559700 Bk Hanson US

Total Page:16

File Type:pdf, Size:1020Kb

559700 Bk Hanson US Robert SCHUMANN Arrangements for Piano Duet • 1 String Quartet in A major Piano Quintet in E flat major Eckerle Piano Duo Robert Schumann (1810-1856) complete score, indispensable for the study and son of a wine merchant, he emigrated in 1848 to America, Arrangements for Piano Duet • 1 dissemination of these works. It was then a normal played a decisive rôle in Boston musical life from 1852 process to think of creating the traditional duet onwards and died in Beverly near Boston on 26th July In an age before sound recording was possible, made under his supervision, as well as a representative arrangement. In the middle of 1848, Otto Dresel, at the 1890. He came back several times to Europe and also arrangements for, initially, solo piano offered the only way choice of other orchestral works and important chamber time 21 years old, who, as a graduate of the Leipzig won great recognition for his arrangements of works by to get to know, play and hear works for larger music music pieces for which musically significant and aurally Conservatory knew and admired Mendelssohn and Bach, Handel and Beethoven, as well as for English groups, for example for orchestra with or without voices convincing arrangements were published, sometimes Schumann, sent his piano duet arrangement of the three translations of the Lieder of his friend Robert Franz. and also for works not yet available for such instruments after Schumann’s death. quartets to the publishers Breitkopf & Härtel who, as the organ. From the early years of the 19th century, as however, first wanted to obtain the authorisation of the Piano Quintet in E flat major, Op. 44 (1842) keyboards became enlarged and produced more powerful String Quartet in A major, Op. 41, No. 3 (1842) composer. As Schumann initially did not react, Dresel Arrangement for piano duet by Clara Schumann (1858) sounds, there was an increasing need for arrangements Arrangement for piano duet by Otto Dresel, asked him personally on 9th October 1848; on that very for piano duets and, occasionally, in the second half of the revised by the composer (1852) day the publishers received Schumann’s approval: he Having successfully explored the possibilities of the string century, for two pianos. In fact, where piano duets are declared the arrangement “very good”. Nevertheless, the quartet, it was an obvious choice for Schumann to concerned the number of published arrangements soon With his personal systematic and logical thinking, Robert edition was delayed until May 1852; moreover, Dresel had combine it with “his” instrument, the piano. He thus wrote greatly exceeded that of original compositions. Schumann dedicated himself, after his revolutionary piano renounced his fee and Schumann had once more revised between 23rd September and 16th October 1842 a Sometimes the arrangements were done by the pieces of the 1830s, to the other major musical genres, in the arrangement and for reasons of sonority had added quintet for piano and string quartet, which gave a brilliant composer himself or by his friends or pupils, but in most particular those that were important for his reputation as a slower metronomic indications than in the original edition, start to the “piano quintet” genre. Among others Brahms, cases they were the work of more or less accomplished composer: in 1840 the Lied, in 1841 symphonic music which is attested in an annotation in the composer’s own Dvořák, César Franck and Béla Bartók followed in professional arrangers in the direct employ of or and in 1842 chamber music, forms which made the hand. Schumann included the edition in the collection of Schumann’s tracks. With this work Schumann also outsourced by the publishing houses. highest demands on composers, performers and his original works and thus authorised it. satisfied the wish of his wife Clara for an impressive piece This is also the case for Robert Schumann, who was audiences. He started at once with the “king of the Schumann’s string quartets did not number among for the concert hall, which at first served as a replacement himself a keen duet player and wrote a series of significant genres”, the string quartet. After a renewed deep study of his most admired works in the 19th century, nor do they for the not yet completed Piano Concerto in A minor, Op. works for that formation, most importantly the Bilder aus the classics – Haydn, Mozart and Beethoven – which in today, although they are unique masterpieces, in which 54, and was later the chamber work by her husband that Osten, Op. 66 (1848). These works were intended, part he already knew well and valued highly, he wrote the classical form is preserved and at the same time she most often played in her long career. It is dedicated to however, not for public concerts but for the home and for three