Piano Trio Repertoire Discography & Review Index: "S” Composers Compiled by David Barker
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Wind, String, & Mixed Chamber Groups
WIND, STRING, & MIXED CHAMBER GROUPS - SPRING 2019 (v 2.1) - including piano, harp, and percussion - PLEASE read the “Rules of the Road” for chamber music on the “performance” section of INSIDE MUSIC on the School of Music website: https://www.cmu.edu/cfa/music/current-students/ensembles/chamber-music.html Each group should select/elect/draft a “contact person” and submit that person’s name to the chamber music Graduate Assistant, Yalyen Savignon: [email protected] Please note that this is the second draft of the roster. All registered students have been placed, and all requests have been fulfilled. We hope that few if any further changes will need to be made. Remember, other students’ education depends on your being a reliable member of your group! IF YOU SPOT MISTAKES ON THIS LIST, PLEASE CONTACT PROF. WHIPPLE. RJW and CW, February 6, 2019 57-228 OR 57-928 SEXTETS sec A - WIND & PIANO SEXTET Alisa Smith, flute Elizabeth Mountz, oboe Elizabeth Carney, clarinet Ji Won Song, horn Andrew Hahn, bassoon Winfred Wang, piano coaches: R. James Whipple QUINTETS sec B - GRADUATE WIND QUINTET Theresa Abalos, flute Evan Tegley, oboe Alex Athitakas, clarinet Diana McLaughlin, horn Nicholas Evans, bassoon coach: Thomas Thompson sec C - “VENTUS FERRO” TBA, flute Alicia Smith, oboe Zack Neville, clarinet Ziming Zhu, horn Dreya Cherry, bassoon coach: James Gorton sec D - PROKOFIEV: Quintet in g minor Christian Bernard, oboe Bryce Kyle, clarinet TBA, violin Angela-Maureen Zollman, viola Mark Stroud, bass coach: James Gorton STRING QUARTETS 57-226 OR 57-926 1. Jasper Rogal, violin Noah Steinbaum, violin Angela Rubin,viola Kyle Johnson, cello coach: Cyrus Forough 2. -
Susan Merdinger Repertoire List 07.01.19 Copy.Pages
SUSAN MERDINGER, Pianist and Conductor: Repertoire (2019) CONCERTOS and WORKS for PIANO(S) and ORCHESTRA: AS SOLOIST. (Additional concerti available upon request.** indicates performed with within last 5 years) Albeniz: Rapsodia Espanola, Op. 70 (Two Pianos) ** Anderson: Piano Concerto in C major Bach-Vivaldi: Concerto for Four Pianos and String Orchestra (Piano 1)** Beethoven: All Five Concerti- Op. 15, Op.19, Op.37, Op. 73 (The “Emperor”) Triple Concerto for Piano, Violin, and Cello ** Bloch: Concerto Grosso for Piano and Strings ** Brahms: No.1 in d minor, Op. 15 No. 2 in B-flat major, Op. 83** Franck: Symphonic Variations** Lutoslawski: Variations on a Theme by Paganini Mozart: K.365 (Two Pianos)**, A major K. 414, G major K. 453, D minor K. 466, C major K.467**, A major K.488, C major K.503** Mendelssohn: Concerto No. 1 in g minor Concerto No. 2 in d minor Gershwin: Rhapsody in Blue ** Gottschalk: L’Union**, Grande Tarantella ** Rachmaninoff: Concerto No. 2 in c minor Rhapsody on Theme of Paganini Schumann: Concerto in a, Op.54 ** Saint-Saëns: Carnival of the Animals (Two Pianos) ** Saint-Saëns: Concerto No. 2 in g minor Tchaikovsky: No.1 in B-flat minor, Op.23 ** Liszt: No. 1 in E-flat ** Poulenc: Concerto for Two Pianos ** SOLO PIANO: SELECTED WORKS PERFORMED LIVE: (Bolded works are available on CD recording- many works available in live video format on YouTube) Aaron Alter: Piano Sonata (2012-2018) dedicated to Susan Merdinger (USA premieres in November 2018) Albéniz: Suite Española, Op. 47 J.S. Bach: French Suite No. -
The Vienna Piano Trio (March 9) by Nicholas Jones
Rocky River Chamber Music Society: The Vienna Piano Trio (March 9) by Nicholas Jones The Vienna Piano Trio’s program at West Shore Unitarian seemed traditional at first glance, but looks are deceptive. This well- respected group (now 25 years old, though with some changes of personnel over the years) specializes in the familiar classical repertoire of Austria and Germany, and last night was no exception — Beethoven, Brahms, and Schoenberg. But both the performances and the pieces themselves were full of surprises. Beethoven was represented by the quirky “Kakadu” variations. It took a Beethoven to make the slightest of material — a trivial popular song (“I am the tailor Cockatoo”) — into a technically demanding set of variations. Full of the composer’s typical contrasts, these variations provided excellent ground for musical acrobatics by these very accomplished instrumentalists — pianist Stefan