ABSTRACT Title of Dissertation: BRITISH VIOLA REPERTOIRE OF
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Elegies for Cello and Piano by Bridge, Britten and Delius: a Study of Traditions and Influences
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2012 Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences Sara Gardner Birnbaum University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Birnbaum, Sara Gardner, "Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences" (2012). Theses and Dissertations--Music. 7. https://uknowledge.uky.edu/music_etds/7 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
Viola V26 N1 11/7/14 6:25 PM Page 102 Viola V30 N2 Viola V26 N1 11/7/14 6:25 PM Page 1
Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 101 30 Years of JAVS Features: A Survey of Hans Gál’s Chamber Works Vadim Borisovsky and His Viola Arrangements, Part I Alfred Uhl’s Viola Études Primrose’s Transcriptions Volume 30 Volume Number 2 and Arrangements Journal of Journal the American Viola Society Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 102 Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 1 Journal of the American Viola Society A publication of the American Viola Society Fall 2014 Volume 30 Number 2 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ In memoriam Feature Articles p. 13 A Survey of Hans Gál’s Chamber Works with Viola: Richard Marcus writes on the Austrian composer Hans Gál, who emigrated to Great Britain due to World War II. A catalog of his chamber works with viola is provided, along with a look at various selections of these compositions. p. 27 Vadim Borisovsky and His Viola Arrangements: Recent Discoveries in Russian Archives and Libraries, Part I: In the first installment of a two-part article, Elena Artamonova provides a detailed historical context of the Russian violist Vadim Borisovsky—who, in addition to his musical accomplishments, was also a poet. p. 37 Alfred Uhl’s Viola Études: Studies with a Heart: Études have long been an indispensible part of a violist’s training, but have also been typically confined to providing technical facility. Danny Keasler looks at the études of Alfred Uhl, which include melodic aspects that can relate directly to repertoire. -
Mariastangier
HIGH DEFINITION ORGAN ROLAND MARIA STANGIER English Town Hall Organ Philharmonie Duisburg Holst • Händel • Vierne Elgar • Bridge • Franck Gárdonyi Von Roland Maria Stangier ROLAND MARIA mit Astrologie. Das siebensätzige Werk ist aus for- STANGIER maler und harmonischer Sicht sowie in der berau- English Town Hall Organ Philharmonie Duisburg schend-virtuos gehaltenen üppigen Instrumenta- Gustav Holst tion ungemein originell. Sieben Planeten (Mars, Holst • Händel • Vierne • Elgar • Bridge • Franck • Gárdonyi „Jupiter“ aus op. 32 Venus, Merkur, Jupiter, Saturn, Uranus und Nep- tun) werden ganz subjektiv, individuell „beleuch- „Als Hauptziel sollte angestrebt werden, für Orgel tet“, „beschrieben“: „In jüngster Zeit hat der Cha- arrangierte Musik so zum Klingen zu bringen, als rakter jedes einzelnen Planeten enorm viel in mir Gustav Holst (1874–1934) | arr.: Roland Maria Stangier (*1957) Roland Maria Stangier (*1957) wäre sie original für Orgel geschrieben worden“, angeregt, und ich habe mich ziemlich eingehend 1 „Jupiter“ aus op. 32 8:23 Improvisationen schreibt Herbert Ellingford 1922 in „The Art of mit Astrologie beschäftigt“ schrieb er 1913. (1685-1759) | arr.: Henry Smart (1813-1879) 9 I „Strings“ (Streicher) 3:13 Georg Friedrich Händel Transcribing for the Organ“. Dem ist nichts hinzu- 2 „Konzert für Orgel und Orchester“ op. 4 Nr. 5 9:10 10 II „Diapasons“ (Prinzipale) 2:06 zufügen. Entsprechend sind die vielfältigen Tran- So ist hier Jupiter der Bote jubilierender Freude 11 III „Flutes“ (Flöten) 2:08 Louis Vierne (1870-1937) skriptionen von Symphonien, Chorwerken oder und nicht gestrenger Herr des Olymp und Blitz 12 IV „Reeds“ (Zungen) 3:02 3 „Claire de lune“ aus op. 53 9:05 Kammermusik zwischen 1870 und 1930 zahl- und Donner schleudernd. -