string quartets, in A minor, F major and A major, developed and enriched by the romantic spirit. The her in the published version (Breitkopf & Härtel, Leipzig, the cultivated salon. In only the rarest cases did between 2nd June and 22nd July, 1842. Their completion Quartet in A major, the longest and most impressive of the September 1843) and was naturally also given its Schumann write the duet arrangements himself (for and a first private rehearsal on 8th September gave him three, is characterised by its originality of form (a variation successful first performance by her on 8th January 1843 example the overture to Hermann and Dorothea, Op. 136) great joy. Clara Schumann received the quartets as a movement instead of a Scherzo) and a major section at the Gewandhaus in Leipzig, “a work full of vigour and or in collaboration with his wife Clara. Nevertheless, he present for her 23rd birthday on 13th September 1842 spanning lyricism and polyphonic link-ups of great freshness”, as she already remarked at the end of almost always supervised the arrangements, which were and expressed her delight about “all this splendour” and expressiveness and driving vitality. Owing to the September 1842 in her “marriage diary”. made mostly by highly valued musicians of his entourage, found “everything new, but clearly, finely made and differences of range and texture between piano and string Mendelssohn and even Richard Wagner, who was not such as his brother-in-law Woldemar Bargiel or his faithful always in a true quartet style”. As Mendelssohn, who quartet, arranging such a piece for piano duet was well disposed to Schumann, also praised the Piano disciple Carl Reinecke (Symphony No. 3 ‘Rhenish’, in E heard the quartets in a subsequent rehearsal, also spoke extremely difficult. Otto Dresel solved this task brilliantly Quintet, which has been held in high regard ever since. In flat major, Op. 97), as the success and the dissemination several times in praise of them, Schumann ventured, in by extending and spreading the range to the higher and its successful blend of concerto and chamber music of a piece were also dependent on the quality of the honour of Mendelssohn’s 34th birthday, to dedicate to lower registers, by transposing passages an octave down elements, in the thematic interlinking of the four arrangement. In some cases he even recommended an him, the revered friend and most highly regarded or up, or by doubling in octaves, and by filling in or by movements, the most significant of which is the brilliant arranger, dismissed another one and intervened directly composer in Europe, the first edition in separate parts of modifying the accompaniment figures, since he was not concluding stretta of the Finale, where, the movement’s with his own corrections. the three quartets. These were published as Opus 41 in only a professional arranger, but an eminent composer, main theme, alternating between G minor and E flat major, This series of seven CDs conceived by the February 1843 by Breitkopf & Härtel in Leipzig. acclaimed by (among others) Franz Liszt. His works is combined with the main theme of the first movement in a Schumann researcher and prizewinner (Zwickau 2003) It was only after Mendelssohn’s premature death on included chamber music, piano pieces and Lieder, but fugato, and, in its unusual construction (a poignant funeral Joachim Draheim presents all the orchestral works which 4th November 1847, which shook Schumann profoundly, only a small portion of them was published. Born in march with two contrasting trios replacing a central slow were arranged for piano duet by Schumann himself or that he succeeded, in September 1848, in producing the Geisenheim on the Rhine on 20th December 1826, the movement), the work has a never-ending fascination. To arrange such a work for piano duet was at the same publishers Breitkopf & Härtel, who refused it, considering it Streichquartett A-Dur op. 41, Nr. 3 (1842) reagierte, fragte Dresel bei ihm am 9. Oktober 1848 nach; time easier than with the string quartets, as one could to be technically too demanding. The manuscript is since Bearbeitung für Klavier zu 4 Händen von Otto Dresel, noch am selben Tag erhielt der Verlag Schumanns occasionally take over certain passages unchanged in the lost; it is nevertheless possible that Clara Schumann used revidiert vom Komponisten (1852) Zustimmung; er nannte das Arrangement „sehr gut“. Secondo part, and much more difficult, because piano and Brahms’s work as a starting point for her own arrangement, Dennoch verzögerte sich die Drucklegung bis zum Mai strings occupy mostly the same range. As early as 1845 completed in the autumn of 1857 and published by Breitkopf Mit der ihm eigenen Systematik und Konsequenz 1852; Dresel hatte übrigens auf ein Honorar verzichtet und Schumann suggested that the publishers have an & Härtel in July 1858.