Mendl, cellist Matthias Gredler, and (the newest member of the group) violinist Bogdan Božović. The Vienna players made the most of opportunities for excitement: all froth at one moment, and Sturm und Drang the next! But the surprises went further than mere showmanship: Beethoven bookended his show-off variations with significantly more profound writing — a beautiful extended Adagio at the start, and a matching variation near the end — and the performers took us into that seriousness as well as the fun. The Vienna Trio painted its sound with rich, contrasting colors, booming with Beethovenian ferocity when called for, and then, in an instant, pulling back to the kind of delicate intensity that stimulates the ear even more than volume. Playing with flexibility and panache, they brought to the music the kind of togetherness that comes from being a dedicated ensemble, not just an ad hoc collection of three excellent musicians. -
559188 Bk Harbison US
AMERICAN CLASSICS Ernst TOCH Violin Sonata No. 1 • Cello Sonata Divertimento • String Trio • Adagio elegiaco Spectrum Concerts Berlin Ernst Toch (1887-1964) Music from the 1920s: the passages of heightened motion and power, the ebbing Violin Sonata No. 1 • Cello Sonata • Divertimento • String Trio • Adagio elegiaco the Divertimento and the Cello Sonata away, the way in which the movement dissolves at the end. Classical forms are here no longer normative; they Survey of the Life of a Creative Artist From Toch’s Early Works: The duo Divertimentos, Op. 37, and the Cello Sonata, have become the subject of the composition. Violin Sonata No. 1, Op. 21 Op. 50 , were written in 1927 and 1929, during what was Toch headed the central movements of both works This is Spectrum Concerts Berlin’s third recording of probably Toch’s most productive period. In them, he “intermezzo”, but they are anything but short intermezzos chamber music by Ernst Toch. Its musicians give concerts The First Violin Sonata, which Toch’s friends used to refer engaged in a creative dialogue with his artistic milieu in or interludes. Toch employs the term in the late above all in Berlin and New York and are passionate to as “Brahms’s Fourth”, was a product of this two ways: in the music itself and in the dedications of the Brahmsian sense, as a deliberate understatement, about exploring and highlighting the cultural links between understanding of tradition. Two reasons lie behind its pieces. The Cello Sonata he dedicated to Emanuel indicating a particular limitation of the musical material. -
Nicolas Namoradze Honens Prize Laureate Chamber Music / Works for Piano & Voice
NICOLAS NAMORADZE HONENS PRIZE LAUREATE CHAMBER MUSIC / WORKS FOR PIANO & VOICE K. Agócs Immutable Dreams (quintet) Bartók Piano Quintet Beethoven Sonata for Piano and Violin in A Major Op. 12 No. 2 Quintet for Piano and Winds Op. 16 Sonata for Piano and Horn in F Major Op. 17 Sonata for Piano and Violin in F Major Op. 24 Sonata for Piano and Cello in A Major Op. 69 Sonata for Piano and Cello in D Major Op. 102 No. 2 Brahms Piano Trio in B Major Op. 8 Piano Quartet in G minor Op. 25 selections from Waltzes Op. 39 Sonata for Piano and Violin in G Major Op. 78 Sonata for Piano and Cello in F Major Op. 99 Piano Trio in C minor Op. 101 Britten Gemini Variations for flute, violin and piano four-hands (Secondo) Cartan Introduction et Allegro for Piano and Wind Quintet Castiglioni Quickly—Variations for Chamber Ensemble Copland Appalachian Spring (chamber version for 13 players) Why do the shut me out of heaven? (voice and piano) Danzon Cubano (Piano I) Rodeo Hoe-Down (Piano I) Debussy Sonata for Piano and Violin L. 140 La Mer (transcription for piano four-hands / Secondo) Jeux (transcription for two pianos: Roques / Primo) Petite Suite (Secondo) Prélude à l’après-midi d’une faune (transcription for two pianos / Piano I) Prélude à l’après-midi d’une faune (transcription for piano four-hands: Ravel / Secondo) Danses sacrée et profane (transcription for two pianos / Piano II) Dvorak selections from Slavonic Dances Opp. 46 & 72 Dohnányi selections from Ruralia Hungarica Op. -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Piano Trio Discography & Review Index
