Heifetz Festival of Concerts Week Ii

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HEIFETZ 2019 FESTIVAL OF CONCERTS – WEEK V SATURDAY, AUGUST 3 – HeifetzPEG Student Showcase VI 2:00 PM – Francis Auditorium Trio Sonata in E minor, Op. 3 No. 7 Arcangelo Corelli I. Grave (1653–1713) II. Allegro III. Adagio IV. Allegro McClung Trio Yolanda Ni, violin Chloe Chung, violin Noémie Raymond-Friset, cello Tarantella, Op. 23 William Henry Squire (1871–1963) Alice (Qingzhu) Shi, cello Elizabeth Brown, piano Trio Sonata in G minor, HWV 393 George Frideric Handel I. Andante (1685–1759) II. Allegro Memorial Trio Holly Lacey, violin Ethan Lin, violin Alice (Qingzhu) Shi, cello Trio Sonata in D major, Op. 4 No. 4 Arcangelo Corelli I. Preludio. Grave (1653–1713) IV. Giga. Allegro Miller Trio William Yeh, violin Léo Graves, violin Roma Graves, cello Trio Sonata in A major, Op. 3 No. 12 Arcangelo Corelli I. Grave – Allegro – Adagio – Allegro – Adagio (1653–1713) II. Vivace III. Allegro Rose Trio Minji Kim, violin Sidney Nam, violin Noémie Raymond-Friset, cello String Quartet No. 12 in B-flat major, K. 172 Wolfgang Amadeus Mozart I. Allegro spiritoso (1756–1791) King Quartet Fei Yang-Sady, violin Katherine Jung, violin Tal McGee, viola Spring (Qinghong) Shi, cello Violin Concerto No. 5 in A minor, Op. 37 Henri Vieuxtemps I. Allegro non troppo – Moderato (1820–1881) Chloe Chung, violin Zhenni Li-Cohen, piano Violin Concerto in A minor, BWV 1041 Johann Sebastian Bach I. Allegro (1685–1750) Léo Graves, violin Zhenni Li-Cohen, piano Élégie, Op. 24 Gabriel Fauré (1845–1924) Roma Graves, cello Elizabeth Brown, piano Cello Concerto No. 9 in B-flat major, G. 482 Luigi Boccherini I. Allegro moderato (1743–1805) Tony Kim, cello Elizabeth Brown, piano III. Rondo. Allegro Zehavi Rodriguez, cello Elizabeth Brown, piano Intermission Violin Concerto in C major, Op. 48 Dmitri Kabalevsky I. Allegro molto e con brio (1904–1987) Katherine Jung, violin Elizabeth Hill, piano Violin Concerto No. 5 in A major, K. 219 (“Turkish”) Wolfgang Amadeus Mozart III. Rondeau. Tempo di menuetto (1756–1791) Charlotte Woo, violin David Ji, piano Violin Concerto No. 3 in G major, K. 216 Wolfgang Amadeus Mozart I. Allegro (1756–1791) Ethan Lin, violin Elizabeth Hill, piano III. Rondeau. Allegro Sidney Nam, violin Zhenni Li-Cohen, piano Violin Concerto in E minor, Op. 64 Felix Mendelssohn III. Allegretto non troppo – Allegro molto vivace (1809–1847) Minji Kim, violin Zhenni Li-Cohen, piano Violin Concerto No. 3 in B minor, Op. 61 Camille Saint-Saëns I. Allegro non troppo (1835–1921) Pauline Lee, violin Zhenni Li-Cohen, piano Symphonie espagnole, Op. 21 Édouard Lalo I. Allegro non troppo (1823–1892) Jaehyun Park, violin Zhenni Li-Cohen, piano Violin Concerto No. 1 in G minor, Op. 26 Max Bruch III. Finale. Allegro energico (1838–1920) Milan Rohatgi, violin Zhenni Li-Cohen, piano Violin Concerto in E minor, Op. 1 Jules Conus I. Allegro molto (1869–1942) Spencer Nelson, violin Elizabeth Hill, piano Violin Concerto No. 2 in D minor, Op. 22 Henryk Wieniawski I. Allegro moderato (1835–1880) Moshi Tang, violin Zhenni Li-Cohen, piano .

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THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 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 Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize.
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