DOCSLIB.ORG

Program N♪Tes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Program N♪Tes PROGRAM N♪TES Till Fellner November 12, 2019 – 7:30 p.m. Mixon Hall Piano Sonata in A major, D. 959 Franz Schubert Born: Vienna-Himmelpfortgrund, 1797 Died: Vienna, 1828 Composed: 1828 Unlike Mozart and Beethoven, Schubert today belong to the last period—in fact, they never performed in public as a pianist. He are the last ones Schubert ever wrote. was proficient enough on the instrument to The A-major sonata opens with a set of accompany his songs during friendly chords over a pedal point that will return, in gatherings, and he was also fond of playing different shapes, in all four movements, and improvising dance music. In one of his most emphatically (and audibly) in the letters to his father, he was even able to closing measures of the finale. In the first report: “I was assured by many that the movement, these chords, which generate the keys began to sing under my fingers, which, first theme, contrast with a lyrical second if true, gives me great joy, for I can’t stand theme that touches on many keys as it that damned banging that even excellent unfolds, not shying away from some harsh, pianists are guilty of — this delights neither dissonant progressions along the way. At the ear nor the soul.” Yet he was no the repeat, Schubert adds one slight virtuoso, and since in those days composers ornament to the theme that goes by so fast as were typically their own performers, this to be almost unnoticeable; yet these four meant that Schubert’s piano sonatas did not sixteenth-notes, arranged in irregular five- become widely known until long after the bar phrases, become the starting point of the composer’s death. entire development section. The Schubert’s piano sonatas were written recapitulation ends with a recall of the initial during three distinct periods in his life: in series of chords, played softly in a high 1817-18, in 1825, and in 1828, the last year register. of his life. The two sonatas we shall hear The quiet opening theme of the The third movement is a light-hearted Andantino has an even rhythmic flow that Scherzo. Its playful alternation of registers musicologist Alfred Einstein, in his 1951 may have been influenced by Beethoven’s book on Schubert, compared to the song Sonata Op. 2, No. 2 (also in A major). Yet Pilgerweise (“Pilgrim’s Song”) on a text by the tone of Ländler (the Austrian folk dance) Schubert’s friend Franz von Schober. “I am belongs unmistakeably to Schubert, whom a pilgrim on this earth and go quietly from we may also recognize by the abrupt key house to house”—says the text of this song, changes and the simple, laid-back Trio and the sonata melody also goes quietly section. along its way, repeated over and over again, The graceful theme of the final sonata- seemingly wandering without a precise aim rondo is one that Schubert had previously or destination. used in another of his sonatas, the A-minor And then an extraordinary thing work of 1817 (D. 537), where it appears in happens. As in the first movement, Schubert the second movement. In this new starts a seemingly harmless sixteenth-note incarnation, the theme alternates with three motion. In this case, the sixteenth-notes elaborate episodes. The first and third of speed up to triplets and thirty-seconds, over these are identical, mimicking the function unsettling dissonances and daring key of a secondary theme in sonata form (which changes. The notes seem to get out of the is why this movement is called a “sonata- composer’s control and follow their own rondo”). In the central episode, the tonality path as in a dream. In reality, of course, the changes to minor and the music becomes section is carefully planned along a single quite stormy. The return of the rondo theme continuous crescendo. It ends with one of brings back the serene atmosphere. The way Schubert’s most shattering climaxes and Schubert fragments this theme just before stops abruptly after a single strongly- the end, with sudden fits and starts, is accented chord. Only after a number of certainly indebted to Beethoven (as in the weaker “aftershocks” does the music finally last movement of Op. 31, No. 1); yet the calm down sufficiently to resume the ending, with a recall of the motto from the wandering melody of the beginning. first movement is entirely without precedent. Three pieces for Piano, Op. 11 Arnold Schoenberg Born: Vienna, 1874 Died: Los Angeles, 1951 Composed: 1909 “I can feel the air from another planet”—a language of late Romanticism, which poem by German symbolist poet Stefan Schoenberg had been expanding since George (1868-1933) that begins with these Transfigured Night (1899), increasingly words takes the pace of the fourth approached “outer space.” Overcoming the movement in Schoenberg's String Quartet “gravity” of the traditional major-minor No. 2 (1908). Most unusually, the third and system, it began to glide freely in the fourth movements of this quartet include a uncharted domain of atonality. soprano solo, and “the air of another planet” This bold move was not a gratuitous can be felt in all of Schoenberg's music act, nor was it inimical to musical written around that time. The harmonic expression. It was a logical continuation of a process that started in the 19th century. In emphasizes the minor third D-F. Over this Wagner's Tristan and Isolde, all-pervasive ostinato, we hear a gentle theme with a chromaticism was a means to give voice to symmetrical structure. It could be likened to the composer's Romantic vision of love and a nocturne, were it not for the dramatic death. In Schoenberg's case, atonality fortissimo passage with its powerful, high- served to express feelings of detachment lying trills in the central section. As in the from the everyday world—feelings for first piece, there is an almost literal which the rules of classical harmony were recapitulation at the end. too narrow. The third piece is the shortest, fastest, The Second String Quartet bears the and stormiest of the set. The texture is opus number 10 in Schoenberg's catalogue. dominated by thundering chords and fast His next work, Op. 11, written in 1909, is a runs, requiring a high degree of virtuosity. set of three piano pieces—Schoenberg's first Interspersed with these dramatic materials works for piano solo—in which the atonal are fleeting lyrical moments in a slower style is fully established. Yet atonality does tempo, in one instance recalling the theme of not mean that all ties to the past are severed. the first movement. Gone are the The first piece begins with an allusion to the recapitulations of the first two pieces; rhythm of a slow, melancholy waltz, instead, the energy is suddenly spent at the recognizable even without its underlying end in an entirely novel way. accompaniment. This waltz, detached from The third piece was written several its roots, is varied, developed, and months after the first two. By that time, ornamented. “Thematic” episodes, in which Schoenberg had moved even further into the variants of the opening theme can be heard, exploratio of the new musical “planet,” alternate with what one commentator has having begun work on his revolutionary called “outburst areas”—free and virtuosic song cycle on text by Stefan George, The passages that represent the opposite end of Book of the Hanging Gardens (Op. 15), as the expressive spectrum. well as the expressionist opera Erwartung In the case of the second piece, the (“Expectation”), which seems particularly traditional element is an ostinato—an almost close to the mood of the third piano piece. constant accompaniment in eighth-notes that Sonata in B-flat major, D. 960 Franz Schubert Born: Vienna-Himmelpfortgrund, 1797 Died: Vienna, 1828 Composed: 1828 Schubert's last sonata covers an enormous sufficient time to savor the two things that emotional ground from the contemplative make Schubert’s mature works so special: opening to the exuberant close, and is his unique melodic writing, and the without a doubt one of the peaks of the ingenuity with which he transforms his entire piano literature. melodies and builds bridges between them. The first movement, significantly, is Schubert had learned from Beethoven the not marked Allegro but rather Molto idea of a ‟three-key” exposition where the moderato. The difference is important. music does not proceeds from the home key Nothing must be rushed, so that one has directly to its goal, the dominant, but instead takes a detour, with the secondary theme scheme. Aside from a few strongly accented appearing in a remote third key (as in notes, the volume never rises above Beethoven’s Waldstein sonata for example). mezzoforte, and the scherzo retains its But Schubert’s route—B-flat major to F- somewhat hushed quality throughout. The sharp minor to F major—is more soft and understated Trio section (in B-flat adventurous than Beethoven’s. The words minor) has the same delicatezza as the ‟route” and ‟adventurous” are used with scherzo itself. good reason here: the initial melody is one The Finale combines sonata form of Schubert’s great ‟wandering” themes, and with certain features of the rondo. Its main it is indeed as if we were embarking on a theme is reminiscent of that of Beethoven’s journey that takes us to many wonderful last composition, the finale replacing the landscapes before returning home for a rest. Great Fugue in the String Quartet Op. 130 (In this, our journey differs from the one in (in the same key of B-flat major).
Load more

Recommended publications
  • Beethoven 32 Plus
    FREIES MUSIKZENTRUM STUTTGART FMZ Freies Musikzentrum Am Roserplatz Stuttgarter Str. 15 B e e t h o v e n 3 2 p l u s 0711 / 135 30 10 Die Konzertreihe im FMZ Saison 2008/2009 Die 32 Sonaten von Ludwig van Beethoven sind fester Bestandteil der Konzertliteratur. Immer wieder haben große Pianisten diesen Zyklus aufgeführt und auf unzähligen Schallplatten und CDs eingespielt. Bücher und Publikationen beschäftigen sich mit den Werken und den Interpreta- tionen. Und immer wieder hat es den Reiz, des Besonderen, wenn diese Werke wieder neu er- klingen. Als bekannt wurde, dass der österreichische Pianist Till Fellner sich für die nächsten beiden Kon- zertjahre diesen Zyklus als Projekt vorgenommen hatte, begann Andreas G. Winter, Leiter des FMZ und verantwortlich für die Programmgestaltung, als er Till Fellner dafür gewinnen konnte, diesen Zyklus, den Fellner auch in Wien, London, Paris, Tokio und New York spielt, auch im FMZ üeine Konzeption zu der Reihe „32 “zu entwickeln. Um die 32 Klavier- sonaten von Ludwig van Beethoven, deren erste 3 Abende Fellner in dieser Saison (weitere 4 A- bende in der nächsten) spielen wird, konnte Winter weitere namhafte Interpreten gewinnen, die Werke des großen Komponisten der Aufklärung in Zusammenhang mit Kompositionen von Schubert, Schumann und Brahms stellen werden. Paul Lewis wird die Diabelli-Variationen und Schuberts Impromptus D 935, der Geiger Erik Schu- mann mit Olga Scheps Violinsonaten von Beethoven und Brahms, das Trio Wanderer Klaviertrios von Beethoven und Schubert, der Tenor Marcus Ullmann in einem Liederabend neben „die ferne “Lieder von Schumann und Brahms und in einem Recital mit Mikael Samsonov, der frisch üSolocellist des SWR Radiosinfoieorchesters Stuttgart Sonaten von Beethoven und Schubert und Ben Kim, der dem Publikum bereits aus der letzten Saison in bester Erinnerung ist, mit einem Klavierabend Beethoven und Liszt interpretieren.
    [Show full text]
  • Emergent Formal Functions in Schubert's Piano Sonatas
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School June 2020 Emergent Formal Functions in Schubert's Piano Sonatas Yiqing Ma Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons, and the Music Theory Commons Recommended Citation Ma, Yiqing, "Emergent Formal Functions in Schubert's Piano Sonatas" (2020). LSU Master's Theses. 5156. https://digitalcommons.lsu.edu/gradschool_theses/5156 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EMEGERT FOMAL FUNCTIONS IN SCHUBERT’S PIANO SONATAS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Master of Music in School of Music by Yiqing Ma B.A., University of Minnesota, 2017 August 2020 ã Copyright by Yiqing Ma, 2020. All rights reserved. ii ACKNOWLEDGMENT I first encountered Franz Schubert’s A minor piano sonata in my sophomore year by Dr. Rie Tanaka—a piece that I also performed in my first piano recital. As a psychology major at the time, I never would have thought I will pursue graduate studies in Music Theory, a discipline that my parents still do not understand what it is all about. Now, I am lucky enough to dedicate a master’s thesis on my favorite piano repertoire.
    [Show full text]
  • [email protected] CHRISTOPH ESCHENBACH to CO
    FOR IMMEDIATE RELEASE March 7, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] CHRISTOPH ESCHENBACH TO CONDUCT THE NEW YORK PHILHARMONIC MOZART’s Piano Concerto No. 22 with TILL FELLNER in His Philharmonic Debut BRUCKNER’s Symphony No. 9 April 19, 21, and 24, 2018 Christoph Eschenbach will conduct the New York Philharmonic in a program of works by Austrian composers: Mozart’s Piano Concerto No. 22, with Austrian pianist Till Fellner as soloist in his Philharmonic debut, and Bruckner’s Symphony No. 9 (Ed. Nowak), Thursday, April 19, 2018, at 7:30 p.m.; Saturday, April 21 at 8:00 p.m.; and Tuesday, April 24 at 7:30 p.m. German conductor Christoph Eschenbach began his career as a pianist, making his New York Philharmonic debut as piano soloist in Mozart’s Piano Concerto No. 24 in 1974. Both Christoph Eschenbach and Till Fellner won the Clara Haskil International Piano Competition, in 1965 and 1993, respectively. Mr. Fellner subsequently recorded Mozart’s Piano Concerto No. 22 on the Claves label in collaboration with the Clara Haskil Competition. The New York Times wrote of Mr. Eschenbach’s conducting Bruckner’s Symphony No. 9 with the New York Philharmonic in 2008: “Mr. Eschenbach, a compelling Bruckner interpreter, brought a sense of structure and proportion to the music without diminishing the qualities of humility and awe that make it so gripping. … the orchestra responded with playing of striking power and commitment.” Artists Christoph Eschenbach is in demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, including those in Vienna, Berlin, Paris, London, New York, Boston, Chicago, Los Angeles, Milan, Rome, Munich, Dresden, Leipzig, Madrid, Tokyo, and Shanghai.
    [Show full text]
  • An Investigation of the Sonata-Form Movements for Piano by Joaquín Turina (1882-1949)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository CONTEXT AND ANALYSIS: AN INVESTIGATION OF THE SONATA-FORM MOVEMENTS FOR PIANO BY JOAQUÍN TURINA (1882-1949) by MARTIN SCOTT SANDERS-HEWETT A dissertatioN submitted to The UNiversity of BirmiNgham for the degree of MASTER OF MUSIC DepartmeNt of Music College of Arts aNd Law The UNiversity of BirmiNgham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Composed between 1909 and 1946, Joaquín Turina’s five piano sonatas, Sonata romántica, Op. 3, Sanlúcar de Barrameda, Op. 24, Sonata Fantasía, Op. 59, Concierto sin Orquesta, Op. 88 and Rincón mágico, Op. 97, combiNe established formal structures with folk-iNspired themes and elemeNts of FreNch ImpressioNism; each work incorporates a sonata-form movemeNt. TuriNa’s compositioNal techNique was iNspired by his traiNiNg iN Paris uNder ViNceNt d’Indy. The unifying effect of cyclic form, advocated by d’Indy, permeates his piano soNatas, but, combiNed with a typically NoN-developmeNtal approach to musical syNtax, also produces a mosaic-like effect iN the musical flow.
    [Show full text]
  • Till Fellner | Biography Piano
    Till Fellner | Biography Piano "There are pianists who cannot do much with Mozart’s piano works. And there are artists like the Viennese Till Fellner: musicians whose sound and musical understanding seems almost made for Mozart. Fellner's interpretation is slim and light, his cantabile shining with brightness" Till Fellner's international career began in 1993 winning First Prize at the renowned Clara Haskil Competition in Vevey, Switzerland. Since then, he is a sought after guest with major orchestras and in the great music centers of Europe, USA and Japan as well as at numerous renowned festivals. As soloist, he has appeared with orchestras such as the Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra, New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra and the NHK Symphony Orchestra. The conductors with whom he has performed include Claudio Abbado, Vladimir Ashkenazy, Herbert Blomstedt, Semyon Bychkov, Christoph von Dohnányi, Christoph Eschenbach, Bernard Haitink, Nikolaus Harnoncourt, Manfred Honeck, Sir Charles Mackerras, Sir Neville Marriner, Kurt Masur, Kent Nagano, Jonathan Nott, Kirill Petrenko and Hans Zender, among others. In the field of chamber music, Till Fellner regularly collaborates with the British tenor Mark Padmore and the Belcea Quartet. In Fall 2020, he will go on tour with violinist Viviane Hagner. In recent years, Till Fellner has devoted himself intensely to two milestones of the piano repertoire: Bach's Well-Tempered Clavier and Beethoven's 32 piano sonatas. He played a seven-part cycle with all Beethoven sonatas in New York, Washington, Tokyo, London, Paris and Vienna. Till Fellner has premiered works by Kit Armstrong, Harrison Birtwistle, Thomas Larcher, Alexander Stankovski and Hans Zender.
    [Show full text]
  • Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season
    Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season April 23, 2017 MANFRED MARIA HONECK, CONDUCTOR TILL FELLNER, PIANO FRANZ SCHUBERT Selections from the Incidental Music to Rosamunde, D. 644 I. Overture II. Ballet Music No. 2 LUDWIG VAN BEETHOVEN Concerto No. 3 for Piano and Orchestra in C minor, Opus 37 I. Allegro con brio II. Largo III. Rondo: Allegro Mr. Fellner Intermission WOLFGANG AMADEUS Symphony No. 41 in C major, K. 551, “Jupiter” MOZART I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro PROGRAM NOTES BY DR. RICHARD E. RODDA FRANZ SCHUBERT Overture and Ballet Music No. 2 from the Incidental Music to Rosamunde, D. 644 (1820 and 1823) Franz Schubert was born in Vienna on January 31, 1797, and died there on November 19, 1828. He composed the music for Rosamunde during the years 1820 and 1823. The ballet was premiered in Vienna on December 20, 1823 at the Theater-an-der-Wein, with the composer conducting. The Incidental Music to Rosamunde was first performed by the Pittsburgh Symphony on November 9, 1906, conducted by Emil Paur at Carnegie Music Hall. Most recently, Lorin Maazel conducted the Overture to Rosamunde on March 14, 1986. The score calls for pairs of woodwinds, four horns, two trumpets, three trombones, timpani and strings. Performance tine: approximately 17 minutes Schubert wrote more for the stage than is commonly realized. His output contains over a dozen works for the theater, including eight complete operas and operettas. Every one flopped. Still, he doggedly followed each new theatrical opportunity that came his way.
    [Show full text]
  • Function and Structure of Transitions in Sonata — Form Music of Mozart Robert Batt
    Document généré le 1 oct. 2021 08:37 Canadian University Music Review Revue de musique des universités canadiennes --> Voir l’erratum concernant cet article Function and Structure of Transitions in Sonata — Form Music of Mozart Robert Batt Volume 9, numéro 1, 1988 URI : https://id.erudit.org/iderudit/1014927ar DOI : https://doi.org/10.7202/1014927ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Batt, R. (1988). Function and Structure of Transitions in Sonata — Form Music of Mozart. Canadian University Music Review / Revue de musique des universités canadiennes, 9(1), 157–201. https://doi.org/10.7202/1014927ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1988 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ FUNCTION AND STRUCTURE OF TRANSITIONS IN SONATA-FORM MUSIC OF MOZART Robert Batt The transition, sometimes referred to as the bridge, is usually regarded as the section of sonata form responsible for modulating from the pri• mary to the secondary key as well as for effecting a structural contrast between the two thematic sections.
    [Show full text]
  • Fellner Till
    Till Fellner PIANO 9:30 HORAS Martes, 7 de mayo de 20 AUDITORio NACionaL DE MÚSICA 6 SALA SinfÓniCA Obras de HAYDN, ARMSTRONG, SCHUMANN y LISZT Pedimos el máximo silencio posible en la sala, en especial en las pausas entre los movimientos, y no aplaudir hasta el final de cada bloque de obras. 2 Programa I FRANZ JOSEPH HAYDN (732-809) Sonata nº 60 en do mayor, Hob. XVI: 50 (800) Allegro Adagio Finale: Allegro molto KIT ARMSTRONG (992) Half of One, Six Dozen of the Other (200) ROBERT SCHUMANN (80-856) Kinderszenen, op. 5 (838) (Escena de niños) Von fremden Ländern und Menschen (sol mayor) Kuriose Geschichte (re mayor) Hasche-Mann (si menor) Bittendes Kind (re mayor) Glückes genug (re mayor) Wichtige Begebenheit (la mayor) Träumerei (fa mayor) Am Kamin (fa mayor) Ritter von Steckenpferd (do mayor) Fast zu ernst (sol sostenido menor) Fürchtenmachen (sol mayor) Kind im Einschlummern (mi menor) Der Dichter spricht (sol mayor) II FERENC LISZT (8-866) Années de Pèlerinage. Deuxième Année: Italie, S 6 (858-59) (Años de peregrinaje. Segundo año: Italia) Sposalizio (Andante - Andante quieto - Più lento - Quasi allegretto mosso - Adagio) Il penseroso (Lento) Canzonetta del Salvator Rosa (Andante marziale) Soneto 47 del Petrarca (Preludio con moto - Ritenuto - Sempre moso con intimo sentimento) Soneto 104 del Petrarca (Agitato assai - Adagio) Soneto 123 del Petrarca (Lento placido - Sempre lento - Più lento) Après une lecture de Dante. Fantasia quasi sonata 3 FOTO: JEAN-BAPTISTE MILLOT Músicas poéticas ELENA QUEIPO DE LLano F.J. HAYDN Sonata nº 60 en do mayor, Hob. XVI: 50 Cuando Haydn compone esta sonata, a finales de siglo, ya conoce desde hace años el pianoforte con sus posibilidades dinámicas y expresivas.
    [Show full text]
  • Digital Concert Hall
    Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence.