Recommended publications
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • Composed for Six-Hands Piano Alti El Piyano Için Bestelenen
    The Turkish Online Journal of Design, Art and Communication - TOJDAC ISSN: 2146-5193, April 2018 Volume 8 Issue 2, p. 340-363 THE FORM ANALYSIS OF “SKY” COMPOSED FOR SIX-HANDS PIANO Şirin AKBULUT DEMİRCİ Assoc. Prof. Education Faculty, Music Education Faculty. Uludag University, Turkey https://orcid.org/0000-0001-8904-4920 [email protected] Berkant GENÇKAL Assoc. Prof. State Conservatory, School for Music and Drama. Anadolu University, Turkey https://orcid.org/0000-0001-5792-2100 [email protected] ABSTRACT The piano, which is a solo instrument that takes part in educational process, can take role not only in instrumental education but also in chamber music education as well with the 6-hands pieces for three players that perform same composition on a single instrument. According to the international 6-hands piano literature, although the works of Alfred Schnittke's Hommage, Carl Czerny's Op.17 and 741, Paul Robinson's Pensees and Montmartre and many more are included, the Turkish piano literature has been found to have a limited number of compositions. The aim of the work is to contribute to the field by presenting musical analysis about the place and the importance of the educational use of the works composed for 6-hands which are extremely rare in the Turkish piano literature. As an example, the piece named Sky composed by Hasan Barış Gemici is considered. Analysis is supported by comparative methods in form, structuralism, rhythm, theoretical applications and performance; it also gives information about basic playing techniques. It is thought that this study carries importance in contributing to the limited number of Turkish 6-hands piano literature and researchers who will conduct research in this regard, in terms of creating resources for performers and composers who will interpret the literature.
    [Show full text]
  • The Tuesday Concert Series at Tuesday Maintain Epiphany’S Artistic Profile the Church of the Epiphany and Its Instruments
    the HOW YOU CAN CONSIDER HELPING THE TUESDAY CONCERT SERIES AT TUESDAY MAINTAIN EPIPHANY’S ARTISTIC PROFILE THE CHURCH OF THE EPIPHANY AND ITS INSTRUMENTS CONCERT The Tuesday Concert Series reaches out to the entire metropolitan Washington community 52 weeks of the year, and Since the Church of the Epiphany was founded in brings both national and international artists here to 1842, music has played a vital role in the life of the parish. The Tuesday Concert Series reaches out to the SERIES Washington, DC. The series enjoys partnerships with many entire metropolitan Washington community and runs artistic groups in the area, too, most keenly with the Washington throughout the year. No other concert series follows July - December Bach Consort, the Levine School of Music, and the Avanti such a pattern and, as such, it is unique in the 2017 Orchestra. Washington, DC area. There is no admission charge to the concerts, and visitors and Epiphany houses three fine musical instruments: The regular concert-goers are invited to make a freewill offering to Steinway D concert grand piano was a gift to the support our artists. This freewill offering has been the primary church in 1984, in memory of vestry member Paul source of revenue from which our performers have been Shinkman, and the 4-manual, 64-rank, 3,467-pipe remunerated, and a small portion of this helps to defray costs of Æolian-Skinner pipe organ (1968) is one of the most the church’s administration, advertising and instrument upkeep. versatile in the city. The 3-stop chamber organ (2014), Today, maintaining the artistic quality of Epiphany’s series with commissioned in memory of Albert and Frances this source of revenue is challenging.