Frank Bridge (1879-1941) Lamento Für Zwei Bratschen
Frank Bridge (1879-1941) Lamento für zwei Bratschen Frank Bridge was a prominent figure in English music during the beginning of the 20th century. An outstanding violist and conductor, he studied under Charles Villiers Stanford at the Royal College of Music. Bridge composed in every genre, but chamber music was where he excelled, and he spent most of his life as an active chamber musician, having been a founding member of the English String Quartet. Nowadays, we remember Bridge best as the very famous composer Benjamin Britten's teacher. Britten said of Bridge, "He was most naturally an instrumental composer, and, as a superb viola player, he thought instrumentally... He fought against anything anti-instrumental which is why his own music is so graceful to play." Bridge composed two viola duets, Caprice and Lament, in 1911-1912 for a Bechstein (now Wigmore) Hall concert by Lionel Tertis and himself. Unfortunately, the manuscripts for both of these duets are now lost, but sketches for the works are housed at the Royal College of Music. The published version of Lament, which is being performed today, was constructed by Paul Hindmarsh, based on an almost complete version of the piece found in the leaves of sketch material. (Sadly, sketches for the other duet, Caprice, are not complete enough to be made into a piece that can be performed.) Because of this situation, the first performance of Lament took place on 18 March 1912, and the second, which was only able to occur post-reconstruction, was more than 65 years later on 12 February 1980. -
Daniel Saidenberg Faculty Recital Series
Daniel Saidenberg Faculty Recital Series Misha Amory, Viola Thomas Sauer, Piano Hsin-Yun Huang, Viola Photo by Claudio Papapietro Support Scholarships The Juilliard Scholarship Fund provides vital support to any student with need and helps make a Juilliard education possible for many deserving young actors, dancers, and musicians. With 90 percent of our students eligible for financial assistance, every scholarship gift represents important progress toward Juilliard’s goal of securing the resources required to meet the needs of our dedicated artists. Gifts in any amount are gratefully welcomed! Visit juilliard.edu/support or call Tori Brand at (212) 799-5000, ext. 692, to learn more. The Juilliard School presents Misha Amory, Viola Thomas Sauer, Piano Hsin-Yun Huang, Viola Part of the Daniel Saidenberg Faculty Recital Series Friday, October 18, 2019, 7:30pm Paul Hall ZOLTÁN KODÁLY Adagio (1905) (1882-1967) FRANK BRIDGE Pensiero (1908) (1879-1941) PAUL HINDEMITH “Thema con Variationen” from Sonata, (1895-1963) Op.31, No. 4 (1922) ARTHUR BLISS “Furiant” from Viola Sonata (1934) (1891-1975) BRUCE ADOLPHE Dreamsong (1989) (b.1955) GEORGE BENJAMIN Viola, Viola (1998) (b.1960) Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by the Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 ELLIOTT CARTER Elegy (1943) (1908-2012) IGOR STRAVINSKY Elegy (1944) (1882-1971) GYÖRGY KURTÁG Jelek (1965) (b.1926) Agitato Giusto Lento Vivo Adagio Risoluto DMITRI SHOSTAKOVICH “Adagio” from Viola Sonata (1975) (1906-75) Performance time: approximately 1 hour and 30 minutes, including an intermission The Viola in the 20th Century By Misha Amory The 20th century was transformative for the viola as a solo instrument. -
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557439bk Bax US 2/07/2004 11:02am Page 5 in mind some sort of water nymph of Greek vignette In a Vodka Shop, dated 22nd January 1915. It Ashley Wass mythological times.’ In a newspaper interview Bax illustrates, however, Bax’s problem trying to keep his himself described it as ‘nothing but tone colour – rival lady piano-champions happy, for Myra Hess gave The young British pianist, Ashley Wass, is recognised as one of the rising stars BAX changing effects of tone’. the first performance at London’s Grafton Galleries on of his generation. Only the second British pianist in twenty years to reach the In January 1915, at a tea party at the Corders, the 29th April 1915, and as a consequence the printed finals of the Leeds Piano Competition (in 2000), he was the first British pianist nineteen-year-old Harriet Cohen appeared wearing as a score bears a dedication to her. ever to win the top prize at the World Piano Competition in 1997. He appeared Piano Sonatas Nos. 1 and 2 decoration a single daffodil, and Bax wrote almost in the ‘Rising Stars’ series at the 2001 Ravinia Festival and his promise has overnight the piano piece To a Maiden with a Daffodil; been further acknowledged by the BBC, who selected him to be a New he was smitten! Over the next week two more pieces Generations Artist over two seasons. Ashley Wass studied at Chethams Music Dream in Exile • Nereid for her followed, the last being the pastiche Russian Lewis Foreman © 2004 School and won a scholarship to the Royal Academy of Music to study with Christopher Elton and Hamish Milne. -
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557592 bk Bax UK/US 8/03/2005 02:22pm Page 5 Ashley Wass Also available: The young British pianist, Ashley Wass, is recognised as one of the rising stars of his generation. Only the second British pianist in twenty years to reach the finals of the Leeds Piano Competition (in 2000), he was the first British BAX pianist ever to win the top prize at the World Piano Competition in 1997. He appeared in the ‘Rising Stars’ series at the 2001 Ravinia Festival and his promise has been further acknowledged by the BBC, who selected him to be a New Generations Artist over two seasons. Ashley Wass studied at Chethams Music School and won a scholarship to the Royal Academy of Music to study with Christopher Elton and Hamish Milne. He was made an Associate of the Piano Sonatas Nos. 3 and 4 Royal Academy in 2002. In 2000/1 he was a participant at the Marlboro Music Festival, playing chamber music with musicians such as Mitsuko Uchida, Richard Goode and David Soyer. He has given recitals at most of the major British concert halls including the Wigmore Hall, Queen Elizabeth Hall, Purcell Room, Bridgewater Hall and St Water Music • Winter Waters David’s Hall. His concerto performances have included Beethoven and Brahms with the Philharmonia, Mendelssohn with the Orchestre National de Lille and Mozart with the Vienna Chamber Orchestra at the Vienna Konzerthaus and the Brucknerhaus in Linz. He has also worked with Sir Simon Rattle and the City of Birmingham Symphony Orchestra, the London Mozart Players, the BBC Scottish Symphony Orchestra and the BBC Ashley Wass Philharmonic. -
A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. -
Connected by Music Dear Friends of the School of Music
sonorities 2021 The News Magazine of the University of Illinois School of Music Connected by Music Dear Friends of the School of Music, Published for the alumni and friends of the ast year was my first as director of the school and as a member School of Music at the University of Illinois at of the faculty. It was a year full of surprises. Most of these Urbana-Champaign. surprises were wonderful, as I was introduced to tremendously The School of Music is a unit of the College of Lcreative students and faculty, attended world-class performances Fine + Applied Arts and has been an accredited on campus, and got to meet many of you for the first time. institutional member of the National Association Nothing, however, could have prepared any of us for the of Schools of Music since 1933. changes we had to make beginning in March 2020 with the onset of COVID-19. Kevin Hamilton, Dean of the College of Fine + These involved switching our spring and summer programs to an online format Applied Arts with very little notice and preparing for a fall semester in which some of our activi- Jeffrey Sposato, Director of the School of Music ties took place on campus and some stayed online. While I certainly would never Michael Siletti (PhD ’18), Editor have wished for a year with so many challenges, I have been deeply impressed by Design and layout by Studio 2D the determination, dedication, and generosity of our students, faculty, alumni, and On the cover: Members of the Varsity Men’s Glee friends. -
