Rachmaninov (1873-1943)
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Fri, Aug 20, 2021
Fri, Aug 20, 2021 - 09 Listener Requests on The Classical Station 1 Start Description Performers Requested by Additional 09:01:10 Overture to Candide / Bernstein Bournemouth Symphony/Litton Carol in Fuquay-Varina 09:06:32 Grand Canyon Suite / Grofé London Philharmonic George in Raleigh Orchestra/Handley 09:40:50 Rider March in C, D. 866 No. 1 / Vienna Academy Cathy in Menominee Falls, Schubert Orchestra/Haselbock Wisc. 09:51:27 Romance for String Orchestra, Op. 11 / Northern Sinfonia/Griffiths Vincent in Greensboro, Finzi NC 10:01:30 Radetzky March / Strauss Sr. Johann Strauss Orchestra Timothy in Rocky Mount, Vienna/Francek NC 10:05:38 Nuvole bianche / Einaudi Ludovico Einaudi Rachel in Raleigh 10:13:03 Suite Bergamasque / Debussy Alexis Weissenberg Kenneth in Apex, NC also for Linda in Whitewater, Wisc. 10:29:23 Piano Quintet in E flat, Op. 44 / Robert Schumann Ensemble Vivian in Carrboro, NC Schumann 11:00:20 Suite for Flute and Strings / Respighi Fabbriciani/Abruzzo Adrienne in Raleigh Symphony/Paszkowski 11:21:15 Eclogue for Piano and Strings / Finzi Jones/English String Cyndi in Raleigh Orchestra/Boughton 11:32:28 The Girl with the Flaxen Hair from Samson Francois Greg in Ronkonkoma, NY in memory of his Preludes, Book I / Debussy beloved wife, Carol 11:35:53 Partita No. 2 in C minor, BWV 826 / Simone Dinnerstein Desiree in Coconut Creek, Bach Fla. 12:00:25 Concerto in B minor for 4 Violins and English Concert/Pinnock Rhowan in Garner, NC Cello, Op. 3 No. 10 / Vivaldi 12:10:50 Recuerdos de la Alhambra / Tarrega David Russell Lynn in Durham, NC 12:17:30 Finlandia, Op. -
Rachmaninoff's Rhapsody on a Theme By
RACHMANINOFF’S RHAPSODY ON A THEME BY PAGANINI, OP. 43: ANALYSIS AND DISCOURSE Heejung Kang, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Pamela Mia Paul, Major Professor and Program Coordinator Stephen Slottow, Minor Professor Josef Banowetz, Committee Member Steven Harlos, Interim Chair of Piano Jessie Eschbach, Chair of Keyboard Studies James Scott, Dean of the College of Music Sandra L. Terrill, Interim Dean of the Robert B. Toulouse School of Graduate Studies Kang, Heejung, Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43: Analysis and Discourse. Doctor of Musical Arts (Performance), May 2004, 169 pp., 40 examples, 5 figures, bibliography, 39 titles. This dissertation on Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43 is divided into four parts: 1) historical background and the state of the sources, 2) analysis, 3) semantic issues related to analysis (discourse), and 4) performance and analysis. The analytical study, which constitutes the main body of this research, demonstrates how Rachmaninoff organically produces the variations in relation to the theme, designs the large-scale tonal and formal organization, and unifies the theme and variations as a whole. The selected analytical approach is linear in orientation - that is, Schenkerian. In the course of the analysis, close attention is paid to motivic detail; the analytical chapter carefully examines how the tonal structure and motivic elements in the theme are transformed, repeated, concealed, and expanded throughout the variations. As documented by a study of the manuscripts, the analysis also facilitates insight into the genesis and structure of the Rhapsody. -
5060113445643.Pdf
YEVGENY ZEMTSOV Instrumental and Chamber Music String Quartet (1962, rev. 2004) 19:19 1 I Lento – Allegro agitato – Lento doloroso – 9:07 2 II Allegro molto – 6:14 3 III Allegro agitato – Lento maestoso 3:58 4 Ballada for violin and piano (1959, rev. 2015) 5:46 Violin Sonata No. 1, in memoriam Sergei Prokofiev (1961, rev. 2001) 17:17 5 I Moderato 6:59 6 II Lento cantabile 4:35 7 III Allegro vivo 5:43 Three Inventions for piano (1965, rev. 2005) 6:25 8 No. 1 Fughetta (Allegro) 1:56 9 No. 2 Intermezzo (Adagio molto capriccioso) 3:11 10 No. 3 Toccatina (Presto) 1:18 11 Ohnemass for piano (2004) 3:43 Five Japanese Poems for soprano, two violins and cello (1987, rev. 2005) 8:47 Poetry by Matsuo Bashō (1644–94) and Ryota Oshima (1718–87); Russian translations by Vera Markova (1907–95) 12 No. 1 How silent