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • Grandview Graduation Performances Archive
    Grandview Graduation Performances Archive 2020 Graduation Speech-“We did it” “Landslide” by Stevie Nicks (Vocal Solo) 2019 A Graduation Skit-Comedy Sketch “No Such Thing” by John Mayer (Guitar/Vocal Duet) “See You Again” by Wiz Khalifa and Charlie Puth (Instrumental Duet) “Journey to the Past” by Stephen Flaherty (Vocal Solo) “I Lived a Good Life Gone” by One Republic and Phillip Phillips (Vocal Octet) 2018 Graduation Speech-“A Poem” “You Will Be Found” by Benj Pasek and Justin Paul (Vocal Octet) “Bring It On Home To Me” by Sam Cooke (Instrumental Sextet) “This Is Me” by Benj Pasek and Justin Paul (Vocal Solo w/support from Senior Choir) 2017 Adoration for Violin and Piano Duet by Felix Borowski Graduation Speech-“Single” “Fools Who Dream” by Justin Hurwitz and Benj Pasek (Vocal Duet) Original Number-Down to the Wire for Piano and Saxphone “From the First Hello to the Last Goodbye” by Johnny Burke (Vocal Octet) 2016 “As If We Never Said Goodbye” by Don Black, Christopher Hampton & Andrew Lloyd Weber (Solo with Piano accompaniment) Rondo from Sonata No. 3 for Violin and Piano Duet by Ludwig van Beethoven (Violin and Piano) Graduation Speech –Pair Graduation Speech-Trio “I Lived” Ryan Tedder and Noel Zancanella Orchestra Octet and 2 Vocalists) 2015 Clarinet and Bassoon Duet 3 by Ludwig van Beethoven “My Wish” by Steele and Robson “Corner of the Sky” from Pippin by Stephen Schwartz 2014 Even if your Heart Breaks by Hoge and Paslay Never Give up, Never Surrender (a speech) by Malik Williams Meditation from Thais by Massenet (Violin and piano) Take Chances by Nelson 2013 Come Fly with Me (Vocalist and piano) Moderato by Kummer (Wood wind Duet) Homeward Bound (Vocalist and Piano) Live your Life by Yuna (Vocalist and guitar accompaniment) 2012 You Raise Me Up (Violins/Cello Trio) Who I’d Be (Male Vocal Solo, Recorded Accompaniment) 1 Grandview Graduation Performances Archive Crazy Dreams (Female/Male Vocal, Guitar Accompaniment) Transcendental etude No.
    [Show full text]
  • Download Program Notes
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Piano Quintet in F minor, Op. 34 Johannes Brahms ohannes Brahms was 29 years old in 1862, seated at the other piano. Ironically, critics Jwhen he embarked on this seminal mas- now complained that the work lacked the terpiece of the chamber-music repertoire, sort of warmth that string instruments would though the work would not reach its final have provided — the opposite of Joachim’s form as his Piano Quintet until two years objection. Unlike the original string-quintet later. He was no beginner in chamber music version, which Brahms burned, the piano when he began this project. He had already duet was published — and is still performed written dozens of ensemble works before and appreciated — as his Op. 34bis. he dared to publish one, his B-major Piano By this time, however, Brahms must have Trio (Op. 8) of 1853–54. Among those early, grown convinced of the musical merits of his unpublished chamber pieces were 20-odd material and, with some coaxing from his string quartets, all of which he consigned friend Clara Schumann, he gave the piece to destruction prior to finally publishing his one more try, incorporating the most idiom- three mature works in that classic genre in atic aspects of both versions. The resulting the 1870s. In truth, he did get some use out Piano Quintet, the composer’s only essay of those early quartets — to paper the walls in that genre (and no wonder, after all that and ceilings of his apartment.
