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A Presença Da Modinha No Universo Musical De Camargo Guarnieri
INSTITUTO DE ARTES DEPARTAMENTO DE MÚSICA PROGRAMA DE PÓS GRADUAÇÃO MÚSICA EM CONTEXTO A PRESENÇA DA MODINHA NO UNIVERSO MUSICAL DE CAMARGO GUARNIERI ARYSSELMO LIMA VIEIRA BRASÍLIA-DF OUTUBRO 2018 ARYSSELMO LIMA VIEIRA A PRESENÇA DA MODINHA NO UNIVERSO MUSICAL DE CAMARGO GUARNIERI Dissertação submetido à defesa e arguição da banca, ao Pro- grama de Pós-Graduação Música em Contexto do Departa- mento de Música da Universidade de Brasília, como requi- sito parcial para a obtenção do título de Mestre em Música. Área de concentração: Música em Contexto. Linha de pesquisa: Teorias e Contextos em Musicologia. Orientador: Prof. Dr. Sérgio Nogueira Mendes. BRASÍLIA-DF OUTUBRO 2018 ARYSSELMO LIMA VIEIRA A PRESENÇA DA MODINHA NO UNIVERSO MUSICAL DE CAMARGO GUARNIERI Dissertação submetido à defesa e arguição da banca, ao Pro- grama de Pós-Graduação Música em Contexto do Departa- mento de Música da Universidade de Brasília, como requi- sito parcial para a obtenção do título de Mestre em Música. Área de concentração: Música em Contexto. Linha de pesquisa: Teorias e Contextos em Musicologia. Orientador: Prof. Dr. Sérgio Nogueira Mendes. BANCA EXAMINADORA __________________________________________ Prof. Dr. Sérgio Nogueira Mendes (Orientador/Presidente) Universidade de Brasília - MUS __________________________________________ Prof. Dr. João Paulo Machado (Membro Externo) Universidade de Brasília - MUS __________________________________________ Prof. Dr. Daniel Tarquínio Junqueira (Membro Interno) Universidade de Brasília - MUS __________________________________________ Prof. Dr. Flávio Santos Pereira (Membro Suplente) Universidade de Brasília - MUS Aprovada em: 26 de outubro de 2018 Dedico este trabalho aos meus pais Maria de Nazaré e An- selmo (in memoriam) e minha esposa Tirza. AGRADECIMENTOS A Deus por tudo. A minha esposa Tirza por todo amor, carinho e paciência ao longo de todos esses anos. -
Event. Location
12th Annual A remarkable CHAMBER EVENT. MUSIC FESTIVAL A remarkable of the LOCATION. BLUEGRASS 2018 Overview Festival Program Now in its 12th year, the FRIDAY, MAY 25, 2018 Chamber Music Festival of the Bluegrass is a premier The Meeting House Central Kentucky cultural destination. Join CMS Artistic Directors David Haydn Finckel and Wu Han for Trio in C major for Piano, Violin, and Cello, Hob. XV:27 (1797) special performances in the Allegro 1820 Meeting House and the Wu Han, Huang, Finckel Meadow View Barn. Chamber music enthusiasts will also Schumann enjoy two educational lectures, Quartet in E-flat major for Piano, Violin, Viola, and Cello, Op. 47 (1842) led by Patrick Castillo, Andante cantabile exploring the history of each Wu Han, Keefe, Lipman, Atapine featured piece of music. Waxman 2018 ARTISTS Carmen Fantasie for Viola and Piano (1947) Lipman, Pohjonen JUHO POHJONEN, Piano WU HAN, Piano Brahms Trio in E-flat major for Horn, Violin, and Piano, Op. 40 (1865) PAUL HUANG, Violin Finale: Allegro con brio ERIN KEEFE, Violin Vlatkovic, Pohjonen MATTHEW LIPMAN, Viola DMITRI ATAPINE, Cello DAVID FINCKEL, Cello RADOVAN VLATKOVIC´ , Horn Friday, May 25 at 6:30pm: Patrons’ Gala and Dinner 12th Annual CHAMBER MUSIC FESTIVAL of the BLUEGRASS SATURDAY, MAY 26, 2018 AT 11:00 AM Dvorák, 14’ SUNDAY, MAY 27, 2018 AT 5:00 PM THE MEETING HOUSE Drobnosti (Miniatures) for Two Violins and Viola, MEADOW VIEW BARN Op. 75a (1887) Haydn, 16’ Cavatina: Moderato Mozart, 26’ Trio in C major for Piano, Violin, and Cello, Capriccio: Poco allegro Quartet in G minor for Piano, Violin, Viola, and Hob. -
Download Booklet