    [Show full text]
  • 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.
    [Show full text]
  • TILL FELLNER ZA 18 DEC 2010 [email protected] T +32 (0)3 248 28 28 F +32 (0)3 248 28 00
    2010-2011 architectuur theater dans muziek 2010-2011 blauwe zaal grote podia deSingel Desguinlei 25 / B-2018 Antwerpen ma vr 10 19 uur / za 16 19 uur TILL FELLNER www.desingel.be ZA 18 DEC 2010 [email protected] T +32 (0)3 248 28 28 F +32 (0)3 248 28 00 deSingel is een kunstinstelling van de Vlaamse Gemeenschap en geniet de steun van hoofdsponsor mediasponsors 2010-2011 PIANO GUNILLA SÜSSMANN ZA 9 OKT 2010 ENRICO PACE VR 26 NOV 2010 TILL FELLNER ZA 18 DEC 2010 MARC-ANDRÉ HAMELIN DO 27 JAN 2011 ANTON KUERTI WO 9 FEB 2011 MARTIN HELMCHEN DO 3 MRT 2011 inleiding door Diederik Verstraete / 19.15 uur / blauwe foyer begin 20.00 uur pauze omstreeks 20.40 uur einde omstreeks 21.30 uur teksten programmaboekje Diederik Verstraete coördinatie programmaboekje deSingel & Diederik Verstraete TILL FELLNER piano LUDwIg VAN BEETHOVEN (1770-1827) Klaviersonate nr 30 in E, opus 109 (1820) 18’ Vivace ma non troppo – Adagio espressivo – Tempo I Prestissimo Gesangvoll, mit innigster Empfindung (Andante, molto cantabile ed espressivo) Klaviersonate nr 31 in As, opus 110 (1821-22) 21’ Moderato cantabile molto espressivo. Con amabilità. Allegro molto Adagio ma non troppo – Fuga. Allegro ma non troppo pauze Klaviersonate nr. 32 in c, opus 111 (1821-22) 28’ Maestoso. Allegro con brio ed appassionato Arietta (Adagio molto semplice e cantabile) gelieve uw GSM uit te schakelen De inleidingen kan u achteraf beluisteren via www.desingel.be Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Op www.desingel.be kan u uw visie, opinie, commentaar, appreciatie, … reageer betreffende het programma van deSingel met andere toeschouwers delen.
    [Show full text]
  • Gioachino Rossini Ludwig Van Beethoven Anton Bruckner
    LES GRANDS CONCERTS LES GRANDS CONCERTS OSM DU MARDI DU MERCREDI 1 COMME JAMAIS 16 17 e AVRIL AVRIL 79 SAISON Kent Nagano, chef d’orchestre / conductor Till Fellner, pianiste / pianist GIOACHINO ROSSINI GUILLAUME TELL, OUVERTURE / OVERTURE LUDWIG VAN BEETHOVEN CONCERTO POUR PIANO NO 3 EN DO MINEUR / IN C MINOR, OPUS 37 Allegro con brio Largo Rondo ENTRACTE / INTERMISSION ANTON BRUCKNER O SYMPHONIE N 6, EN LA MAJEUR / IN A MAJOR Majestoso Adagio : Sehr feierlich (très solennel / very solemn) Scherzo : Nicht zu schnell (pas trop vite / not too fast) Finale : Bewegt, doch nicht zu schnell (agité, mais pas trop vite / agitated, but not too fast) Le piano Steinway utilisé pour ce concert a été offert généreusement à l’OSM par le mécène David B. Sela. / The Steinway piano being La soirée du 16 avril used for this concert est présentée par : has generously been offered to the OSM by philanthropist David B. Sela. 5 LES ARTISTES Kent Nagano jouit d’une solide réputation internationale, étant l’un des interprètes les plus profonds et avant-gardistes des répertoires symphoniques et opératiques. Il est devenu directeur musical de l’OSM et directeur musical général du Bayerische Staatsoper à Munich en 2006. Il deviendra principal chef invité et conseiller artistique de l’Orchestre symphonique de Göteborg en 2013 et directeur musical général et chef principal de l’Opéra de Hambourg en 2015. Né en Californie, il a entamé sa carrière à Boston : il a travaillé à l’Opéra et fut KENT l’assistant du chef d’orchestre Seiji Ozawa au Boston Symphony Orchestra.
    [Show full text]