    [Show full text]
  • A Prima Vista
    A PRIMA VISTA a survey of reprints and of recent publications 2002/1 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: 020-6796575 CDs: 020-6751653/fax: 020-6646759 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2002/1 PAGE HEADING 03 PIANO 2-HANDS 07 PIANO 4-HANDS, 2 AND MORE PIANOS, HARPSICHORD 08 ORGAN 09 KEYBOARD 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 10 VIOLIN SOLO, VIOLA SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 11 VIOLIN WITH ACCOMPANIMENT 12 VIOLIN PLAY-ALONG 13 VIOLA WITH ACCOMPANIMENT, CELLO WITH ACCOMPANIMENT 14 VIOLA DA GAMBA WITH ACCOMPANIMENT 14 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 18 FLUTE SOLO, OBOE SOLO 19 CLARINET SOLO, SAXOPHONE SOLO, BASSOON SOLO, TRUMPET SOLO 20 HORN SOLO, TROMBONE SOLO, TUBA SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 20 PICCOLO WITH ACCOMPANIMENT, FLUTE WITH ACCOMPANIMENT 22 FLUTE PLAY-ALONG, ALTO FLUTE WITH ACCOMPANIMENT 23 OBOE WITH ACCOMPANIMENT, OBOE PLAY-ALONG, CLARINET WIT ACCOMPANIMENT 24 CLARINET PLAY-ALONG 25 BASSETHORN WITH ACCOMPANIMENT, SAXOPHONE WITH ACCOMPANIMENT 27 SAXOPHONE PLAY-ALONG 28 BASSOON WITH ACCOMPANIMENT, TRUMPET WIT ACCOMPANIMENT 29 TRUMPET PLAY-ALONG, HORN WITH ACCOMPANIMENT 30 TROMBONE WITH ACCOMPANIMENT, TROMBONE PLAY-ALONG 31 TUBA WITH ACCOMPANIMENT, EUPHONIUM PLAY-ALONG 2 AND MORE WIND INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 31 2 AND MORE WOODWIND
    [Show full text]
  • Heeguen and Sharon Violin and Piano Duet
    Presents Heeguen and Sharon Members of Ensemble Ari Violin and Piano Duet Saturday, February 20, 7 p.m. PST Presented ONLINE from St. Paul’s Episcopal Church Walnut Creek, California www.StPaulswc.org/concert-series Heeguen and Sharon Members of Ensemble Ari Violin and Piano Duet February 20, 2021 7pm PST Violin and Piano Sonata no. 8 in G Major, op. 30 Ludwig von Beethoven I. Allegro assai II. Tempo de Minuetto III. Allegro Vivace Caprice for Solo Violin Op. 1 No. 24 Niccolò Paganini Fantasie Nègre no. 4 Florence Price Violin and Piano Sonata no. 3 in D Minor, Op. 108 Johannes Brahms I. Allegro II. Adagio III. Un poco presto e con sentimento IV. Presto agitato We will hold a Question-and-Answer session with our performers at the end of the concert. At this time, our concert audience at home can submit questions for our performers using the chat function on the Youtube screen. Thank you for joining us at St. Paul’s Concert Series St. Paul’s Episcopal Church 1924 Trinity Avenue Walnut Creek, California 94596 925-934-2324 www.StPaulsWC.org [email protected] “Ari” is a Korean word with multiple meanings: big river, wisdom and beauty. Ensemble Ari is a group of Korean American musicians in the Bay Area who wants to share this quality with the community. The ensemble gave its debut concert in October, 2014 as a Korean War Memorial Concert and contributed to the SF Korean memorial in Presidio. Since then ARI was featured at Old First Concert Series, Maybeck, UC Berkeley, St.Mary’s College and others.
    [Show full text]
  • April 1911) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1911 Volume 29, Number 04 (April 1911) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 29, Number 04 (April 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/568 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. TWO PIANOS THE ETUDE FOUR HANDS New Publications The following ensemble pieces in- S^s?^yssL*aa.‘Sffi- Anthems of Prayer and Life Stories of Great nai editions, and some of the latest UP-TO-DATE PREMIUMS Sacred Duets novelties are inueamong to addthe WOnumberrks of For All Voices &nd General Use Praise Composers OF STANDARD QUALITY A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. sis Edited by JAMES FRANCIS COOKE Subscription Price, $1.60 per jeer In United States Alaska, Cuba, Po Mexico, Hawaii, Pb’”—1— "-“-“* *k- "•* 5 In Canada, »1.7t STYLISH PARASOLS FOUR DISTINCT ADVANCE STYLES REMITTANCES should be made by post-offlee t No.
    [Show full text]
  • Sämtliche Klavierwerke 1 Werke Von Robert Schumann Durch Florian [1836/Erschienen 1984]: Uhlig Versucht Erstmals, Mit Thematisch Sinn­ 1 I
    1.K Concert sans Orchestre f-Moll op. 14 Zwei im Autograph gestrichene Robert Schumann Die auf 15 CDs angelegte erste wirkliche [1836/erschienen 1836] Variationen zum zweiten Satz Gesamtaufnahme der zweihändigen Klavier­ Ignaz Moscheles gewidmet (Quasi Variazioni) Sämtliche Klavierwerke 1 werke von Robert Schumann durch Florian [1836/erschienen 1984]: Uhlig versucht erstmals, mit thematisch sinn­ 1 I. Allegro brillante 7:35 6 1. [Ohne Tempoangabe] eit etwa 60 Jahren sind immer wieder Ver­ voll konzipierten CDs (z.B. „Robert Schu­ 2 II. Quasi Variazioni (= Tempo des Themas) 1:04 Ssuche unternommen worden, Robert mann und die Sonate“, „Der junge Klavier­ (Andantino de Clara Wieck) 7:53 7 2. Scherzo: Prestissimo 0:40 Schumanns Gesamtwerk für Klavier zu zwei virtuose“, „Schumann in Wien“, „Schumann Thema Händen, einen faszinierenden Kosmos von und der Kontrapunkt“, „Variationen“) alle Variation 1 8 Presto possibile f­Moll * großer Vielfältigkeit und Bandbreite zwi­ originalen Klavierwerke zwischen 1830 Variation 2 (1. Version des letzten Satzes) 5:38 schen hochvirtuosen Stücken für den Kon­ (Abegg-Variationen op. 1) und 1854 (Geister- Variation 3 (Passionato) [1836/ungedruckt/Fragment] zertsaal und wertvoller Literatur für den Kla­ Variationen) nach den neuesten textkriti­ Variation 4 Fragment, ergänzt von Joachim Draheim vierunterricht, auf Tonträgern festzuhalten. schen Ausgaben und/oder Erstausgaben zu 3 III. Prestissimo possibile 7:57 und Florian Uhlig (2010) Diese ebenso reizvolle wie schwierige Aufga­ präsentieren. Mehrere dieser CDs werden DEUTSCH be wurde leider, ganz abgesehen von rein auch Erstaufnahmen enthalten. Die Booklets künstlerischen Mängeln, nicht immer mit von Joachim Draheim, der einige der Werke Vorstudien und gestrichene sätze zum Fantasie C-Dur op.
    [Show full text]
  • 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).
    [Show full text]
  • Memorandum LIBRARY of CONGRESS
    UNITED STATES GOVERNMENT Memorandum LIBRARY OF CONGRESS 5JSC/LC/12 TO: Joint Steering Committee for Development of RDA DATE: February 6, 2008 FROM: Barbara B. Tillett, LC Representative SUBJECT: Proposed revision of RDA chap. 6, Additional instructions for musical works and expressions The Library of Congress is submitting rule revision proposals for the RDA December 2007 draft chapter 6 instructions for musical works and expressions. Goals of proposals 1. To maintain the additional instructions for music intact (although LC recommends integrating them with the general instructions after the first release of RDA). 2. To fill in gaps in the AACR2 rules carried over into RDA by a. Incorporating selected AACR2 rule revisions; b. Adding instructions that clarify, make explicit, or expand some principles and instructions carried over from AACR2; c. Proposing new instructions. 3. To simplify some unnecessarily complex instructions. 4. To arrange certain subsections in the six major instructions in a more logical way, based wherever possible on principles that group together types of resources having common characteristics. 5. To revise the instructions for medium of performance to provide for all media found in resources and to do that using vocabulary that adheres as closely as possible to the principle of representation: incorporating words the composer or resource uses. 6. To revise or eliminate instructions LC finds unworkable based on past experience with AACR2 (e.g., the instructions for key (6.22) in section M of this document). 7. In the interest of simplification, to eliminate vexing terms catalogers have spent inordinate amounts of time interpreting when using AACR2 (e.g., “type of composition” as a formal term when all it need be is a useful phrase; “score order”).
    [Show full text]