig van Beethoven (1770-1827) The White Peacock ……………………………………......Charles Tomlinson Griffes (1884-1920) Stamping Grounds ……………………………………………………………..Dante Luna (b.1995) World Premiere INTERMISSION Symphony No, 1 in g minor ……………………………………….Vassili Kalinnikov (1866-1901) Allegro moderato Andante commodamente Allegro scherzando Finale: Allegro moderato CONCERT NOTES Dante Luna is a composer and performer based in Los Angeles, whose compositions are influenced by Viennese Classical to the New Simplicity movement. Luna’s original composition, Stamping Grounds, was inspired by a time when he flew as an unaccompanied seven-year-old minor to and from the east coast to the west coast, between his mother and father, who lived on opposite shores. Soon after the September 11th attack on the USA, the composer developed a fear of flying. But, over time, he overcame this fear. In Stamping Grounds, Luna’s experience is represented by several layers that come in and out of the foreground. Luna explains that “the ones that remain consistent are representative of the part of the experience at UCLA where I am grounded in reality; namely, the autopilot sense when walking in deep thought. The other layers that come in and out are the different memories of my childhood—from the good experiences with my family, to remembering the impact 9-11 had on me and this country.” The symmetrical form of the piece represents the composer’s thought process, with each end representing his home on each side of the country - his “stamping grounds.” Beethoven’s Coriolan Overture was written in 1807 for a German stage play by Heinrich von Collin. -
Coriolan Overture, Opus 62 Ludwig Van Beethoven (B. 1770, Bonn, Germany; D
Coriolan Overture, opus 62 Ludwig van Beethoven (b. 1770, Bonn, Germany; d. 1827, Vienna Austria) One of Shakespeare's most powerful tragedies is Coriolanus, the story (drawn from Plutarch's Lives) of a patrician Roman general destroyed by his overweening pride. After a decisive victory over the Volscians, Coriolanus refuses the consulship of Rome because it requires him to humble himself before the plebians or commoners; enraged at his arrogance, the people drive him into exile. But the willful general seeks revenge: he defects to his former enemies, the Volscians, and leads them against Rome. He battles his way to the very gates of Rome, where his compatriots send delegation after delegation asking him to spare his own city. When the stiff-necked warrior remains obdurate, his wife, mother, and son go out to plead with him, and he finally relents. Furious at his betrayal, the Volscians put him to death. Although Beethoven considered himself a republican and the foe of tyrants, he must have found many points in common between himself and this haughty Roman. He, too, possessed an iron will and, convinced of his genius, would not bend his neck even to princes. And he had practical reasons for creating an overture on this subject. In 1807, the composer was currying favor with the Viennese poet-playwright Heinrich von Collin, who was influential at Vienna's Imperial Theatre and who had written his own version of the Coriolanus tragedy five years earlier. Seeking a steady source of income, Beethoven wanted to secure a contract with the Theatre to write an opera annually for production there; he also hoped Collin would collaborate as his librettist. -
Beethoven's Fourth Symphony: Comparative Analysis of Recorded Performances, Pp
BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Mark Christopher Ferraguto August 2012 © 2012 Mark Christopher Ferraguto BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY Mark Christopher Ferraguto, PhD Cornell University 2012 Despite its established place in the orchestral repertory, Beethoven’s Symphony No. 4 in B-flat, op. 60, has long challenged critics. Lacking titles and other extramusical signifiers, it posed a problem for nineteenth-century critics espousing programmatic modes of analysis; more recently, its aesthetic has been viewed as incongruent with that of the “heroic style,” the paradigm most strongly associated with Beethoven’s voice as a composer. Applying various methodologies, this study argues for a more complex view of the symphony’s aesthetic and cultural significance. Chapter I surveys the reception of the Fourth from its premiere to the present day, arguing that the symphony’s modern reputation emerged as a result of later nineteenth-century readings and misreadings. While the Fourth had a profound impact on Schumann, Berlioz, and Mendelssohn, it elicited more conflicted responses—including aporia and disavowal—from critics ranging from A. B. Marx to J. W. N. Sullivan and beyond. Recent scholarship on previously neglected works and genres has opened up new perspectives on Beethoven’s music, allowing for a fresh appreciation of the Fourth. Haydn’s legacy in 1805–6 provides the background for Chapter II, a study of Beethoven’s engagement with the Haydn–Mozart tradition. -
Piano Concerto No.23 Wolfgang Amadeus Mozart I
Program Coriolan Overture Op.62 Ludwig van Beethoven (1770-1827) Kamarinskaya Mikhail Glinka (1804-1857) Piano Concerto No.23 Wolfgang Amadeus Mozart I. Allegro (1756-1791) Wanli Wang, Piano Piano Concerto No.3 in C Minor, Op. 37 Ludwig van Beethoven I. Allegro con brio (1770-1827) Victoria Wong, Piano Millersville Orchestra Personnel Violin I Bassoon Annelise Lorentzen, Bass Robin Plant* Concertmaster Jonathan Sands Michael McCall Julia Povlow Harley Ludy Nina Vieru* Robert Murphy Horn Julia Aitken Violin II Cheryl Staherski* Gabby Crawl Flute Haley Richard Sarah Cahoe Trumpet David Houck* Katelyn Schmidt Logan Benoist Bobby Lugiano Viola Oboe Alex Gay Nick Jensen Brooke Van Veen* Elvis Zurita Kathy Horein* Trombone Rhiannon Fleming Benjamin Nase Taylor Schaub Clarinet Robert Ferry Katie Gorman Cello Alexis Bowen Timpani Evan Kazanjian Hudson Smith William Phillips* *Guest Musician Wanli Wang Miss Wanli Wang was born and raised in Dalian, China. She started her piano lessons when she was five, and went to the Central Conservatory of Music Gulangyu Piano School in Xiamen when she was in sixth grade, studied with Dr. Yang Yu and Prof. Yuanxizi Li. Miss Wanli Wang came to the United States in 2012 and studied at Lancaster Mennonite High School and Millersville University Pre-College Music Division Program. She is currently a senior piano performance major student at the Tell School of Music of Millersville University of Pennsylvania, studying with Dr. Xun Pan. Miss Wang won many prizes and awards include Young Intermediate Group in 12th Jong Kong Piano Competition in 2010; United States Music Open Competition in San Francisco in 2010; the 3rd Kawai Cup Piano Competition in Xiamen in 2009; the 15th Hong Kong Asian Piano Open Competition in 2009; and Young Group of National Furama Koeman Cup Piano Competition in 2005. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Sun, Jun 28, 2020 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 30:17 Hummel Piano Trio No. 5 in E, Op. 83 Gajan Trio 02772 Opus 9351 N/A 2255 00:32:4707:31 Verdi Overture to Joan of Arc La Scala 03534 Sony 68468 074646846827 Philharmonic/Muti 00:41:48 17:58 Rimsky-Korsak Piano Concerto in C sharp Campbell/Royal 04500 Telarc 80454 089408045424 ov minor, Op. 30 Philharmonic/Gilbert Levine 01:01:1604:39 Chopin Nocturne in E flat, Op. 9 No. 2 Fazil Say 13305 Warner 01902958 190295821814 Classics 21814 01:06:5503:34 Strauss, R. Morgen! from Vier Lieder, Op. Hampson/Rieger 11991 DG 479 2943 028947929437 27 01:11:5947:42 Tchaikovsky Symphony No. 5 in E minor, Philharmonia/Muti 04055 Brilliant 99792/5 502842197925 Op. 64 Classics 02 02:01:1113:27 Bach, J.C.F. Cello Sonata in A Camerata of Cologne 07350 CPO 777 087 761203708727 02:15:38 18:12 Sibelius Tapiola, Op. 112 Philharmonia/Ashkena 02843 Decca 473 590 028947359029 zy 02:35:2024:21 Thalberg Piano Concerto in F minor, Op. Ponti/Westphalian 01040 MMG 7151 04716371519 5 Symphony/Kapp 03:01:11 28:13 Spohr Notturno for Winds, Op. 34 Consortium 01761 Orfeo 155 871 N/A Classicum/Klocker 03:30:5412:22 Dvorak Slavonic Rhapsody in D, Op. Slovak 01117 Marco Polo 8.223129 N/A 45 No. 1 Philharmonic/Kosler 03:44:16 15:06 Schumann Papillons, Op. 2 Vladimir Ashkenazy 01129 London 414 474 028941447425 04:00:5210:06 Vivaldi Cello Concerto in B minor, RV Pleeth/English 01136 Musical 11085Z N/A 424 Concert/Pinnock Heritage Society 04:11:5810:25 Suk Adagio from Serenade for Capella 11036 Naxos 8.578009 747313800971 Strings in E flat, Op. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Sun, Jul 18, 2021 - 00 The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 11:00 Schumann Fantasy Pieces, Op. 73 Segev/Pohjonen 13643 Avie 2389 822252238921 00:13:4518:34 Beethoven Choral Fantasy in C minor, Op. Bezuidenhout/Freiburg DownloadHarmonia 902431.3 n/a 80 Baroque Mundi 2 Orchestra/Zurich Zing-Akademie/Heras- Casado 00:33:34 26:06 Mendelssohn String Symphony No. 08 in D Metamorphosen 05480 Archetype 60107 701556010726 Chamber Records Orchestra/Yoo 01:01:1009:19 Dvorak Carnival Overture, Op. 92 Cleveland 05021 Sony 63151 n/a Orchestra/Szell 01:11:2927:48 Brahms Cello Sonata No. 2 in F, Op. 99 Diaz/Sanders 02520 Dorian 90165 053479016522 01:40:47 19:24 Haydn Piano Trio No. 43 in C Kalichstein-Laredo-Ro 02473 Dorian 90164 053479016423 binson Trio 02:01:4129:45 Rameau The Birth of Osiris (Suite for Ensemble 06541 Naxos 8.553388 730099438827 Orchestra) Savaria/Terey-Smith 02:32:26 10:43 Fucik Danube Legends Czech 01781 Teldec 8.42337 N/A Philharmonic/Neuman 02:44:0915:48 Mozart Violin Sonata in E minor, K. Uchida/Steinberg 04768 Philips B000411 028947565628 304 5 03:01:27 35:31 Dopper Symphony No. 7 Netherlands Radio 03512 NM 92060 871330992060 Symphony/Bakels Classics 4 03:38:2810:28 Debussy Prelude to the Afternoon of a BRT 07909 Naxos 8.570011- 074731300117 Faun Philharmonic/Rahbari 12 0 03:49:56 09:43 Grieg Homage March from Sigurd Eastman Rochester 05011 Mercury 434 394 028943439428 Jorsalfar, Op. 56 Pops/Fennell 04:01:0912:36 Bach Italian Concerto in F, BWV 971 Angela Hewitt 03592 Hyperion 67306 D 138602 04:14:4530:55 Diamond Symphony No. -
Temple University Symphony Orchestra Kensho Watanabe & José Luis Domínguez, Conductors
Temple University Symphony Orchestra Kensho Watanabe & José Luis Domínguez, conductors March 26, 2021 Friday Presented Virtually 7:30 pm Program The Hebrides Overture, Op. 26 Felix Mendelssohn (1809–1847) Wood Notes William Grant Still (1895–1978) II. Autumn Night Kensho Watanabe, conductor |Intermission| Serenade for Strings, Op. 22 Antonín Dvorák (1841–1904) I. Moderato II. Tempo di Valse Serenade for String Orchestra, Op. 20 Edward Elgar (1857–1934) I. Allegro piacevole II. Larghetto III. Allegretto Starburst Jessie Montgomery (b. 1981) José Luis Domínguez, conductor |Intermission| One hundred ninety-second performance of the 2020-2021 season. En Chasse, Mazurka Élégante Eugène Dédé (1867–1919) orchestrated by Edmond Dédé ed. Richard Rosenberg Coriolan Overture, Op. 62 Ludwig van Beethoven (1770–1827) Le Tombeau de Couperin Maurice Ravel (1875–1937) I. Prelude II. Forlane III. Menuet IV. Rigaudon Kensho Watanabe, conductor