552127-28bk VBO Debussy 10/2/06 8:40 PM Page 8 CD1 1 Nocturnes II. Fêtes . .. 6:56 2 String Quartet No. 1 in G minor, Op. 10 I. Animé et très décidé . 6:11 3 Prélude à l’après-midi d’un faune . 10:29 4 Estampes III. Jardins sous la pluie . 3:43 5 Cello Sonata in D minor I. Prologue . 4:25 6 Suite bergamasque III. Clair de lune . 4:26 7 Violin Sonata in G minor II. Intermède: fantastique et léger . 4:17 8 24 Préludes No. 8. La fille aux cheveux de lin . 2:14 9 La Mer II. Jeux de vagues . 7:29 0 Pelléas et Melisande Act III Scene 1 . 14:22 ! 24 Préludes No. 12. Minstrels . 2:05 @ Rapsodie arabe for Alto Saxophone and Orchestra . 10:50 Total Timing . 78:00 CD2 1 Images II. Iberia . 21:43 2 24 Préludes No. 10. La cathédrale engloutie . 5:47 3 Marche écossaise sur un thème populaire . 6:10 4 Images I I. Reflets dans l’eau . 5:15 5 Rêverie . 3:50 6 L’isle joyeuse . 5:29 7 La Mer I. De l’aube à midi sur la mer . 9:18 8 La plus que lente . 4:44 9 Danse sacrée et danse profane II. Danse profane . 5:16 0 Two Arabesques Arabesque No. 1 . 5:05 ! Children’s Corner VI. Golliwogg’s Cake-walk . 3:09 Total Timing . 76:17 FOR FULL LIST OF DEBUSSY RECORDINGS WITH ARTIST DETAILS AND FOR A GLOSSARY OF MUSICAL TERMS PLEASE GO TO WWW.NAXOS.COM 552127-28bk VBO Debussy 10/2/06 8:40 PM Page 2 CLAUDE DEBUSSY (1862-1918) Children’s Corner VI. -
Preparação E Execução Da Abertura Concertante De Camargo Guarnieri Sob a Ótica Do Regente De Orquestra
UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES ABDENALDO AURELIO ALVES DE LIMA MUNIZ SANTIAGO PREPARAÇÃO E EXECUÇÃO DA ABERTURA CONCERTANTE DE CAMARGO GUARNIERI SOB A ÓTICA DO REGENTE DE ORQUESTRA CAMPINAS 2016 ABDENALDO AURELIO ALVES DE LIMA MUNIZ SANTIAGO PREPARAÇÃO E EXECUÇÃO DA ABERTURA CONCERTANTE DE CAMARGO GUARNIERI SOB A ÓTICA DO REGENTE DE ORQUESTRA Dissertação apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Mestre em Música, na área de concentração Música: Teoria, Criação e Prática. ORIENTADOR: Prof. Dr. Eduardo Augusto Ostergren ESTE EXEMPLAR CORRESPONDE À VERSÃO FINAL DA DISSERTAÇÃO DEFENDIDA PELO ALUNO ABDENALDO AURELIO ALVES DE LIMA MUNIZ SANTIAGO E ORIENTADO PELO PROF. DR. EDUARDO AUGUSTO OSTERGREN. CAMPINAS 2016 Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Artes Silvia Regina Shiroma - CRB 8/8180 Santiago, Abdenaldo Aurelio Alves de Lima Muniz, 1977- Sa59p Preparação e execução da Abertura Concertante de Camargo Guarnieri sob a ótica do regente de orquestra / Abdenaldo Aurelio Alves de Lima Muniz Santiago. – Campinas, SP : [s.n.], 2016. Orientador: Eduardo Augusto Ostergren. Dissertação (mestrado) – Universidade Estadual de Campinas, Instituto de Artes. 1. Guarnieri, Camargo, 1907-1993. 2. Música brasileira. 3. Regência (Música). 4. Música - Análise, apreciação. I. Ostergren, Eduardo Augusto,1943-. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. Informações para Biblioteca -
The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9! -
The Inextricable Link Between Literature and Music in 19Th
COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57 -
UDC 786.2/781.68 Aisi the FIFTH PIANO CONCERTO by PROKOFIEV: COMPOSITINAL and PERFORMING INNOVATIONS
UDC 786.2/781.68 Aisi THE FIFTH PIANO CONCERTO BY PROKOFIEV: COMPOSITINAL AND PERFORMING INNOVATIONS The article is dedicated to considering compositional and performing innovations in the piano works of S. Prokofiev on the example of the fifth piano concerto. The phenomenon of the "new piano" in the context of piano instrumentalism, technique and technology of composition. It identifies the aspects of rethinking the romantic interpretation of the piano in favor of the natural-percussive. Keywords: piano concerto, instrumentalism, percussive nature of the piano, performing style. Prokofiev is one of the most outstanding composers-pianists of the XX century who boldly "exploded" both the canons of the composer’s and pianistic mastery of his time but managed to create his own coherent system of expressive means in both these areas of music. The five piano concertos by Prokofiev (created at the beginning and the middle of his career – 1912-1932) clearly reflect the most recognizable and the key for the composer's creativity