Charles Villiers Stanford's Experiences with and Contributions
Charles Villiers Stanford’s Experiences with and contributions to the solo piano repertoire Adèle Commins Charles Villiers Stanford (1852-1924) has long been considered as one of the leaders of the English Musical Renaissance on account of his work as composer, conductor and pedagogue. In his earlier years he rose to fame as a piano soloist, having been introduced to the instrument at a very young age. It is no surprise then that his first attempts at composition included a march for piano in i860.1 The piano continued to play an important role in Stanford’s compositional career and his last piano work, Three Fancies, is dated 1923. With over thirty works for the instrument, not counting his piano duets, Stanford’s piano pieces can be broadly placed in three categories: (i) piano miniatures or character pieces which are in the tradition of salon or domestic music; (ii) works which have a pedagogical function; and (iii) works which are written in a more virtuosic vein. In each of these categories many of the works remain unpublished. In most cases the piano scores are not available for purchase and this has hindered performances after his death.2 The repertoire of pianists should not be limited to the music of European composers and publishers, like performers, are responsible for the exposure a composer’s works receives. New editions of Stanford’s piano music need to be created and published in order to raise awareness of the richness of Stanford’s contribution to piano literature. While there has been renewed interest in the composer’s life and music by musicologists and performers — primarily initiated by the recent Stanford biographies in 2002 by Dibble and Rodmell — the 1 Originally termed Opus 1 in Stanford’s sketch book it was reproduced in Anon., ‘Charles Villiers Stanford’, The Musical Times and Singing Class Circular, 39 670 (1898), 785-793 (p. -
BRIDGE Orchestral Works the Collector’S Edition
BRIDGE ORCHESTRAL WORKS The Collector’s Edition Sarah Connolly mezzo-soprano Howard Shelley piano Philip Langridge tenor BBC National Chorus of Wales Roderick Williams baritone BBC National Orchestra of Wales Alban Gerhardt cello Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Frank Bridge (1879 – 1941) COMPACT DISC ONE 1 Enter Spring, H 174 (1926 – 27) 18:36 Rhapsody Allegro moderato – Tempo giusto – Andante tranquillo – Tempo I – Energico – Andante molto tranquillo 2 Isabella, H 78 (1907) 18:00 Symphonic Poem after Keats Adagio ma non troppo – Allegretto moderato – L’istesso tempo – Allegro vivo – Adagio ma non troppo – Più adagio Two Poems for Orchestra, H 118 (1915) 12:58 after Richard Jefferies 3 I Andante moderato e semplice 8:35 4 II Allegro con brio 4:18 premiere recording 5 Mid of the Night, H 30 (1903) 26:05 Symphonic Poem for Orchestra Andante – Allegro moderato – Poco più vivo – Andante moderato – Allegro moderato – Andante moderato – Più lento TT 75:47 3 COMPACT DISC TWO premiere recording in this version 1 Dance Rhapsody, H 84 (1908) 19:16 for orchestra Allegro energico – Moderato – Allegretto moderato – Tempo di valse – Vivo – Allegro energico Five Entr’actes, H 95 (1910) 12:05 from the play The Two Hunchbacks by Émile Cammaerts (1878 – 1953) for orchestra 2 I Prelude to Act I. Allegretto moderato – Lento 3:20 3 II Intermezzo from Act II. Andantino 1:36 4 III Intermezzo from Act III. Allegretto (marziale) 1:19 5 IV Prelude to Act III. Lento 2:36 6 V Entr’acte between Acts II and III. Moderato 3:04 7 Dance Poem, H 111 (1913) 13:48 for orchestra Tempo di valse – Lento e languido – Tempo di valse – Largamente – Grazioso – Tempo di valse – A tempo, poco lento – Vivo – Presto 4 8 Norse Legend, H 60 (1905 / 1938) 4:48 for small orchestra Andante con moto The Sea, H 100 (1910 – 11) 22:08 Suite for Orchestra 9 1 Seascape. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec.