Violin Repertoire List
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University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ VIOLIN ETUDES: A PEDAGOGICAL GUIDE A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2006 by Semi Yang [email protected] B.M., Queensland Conservatorium of Music, Griffith University, Australia, 1995 M.M., Queensland Conservatorium of Music, Griffith University, Australia, 1999 Advisor: Dr. Won-bin Yim Reader: Prof. Kurt Sassmannshaus Reader: Dr. Robert Zierolf ABSTRACT Studying etudes is one of the most essential parts of learning a specific instrument. A violinist without a strong technical background meets many obstacles performing standard violin literature. This document provides detailed guidelines on how to practice selected etudes effectively from a pedagogical perspective, rather than a historical or analytical view. The criteria for selecting the individual etudes are for the goal of accomplishing certain technical aspects and how widely they are used in teaching; this is based partly on my experience and background. The body of the document is in three parts. The first consists of definitions, historical background, and introduces different of kinds of etudes. The second part describes etudes for strengthening technical aspects of violin playing with etudes by Rodolphe Kreutzer, Pierre Rode, and Jakob Dont. The third part explores concert etudes by Wieniawski and Paganini. -
Dissertation FINAL 5 22
ABSTRACT Title: BEETHOVEN’S VIOLINISTS: THE INFLUENCE OF CLEMENT, VIOTTI, AND THE FRENCH SCHOOL ON BEETHOVEN’S VIOLIN COMPOSITIONS Jamie M Chimchirian, Doctor of Musical Arts, 2016 Dissertation directed by: Dr. James Stern Department of Music Over the course of his career, Ludwig van Beethoven (1770–1827) admired and befriended many violin virtuosos. In addition to being renowned performers, many of these virtuosos were prolific composers in their own right. Through their own compositions, interpretive style and new technical contributions, they inspired some of Beethoven’s most beloved violin works. This dissertation places a selection of Beethoven’s violin compositions in historical and stylistic context through an examination of related compositions by Giovanni Battista Viotti (1755–1824), Pierre Rode (1774–1830) and Franz Clement (1780–1842). The works of these violin virtuosos have been presented along with those of Beethoven in a three-part recital series designed to reveal the compositional, technical and artistic influences of each virtuoso. Viotti’s Violin Concerto No. 2 in E major and Rode’s Violin Concerto No. 10 in B minor serve as examples from the French violin concerto genre, and demonstrate compositional and stylistic idioms that affected Beethoven’s own compositions. Through their official dedications, Beethoven’s last two violin sonatas, the Op. 47, or Kreutzer, in A major, dedicated to Rodolphe Kreutzer, and Op. 96 in G major, dedicated to Pierre Rode, show the composer’s reverence for these great artistic personalities. Beethoven originally dedicated his Violin Concerto in D major, Op. 61, to Franz Clement. This work displays striking similarities to Clement’s own Violin Concerto in D major, which suggests that the two men had a close working relationship and great respect for one another. -
O Legado De Pablo De Sarasate
O LEGADO DE PABLO DE SARASATE Lígia Maria Leitão Soares Silva Tese apresentada à Universidade de Évora para obtenção do Grau de Doutor em Música e Musicologia Especialidade: Interpretação ORIENTADORA: Professora Doutora Vanda de Sá ÉVORA, NOVEMBRO DE 2018 INSTITUTO DE INVESTIGAÇÃO E FORMAÇÃO AVANÇADA ¡Un genio! ¡He practicado catorce horas diarias durante treinta y siete años, y ahora me llaman genio! Pablo de Sarasate ~ iii ~ ~ iv ~ À memória dos meus pais ~ v ~ ~ vi ~ Agradecimentos Concluir um doutoramento em Música e Musicologia na especialidade de Interpretação implica uma longa trajectória em que a conciliação do trabalho escrito com a prática do instrumento dificilmente se consegue fazer de modo regular e constante. Este trabalho não teria sido possível sem o apoio de diversas pessoas às quais deixo aqui os meus sinceros agradecimentos. Começo por agradecer à Professora Doutora Vanda de Sá, orientadora deste trabalho, a disponibilidade e o interesse, as sugestões que fez e a generosidade com que disponibilizou algumas fontes. Agradeço ainda a forma estimulante como contribuiu para o alargamento de algumas problemáticas iniciais, a amizade demonstrada e a disponibilidade para ler e aconselhar sobre o conteúdo das notas aos programas que elaborei para os recitais que realizei como parte deste doutoramento. Agradeço ao Professor Doutor Félix Andrievsky todos os conhecimentos que me transmitiu ao longo dos anos em que trabalhei com ele e sem os quais não teria sido possível realizar este trabalho. Agradeço também a disponibilidade que continua a ter para mim, cerca de trinta anos após o primeiro contacto, o estímulo, os conselhos e o interesse com que ouviu grande parte do repertório que interpretei nos recitais. -
New 6-Page Template a 27/4/16 9:32 PM Page 1
573000bk Kummer:New 6-page template A 27/4/16 9:32 PM Page 1 Frédéric Kummer (1797–1879) und François Schubert (1808–1878) zu den bekanntesten Bühnenwerken des Opern- und führt im pianissimo wieder nach G-dur und zum Dreivier- Duos Concertants pour Violon et Violoncelle Ballettkomponisten Louis Joseph Ferdinand Hérold teltakt zurück – zunächst als ruhiges Moderato molto mit (1791–1833) und zu den beliebtesten Singspielen des 19. der Melodie im Violoncello, dann als abschließendes Friedrich August (alias Frédéric) Kummer wurde am 5. Unterricht bei seinem Vater und bei Antonio Rolla (1798- Jahrhunderts gehörte. Das Duo in der Tonart D-dur beginnt Allegro molto. August 1797 in Meiningen geboren. Sein Vater Friedrich 1837) wurde er in Paris von Charles Philippe Lafont (1781- mit einem Allegro, das neben einigen lieblichen Momenten Die Deux Duos de Concert pour Violon et Violoncelle August sen. (1770-1849) war zunächst Oboist in der 1839) ausgebildet, der seinerseits bei Rodolphe Kreutzer viel virtuoses Passagenwerk enthält. Von hier aus führt der op. 52 schließlich beginnen mit einem Souvenir de Fra Hofkapelle des Herzogs von Sachsen-Meiningen, und Pierre Rode studiert hatte. Da man ihn bisweilen mit Weg zu einem Andantino mit zwei Variationen, denen sich Diavolo, der wohl besten opéra-comique des Autorenteams übersiedelte aber mit seiner Familie bald nach der Geburt dem weitaus berühmteren Franz Schubert aus Wien ein Melancolico in Moll und im Dreivierteltakt anschließt. Daniel-François-Esprit Auber (1782–1871) und Eugène seines Sohnes nach Dresden und gab seinem Sprössling verwechselte, nahm er in Paris, wo er unter anderem mit Danach werden die ursprüngliche Tonart und der Scribe (1791–1861), dessen Namen wir üblicherweise im Frédéric den ersten Musikunterricht, bevor dieser von Justus Chopin Freundschaft schloss, den Namen »François« an. -
German Virtuosity
CONCERT PROGRAM III: German Virtuosity July 20 and 22 PROGRAM OVERVIEW Concert Program III continues the festival’s journey from the Classical period Thursday, July 20 into the nineteenth century. The program offers Beethoven’s final violin 7:30 p.m., Stent Family Hall, Menlo School sonata as its point of departure into the new era—following a nod to the French Saturday, July 22 virtuoso Pierre Rode, another of Viotti’s disciples and the sonata’s dedicatee. In 6:00 p.m., The Center for Performing Arts at Menlo-Atherton the generation following Beethoven, Louis Spohr would become a standard- bearer for the German violin tradition, introducing expressive innovations SPECIAL THANKS such as those heard in his Double String Quartet that gave Romanticism its Music@Menlo dedicates these performances to the following individuals and musical soul. The program continues with music by Ferdinand David, Spohr’s organizations with gratitude for their generous support: prize pupil and muse to the German tradition’s most brilliant medium, Felix July 20: The William and Flora Hewlett Foundation Mendelssohn, whose Opus 3 Piano Quartet closes the program. July 22: Alan and Corinne Barkin PIERRE RODE (1774–1830) FERDINAND DAVID (1810–1873) Caprice no. 3 in G Major from Vingt-quatre caprices en forme d’études for Solo Caprice in c minor from Six Caprices for Solo Violin, op. 9, no. 3 (1839) CONCERT PROGRAMS CONCERT Violin (ca. 1815) Sean Lee, violin Arnaud Sussmann, violin FELIX MENDELSSOHN (1809–1847) LUDWIG VAN BEETHOVEN (1770–1827) Piano Quartet no. 3 in b minor, op. 3 (1825) Violin Sonata no. -
A Study of Select World-Federated International Piano Competitions: Influential Actf Ors in Performer Repertoire Choices
The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 2020 A Study of Select World-Federated International Piano Competitions: Influential actF ors in Performer Repertoire Choices Yuan-Hung Lin Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Lin, Yuan-Hung, "A Study of Select World-Federated International Piano Competitions: Influential actF ors in Performer Repertoire Choices" (2020). Dissertations. 1799. https://aquila.usm.edu/dissertations/1799 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A STUDY OF SELECT WORLD-FEDERATED INTERNATIONAL PIANO COMPETITIONS: INFLUENTIAL FACTORS IN PERFORMER REPERTOIRE CHOICES by Yuan-Hung Lin A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Elizabeth Moak, Committee Chair Dr. Ellen Elder Dr. Michael Bunchman Dr. Edward Hafer Dr. Joseph Brumbeloe August 2020 COPYRIGHT BY Yuan-Hung Lin 2020 Published by the Graduate School ABSTRACT In the last ninety years, international music competitions have increased steadily. According to the 2011 Yearbook of the World Federation of International Music Competitions (WFIMC)—founded in 1957—there were only thirteen world-federated international competitions at its founding, with at least nine competitions featuring or including piano. One of the founding competitions, the Chopin competition held in Warsaw, dates back to 1927. -
Mikhail Bugaev DMA Document
PAUL HINDEMITH’S IDIOMATIC WRITING FOR VIOLA AND ITS INFLUENCE ON HIS THEORIES. SONATA FOR VIOLA SOLO OP. 11, NO. 5. By Mikhail Bugaev A DOCUMENT Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS Music 2013 Table of contents: INTRODUCTION____________________________________________________________________________3 I. HINDEMITH’S PERFORMANCE CAREER 1. Successful violinist, early stage of Hindemith as a violist__________________4 2. Amar-Hindemith Quartet, and a peak of a performance career___________6 3. Last stage of a Hindemith-performer, Der Schwanendreher_______________8 4. Conclusion___________________________________________________________________12 II. SONATA OP. 11 NO. 5 1. History of the genre and influences________________________________________14 2. Structural and thematic analysis of the movements______________________19 3. Idiomatic writing____________________________________________________________35 a. The link to the instrument b. Motive as a building block c. Chords and intervals 4. Conclusion___________________________________________________________________42 III. INSTRUMENTAL APPROACH TO THE THEORIES 1. Series 1 and 2________________________________________________________________44 2. Intervalic content____________________________________________________________47 3. Melody________________________________________________________________________48 CONCLUSION_____________________________________________________________________________49 BIBLIOGRAPHY__________________________________________________________________________51 -
Violin Syllabus / 2013 Edition
VVioliniolin SYLLABUS / 2013 EDITION SYLLABUS EDITION © Copyright 2013 The Frederick Harris Music Co., Limited All Rights Reserved Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. -
The Pianoforte Sonata
The Pianoforte Sonata J.S. Shedlock The Pianoforte Sonata Table of Contents The Pianoforte Sonata........................................................................................................................................1 J.S. Shedlock............................................................................................................................................1 PREFACE................................................................................................................................................1 CHAPTER I. INTRODUCTORY...........................................................................................................2 CHAPTER II. JOHANN KUHNAU.....................................................................................................13 CHAPTER III. BERNARDO PASQUINI: A CONTEMPORARY OF J. KUHNAU..........................23 CHAPTER IV. EMANUEL BACH AND SOME OF HIS CONTEMPORARIES..............................26 CHAPTER V. HAYDN AND MOZART.............................................................................................34 CHAPTER VI. PREDECESSORS OF BEETHOVEN.........................................................................40 CHAPTER VII. LUDWIG VAN BEETHOVEN..................................................................................48 CHAPTER VIII. TWO CONTEMPORARIES OF BEETHOVEN......................................................57 CHAPTER IX. SCHUMANN, CHOPIN, BRAHMS, AND LISZT.....................................................62 CHAPTER X. THE SONATA -
Caprice Variations Violin Sonata
msv28521 GEORGE ROCHBERG Caprice Variations Violin Sonata Habeneck Stradivari 1734 2CD photograph: © Clarissa Bruce Peter Sheppard Skærved violin Aaron Shorr piano made and printed in the UK metier records division, divine art recordings group MSV28521 Booklet.indd 1-2 18/2/11 12:15:27 GEORGE ROCHBERG Violin Sonata Caprice Variations CD ONE the divine art family of labels Violin Sonata (1988) 1 I Sarabande (Molto adagio con tenerezza) 6.10 2 II Scherzo capriccioso (con spirito) 5.14 3 III Ardentemente – 7.36 4 – Adagio 6.49 Caprice Variations (1983) 5 1 Allegro energico 1:16 6 2 Presto 0:56 7 3 Allegro molto e con fuoco 1:03 8 4 Poco allegro ma quasi recitando 2:09 9 5 Poco agitato ma con molto rubato 0:42 10 6 Poco allegretto ma con rubato 1:37 11 7 Presto (after Beethoven Op. 74 Scherzo) 0:57 12 8 Languido (after Schubert Waltz Op.9, No.22) 2:14 13 9 Non troppo presto (after Brahms Op. 35, Bk.1, No.2) 0:38 A full list of almost 300 titles, with full track details, reviews, artist profiles and audio samples, is on our 14 10 Vivace (after Brahms Op. 35, Bk. 1, No.3) 0:56 website. All our recordings are available at any good record store or direct from our secure web stores. 15 11 Andante (after Brahms Op.35, Bk.1, No.11) 1:43 16 12 Andante con moto (after Brahms Op. 35, Bk.1, No.12) 1:39 17 13 Feroce, energico (after Brahms Op. -
Mozart Violin Sonata Download
Mozart violin sonata download click here to download Get a free MP3 of Wolfgang Amadeus Mozart - Violin Sonata No. I. Molto allegro, performed by Ani Kavafian, violin and Jorge Federico. WOLFGANG AMADEUS MOZART. The Violin Sonatas. Szymon Goldberg Radu Lupu. Int. Release 01 Jul. 4 CDs / Download. 2. W. A. MOZART - Violinsonaten - Violin Sonatas - Sonates pour Violon - KV · KV - KV · KV - Itzhak Perlman - Daniel Barenboim. Mozart: Violin Sonatas (complete). Hänssler: HC Buy 4 CDs or download online. Dmitry Sitkovetsky (violin), Antonio Pappano (piano), Konstantin Lifschitz . Violin Sonata in C major, K (Mozart, Wolfgang Amadeus) Performers, David Fulmer (violin), Rob Auler (piano). Publisher Info. David Fulmer and Rob. The precise date and location of composition is disputed: some suggest that it was written in Salzburg, the boy's home town, in or ;. Click on a button at the right side. You will be transfered to a page where you can download Mozart's Violin Sonata no. 23 in D major. Violin Sonata in E minor (No) KV Wolfgang Amadeus Mozart. LIKE. SHARE. SHARE View Download PDF: Violin part ( Ko). Violin Sonata in C major, K composer. Wolfgang (). ; Violin Sonata No 17; edicated to Therese Pierron Mozart had, however, written a further violin sonata in Mannheim. Quite why he . Hyperion download information. Mozart - Violin Sonatas. DG: Buy CD or download online. Hilary Hahn ( violin) & Natalie Zhu (piano). Total download size: GB Total play length: Cover art included, liner notes not included. Violinist Ji Young Lim quickly came to the attention of the. Download Violin sonata no. 21, K. by Wolfgang Amadeus Mozart for free from www.doorway.ru Download Mozart - Violin Sonata In E Minor K sheet music instantly - Piano Solo,Violin sheet music by Wolfgang Amadeus Mozart: Classical One. -
Hans Werner Henze 1
21ST CENTURY MUSIC DECEMBER 2012 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2012 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.