artistic features of the author’s personality. Having dissociated himself in the strongest terms from the romantic tradition of the concert genre, Prokofiev created his new style – in terms of piano instrumentalism, technique and technology composition. All the five piano concertos "fit" just in the 20 years of Prokofiev’s life (after 1932 the composer did not write pianos, not counting begun in 1952 and unfinished double concert with the alleged dedication to S. Richter and A. Vedernikov). The first concert (1911-1912) – the most compact, light, known as "football" for expressed clarity of rhythm and percussion of the piano sound. -
Marquetry on Drawer-Model Marionette Duo-Art
Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number -
Piano Manufacturing an Art and a Craft
Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH. -
The Critical Reception of Beethoven's Compositions by His German Contemporaries, Op. 123 to Op
The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 123 to Op. 124 Translated and edited by Robin Wallace © 2020 by Robin Wallace All rights reserved. ISBN 978-1-7348948-4-4 Center for Beethoven Research Boston University Contents Foreword 6 Op. 123. Missa Solemnis in D Major 123.1 I. P. S. 8 “Various.” Berliner allgemeine musikalische Zeitung 1 (21 January 1824): 34. 123.2 Friedrich August Kanne. 9 “Beethoven’s Most Recent Compositions.” Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat 8 (12 May 1824): 120. 123.3 *—*. 11 “Musical Performance.” Wiener Zeitschrift für Kunst, Literatur, Theater und Mode 9 (15 May 1824): 506–7. 123.4 Ignaz Xaver Seyfried. 14 “State of Music and Musical Life in Vienna.” Caecilia 1 (June 1824): 200. 123.5 “News. Vienna. Musical Diary of the Month of May.” 15 Allgemeine musikalische Zeitung 26 (1 July 1824): col. 437–42. 3 contents 123.6 “Glances at the Most Recent Appearances in Musical Literature.” 19 Caecilia 1 (October 1824): 372. 123.7 Gottfried Weber. 20 “Invitation to Subscribe.” Caecilia 2 (Intelligence Report no. 7) (April 1825): 43. 123.8 “News. Vienna. Musical Diary of the Month of March.” 22 Allgemeine musikalische Zeitung 29 (25 April 1827): col. 284. 123.9 “ .” 23 Allgemeiner musikalischer Anzeiger 1 (May 1827): 372–74. 123.10 “Various. The Eleventh Lower Rhine Music Festival at Elberfeld.” 25 Allgemeine Zeitung, no. 156 (7 June 1827). 123.11 Rheinischer Merkur no. 46 27 (9 June 1827). 123.12 Georg Christian Grossheim and Joseph Fröhlich. 28 “Two Reviews.” Caecilia 9 (1828): 22–45. -
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. -
A Structural Analysis of the Relationship Between Programme, Harmony and Form in the Symphonic Poems of Franz Liszt Keith Thomas Johns University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt Keith Thomas Johns University of Wollongong Recommended Citation Johns, Keith Thomas, A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt, Doctor of Philosophy thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/1927 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] A STRUCTURAL ANALYSIS OF THE RELATIONSHIP BETWEEN PROGRAMME, HARMONY AND FORM IN THE SYMPHONIC POEMS OF FRANZ LISZT. A thesis submitted in fulfilment of the requirements for the award of the degree of DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by KEITH THOMAS JOHNS (M.Litt.,B.A.Hons.,Grad.Dip.Ed., F.L.C.M., F.T.C.L., L.T.C.L. ) SCHOOL OF CREATIVE ARTS 1986 i ABSTRACT This thesis examines the central concern in an analysis of the symphonic poems of Franz Liszt, that is, the relationship between programme,harmony and form. In order to make a thorough and clear analysis of this relationship a structural/semiotic analysis has been developed as the analysis of best fit. Historically it has been fashionable to see Liszt's symphonic poems in terms of sonata form or a form only making sense in terms of the attached programme. Both of these ideas are critically examined in this analysis.