An A to Z of the Piano Trio Repertoire Discography & Review Index: N, O, P & Q Composers Compiled by David Barker Project Index Eduard Nápravnik Dacapo 8226009 1839-1916, Czech/Russia (+ Wind quintet, Fantasy pieces, Moderen) Dacapo 8.226064 Trio 1 in G minor, op. 24 (1876) Spyros Piano Trio Unknown performers (+ Trio 2, Melancolie) (+ Character pieces, Duet, Fantasy pieces, MDG 90319966 [review][review] Polka, String quartet 1, Violin sonata 1) Kontrapunkt 32231 Trio 2 in D minor, op. 62 (1897) Spyros Piano Trio (+ Trio 1, Melancolie) Svend Hvidtfelt Nielsen MDG 90319966 [review][review] 1958-, Denmark Divertimento (1993) Paul Natorp Trio Ismena 1854-1924, Germany (+ Koch, Norholm 3, Gudmundsen-Holmgreen: Moments musicaux, Hegaard: Like a Cube of Trio in e Silence) Dacapo 8226583 [review] Yuri Favorin, Liudmila Frayonova, Nikolay Shugaev (+ Cello sonata, Violin sonata, Henry Cotter Nixon Phantasiestucke, Prelude & fugues) 1842-1907, UK Querstand VKJK1519 Trio 1 in C London Piano Trio Sergiu Natra (+ Mendelssohn 1) 1924-, Israel Guild GMCD7392 Trio in One Movement (1971) Anders Nordentoft Yuval Trio 1957-, Demark (+ Partos: Fantasia, Seter, Shalit: Divertimento & works for cello/piano) Doruntine (1994) Romeo 7231 Jalina Trio (+ Holmboe, A Koppel 1, Norgard: Spell, Carl Nielsen Nyvang: ...erosion) 1865-1931, Denmark Classico CLASSCD485 Trio in G, FS 3i (1883) Trio Ondine (+ Holmboe: Trio, Nuigen, Nielsen, Norgard: Trio Ondine Spell) (in “The Masterworks Vol. 2”) Dacapo 8226009 Dacapo 8206003 (+ Holmboe: Trio, Nuigen, Nielsen, Nordentoft: Doruntine, Norgard: Spell) MusicWeb International Updated: July 2019 Piano Trios: N, O, P & Q Composers Ib Norholm Smetana Trio 1931-, Denmark (+ Smetana, Suk) Supraphon SU38102 Trio No. 3 'Essai in memoriam' Op. -
Guide to Repertoire
Guide to Repertoire The chamber music repertoire is both wonderful and almost endless. Some have better grips on it than others, but all who are responsible for what the public hears need to know the landscape of the art form in an overall way, with at least a basic awareness of its details. At the end of the day, it is the music itself that is the substance of the work of both the performer and presenter. Knowing the basics of the repertoire will empower anyone who presents concerts. Here is a run-down of the meat-and-potatoes of the chamber literature, organized by instrumentation, with some historical context. Chamber music ensembles can be most simple divided into five groups: those with piano, those with strings, wind ensembles, mixed ensembles (winds plus strings and sometimes piano), and piano ensembles. Note: The listings below barely scratch the surface of repertoire available for all types of ensembles. The Major Ensembles with Piano The Duo Sonata (piano with one violin, viola, cello or wind instrument) Duo repertoire is generally categorized as either a true duo sonata (solo instrument and piano are equal partners) or as a soloist and accompanist ensemble. For our purposes here we are only discussing the former. Duo sonatas have existed since the Baroque era, and Johann Sebastian Bach has many examples, all with “continuo” accompaniment that comprises full partnership. His violin sonatas, especially, are treasures, and can be performed equally effectively with harpsichord, fortepiano or modern piano. Haydn continued to develop the genre; Mozart wrote an enormous number of violin sonatas (mostly for himself to play as he was a professional-level violinist as well). -
Incarnation Episcopal Church 1750 29Th Avenue, San Francisco Sunsetarts.Wordpress.Com | 415-564-2324
Incarnation Episcopal Church 1750 29th Avenue, San Francisco sunsetarts.wordpress.com | 415-564-2324 1 Dear Friends, Welcome to the Sunset Music & Arts 2019 season. We are very excited to announce our fifth season with many new and returning artists. The season continues out tradition of strong offerings in solo instrumental performances, vocal recitals, choral music, opera, and jazz/world music concerts. Our season opener will feature a chamber concert on Friday January 11, 2019 with New York based cellist, Ben Capps, and Russian pianist, Vassily Primakov. The Holland Times hailed Ben Capps as a “young cello phenomenon from New York.” Ben Capps is the recipient of many awards, including the the Lillian Fuchs Award, the Francis Goelet Scholarship (Juilliard 2008-2009), the Irving Mulde Scholarship (Juilliard, 2009-10), and the Piatigorsky Scholarship (New England Conservatory 2012- 13). Gramophone wrote that “Primakov’s empathy with Chopin’s spirit could hardly be more complete.” Vassily Primakov is a prize