Temple University Symphony Orchestra Kensho Watanabe & José Luis Domínguez, conductors Mendelssohn & Grant Still Orchestra VIOLIN I BASS BASSOON TROMBONE Shirley Xuan Yao, Jonathan Haikes, Rick Barrantes, Jeffrey Dever, Concertmaster Principal Principal (Mendelssohn) Principal Zhanara Makhmutova Coby Lindenmuth Collin Odom, Samuel Johnson Yuan Tian Jiayu Liu Principal (Grant Still) Phillip Watts HARP Zi Wang FLUTE/PICCOLO HORN Katherine Ventura Ashley Oros, Lucy Smith, VIOLIN II Principal Principal CELESTE Dakota Kievman, Jill Krikorian Isaac Duquette Madalina Danila Principal Jane Pelgon OBOE TRUMPET TIMPANI/ Esmeralda -
View Repertoire List
Repertoire List Victor Lim Solo J.S. Bach Prelude and Fugue in F sharp major Book 1 BWV 858 Prelude and Fugue in B flat major Book 1 BWV 866 Prelude and Fugue in F major Book 2 BWV 880 Bach/F,Busoni Chorale Prelude ‘Wachet Auf, Ruft Uns Die Stimme’ Bach/Cohen Chorale Prelude ‘Ertödt' uns durch dein' Güte’ Bach/Siloti Prelude in B minor J. Rameau La Dauphine D. Scarlatti Sonata in C K159 L.v. Beethoven Piano Sonata No.10 Op.14 No.2 Piano Sonata No.21 Op.53 'Waldstein' Piano Sonata No.26 Op.81a 'Les Adieux' Piano Sonata No.25 Op.57 ‘Appassionata’ Piano Sonata No.29 Op.106 ‘Hammerklavier’ J. Haydn Piano Sonata in F major Hob.XVI.23 Piano Sonata in B minor Hob.XVI:32 Piano Sonata in E minor Hob.XVI:34 Piano Sonata in C major Hob.XVI:50 W.A. Mozart Piano Sonata in B flat major K.570 Piano Sonata in A minor K.310 F. Schubert Piano Sonata No.13 in A major D.664 Allegreto in C minor D.915 J. Brahms 6 Klavierstücke Op.118 F. Bridge Three sketches F. Chopin Etudes Op.10 No.1,2,3,5,10,12 Fantaisie Op.49 Ballade No.4 Op.52 Barcarolle Op.60 Preludes Op.28 Mazurkas Op.59 Nocturne Op.9 No.2, Op.32 No.1&2 P. Grainger Ramble on the last duet in Richard Strauss’s Opera ‘Der Rosenkavalier’ E. Grieg Lyric Pieces Op.12 No.1, ‘Arietta’, Op.47 No.3 ‘Melodie’, Op.54 No.4 ‘Nocturne F. -
September 2016 – July 2017
SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music. -
The First Movements of Sergei Bortkiewicz's Two Piano Sonatas, Op. 9
THE FIRST MOVEMENTS OF SERGEI BORTKIEWICZ’S TWO PIANO SONATAS, OP. 9 AND OP. 60: A COMPARISON INCLUDING SCHENKERIAN ANALYSIS AND AN EXAMINATION OF CLASSICAL AND ROMANTIC INFLUENCES Yi Jing Chen, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2021 APPROVED: Gustavo Romero, Major Professor Timothy Jackson, Co-Major Professor Elvia Puccinelli, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Jaymee Haefner, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Chen, Yi Jing. The First Movements of Sergei Bortkiewicz’s Two Piano Sonatas, Op. 9 and Op. 60: A Comparison including Schenkerian Analysis and an Examination of Classical and Romantic Influences. Doctor of Musical Arts (Performance), August 2021, 79 pp., 1 figure, 47 musical examples, 1 appendix, bibliography, 57 titles. The purpose of this study is to analyze the first movements of Sergei Bortkiewicz’s two piano sonatas and compare them with works by other composers that may have served as compositional models. More specifically, the intention is to examine the role of the subdominant key in the recapitulation and trace possible inspirations and influences from the Classical and Romantic styles, including Mozart, Beethoven, and Schubert. The dissertation employs Schenkerian analysis to elucidate the structure of Bortkiewicz’s movements. In addition, the first movement of Mozart’s Piano Sonata K. 545, Beethoven’s Coriolan Overture, and the first movement of Schubert’s “Trout” Quintet in A, D. 667, are examined in order to illuminate the similarities and differences between the use of the subdominant recapitulation by these composers and Bortkiewicz.