winner at the Cleveland Piano Competition and was a semi-finalist at the Van Cliburn Competition. Solo piano artists include Laura Klein, Clare Longendyke, Robyn Carmichael, Amy Stephens, Mark Valenti, and Susan Ellinger, as well as concerts for piano 4-hands with the Duo Papillion and A&R Duo. Also featured are organ recitals with Angela Kraft Cross and David Jaronowski and a Grammy award guitarist Cristobal Selamé. Our chamber music concerts features return engagements with the Circadian String Quartet, Trio 180, as well as new artists, such as the Ensemble Illume, Trio Terme, Trio Foss, and Curium Piano Trio. Our choral music concerts features our artists-in-residence, the San Francisco Renaissance Voices, the San Francisco Boys Chorus, and the San Francisco Girls Chorus. -
The Piano Trio, the Duo Sonata, and the Sonatine As Seen by Brahms, Tchaikovsky, and Ravel
ABSTRACT Title of Dissertation: REVISITING OLD FORMS: THE PIANO TRIO, THE DUO SONATA, AND THE SONATINE AS SEEN BY BRAHMS, TCHAIKOVSKY, AND RAVEL Hsiang-Ling Hsiao, Doctor of Musical Arts, 2017 Dissertation directed by: Professor Rita Sloan School of Music This performance dissertation explored three significant piano trios, two major instrumental sonatas and a solo piano sonatine over the course of three recitals. Each recital featured the work of either Brahms, Tchaikovsky or Ravel. Each of these three composers had a special reverence for older musical forms and genres. The piano trio originated from various forms of trio ensemble in the Baroque period, which consisted of a dominating keyboard part, an accompanying violin, and an optional cello. By the time Brahms and Tchaikovsky wrote their landmark trios, the form had taken on symphonic effects and proportions. The Ravel Trio, another high point of the genre, written in the early twentieth century, went even further exploring new ways of using all possibilities of each instrument and combining them. The duo repertoire has come equally far: duos featuring a string instrument with piano grew from a humble Baroque form into a multifaceted, flexible classical form. Starting with Bach and continuing with Mozart and Beethoven, the form traveled into the Romantic era and beyond, taking on many new guises and personalities. In Brahms’ two cello sonatas, even though the cello was treated as a soloist, the piano still maintained its traditional prominence. In Ravel’s jazz-influenced violin sonata, he treated the two instruments with equal importance, but worked with their different natures and created an innovative sound combination. -
Association for Jewish Studies
42ND ANNUAL CONFERENCE OF THE ASSOCIATION FOR JEWISH STUDIES DECEMBER 19– 21, 2010 WESTIN COPLEY PLACE BOSTON, MASSACHUSETTS ASSOCIATION FOR JEWISH STUDIES C/O CENTER FOR JEWISH HISTORY 15 WEST 16TH STREET NEW YORK, NY 10011-6301 PHONE: (917) 606-8249 FAX: (917) 606-8222 E-MAIL: [email protected] www.ajsnet.org President AJS Staff Marsha Rozenblit, University of Maryland Rona Sheramy, Executive Director Vice President/Membership Karen Terry, Program and Membership and Outreach Coordinator Anita Norich, University of Michigan Natasha Perlis, Project Manager Vice President/Program Emma Barker, Conference and Program Derek Penslar, University of Toronto Associate Vice President/Publications Karin Kugel, Program Book Designer and Jeffrey Shandler, Rutgers University Webmaster Secretary/Treasurer Graphic Designer, Cover Jonathan Sarna, Brandeis University Ellen Nygaard The Association for Jewish Studies is a Constituent Society of The American Council of Learned Societies. The Association for Jewish Studies wishes to thank the Center for Jewish History and its constituent organizations—the American Jewish Historical Society, the American Sephardi Federation, the Leo Baeck Institute, the Yeshiva University Museum, and the YIVO Institute for Jewish Research— for providing the AJS with offi ce space at the Center for Jewish History. Cover credit: “Israelitish Synagogue, Warren Street,” in the Boston Almanac, 1854. American Jewish Historical Society, Boston, MA and New York, NY. Copyright © 2010 No portion of this publication may be reproduced by any means without the express written permission of the Association for Jewish Studies. The views expressed in advertisements herein are those of the advertisers and do not necessarily refl ect those of the Association for Jewish Studies.