is the garden (Bashō) 1:20 13 No. 2 On the naked branch of a tree sits a raven (Bashō) 1:40 14 No. 3 Shudder, o hill! (Bashō) 0:36 15 No. 4 O, this path through the undergrowth (Bashō) 3:00 16 No. 5 All is filled with silver moonlight (Oshima) 2:11 2 ASTOR PIAZZOLLA Cuatro Estaciones Porteñas (‘Four Seasons of Buenos Aires’; 1965–69) 16:08 arr. Yevgeny Zemtsov for string quartet (2003–16) 17 I Verano Porteño (‘Buenos Aires Summer’; 1965) 4:28 18 II Invierno Porteño (‘Buenos Aires Winter’; 1969) 2:48 19 III Primavera Porteña (‘Buenos Aires Spring’; 1970) 4:44 20 IV Otoño Porteño (‘Buenos Aires Autumn’; 1970) 4:08 21 Le grand Tango (1982) 11:32 arr. -
The Pianist's Freedom and the Work's Constrictions
The Pianist’s Freedom and the Work’s Constrictions What Tempo Fluctuation in Bach and Chopin Indicate Alisa Yuko Bernhard A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2017 Declaration I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Alisa Yuko Bernhard 10 November 2016 i Abstract The concept of the musical work has triggered much discussion: it has been defined and redefined, and at times attacked and deconstructed, by writers including Wolterstorff, Goodman, Levinson, Davies, Nattiez, Goehr, Abbate and Parmer, to name but a few. More often than not, it is treated either as an abstract sound-structure or, in contrast, as a culturally constructed concept, even a chimera. But what is a musical work to the performer, actively engaged in a “relationship” with the work he or she is interpreting? This question, not asked often enough in scholarship, can be used to yield fascinating insights into the ontological status of the work. My thesis therefore explores the relationship between the musical work and the performance, with a specific focus on classical pianists of the twentieth and twenty-first centuries. I make use of two methodological starting-points for considering the nature of the work. Firstly, I survey what pianists have said and written in interviews and biographies regarding their role as interpreters of works. Secondly, I analyse pianists’ use of tempo fluctuation at structurally significant moments in a selection of pieces by Johann Sebastian Bach and Frederic Chopin. -
Jazz Concert
Artist Series Andrew Cooperstock, piano Friday, February 15, 2019 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents Artist Series Andrew Cooperstock, piano Music of Leonard Bernstein (1918-1990) A Centennial Tribute Friday, February 15, 2019 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM El Salón Mexico ........................................................................................................ (1936, orig. pub. 1939/arr. pub. 1941) Sonata for the Piano ................................................................................................................................... (1938, pub. 1979) I. Presto. Molto moderato. Presto. Scherzando II. Largo. Moderato. Molto moderato Selections from Anniversaries ................................................................................................................................ (1942-88) For Aaron Copland For Sergei Koussevitzky In Memoriam: Nathalie Koussevitzky For Felicia Montealgre For Susanna Kyle For Stephen Sondheim In Memoriam: William Kapell In Memoriam: Helen Coates Four Sabras ............................................................................................................................................. -
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991, Subscription
&Bmm HHH 110th Season 19 9 0-91 Boston Symphony Orchestra Seiji Ozawa, Music Director 90th Anniversary of Symphony Hall m<K Only The few will own an aldemars. Only the few will seek the exclusivity that comes with owning an Audemars Piguet. Only the few will recognize wn more than a century of technical in- f\Y novation; today, that innovation is reflected in our ultra-thin mech- Memars Piguet anical movements, the sophistica- tion of our perpetual calendars, and more recently, our dramatic new watch with dual time zones. Only the few will appreciate The CEO Collection which includes a unique selection of the finest Swiss watches man can create. Audemars Piguet makes only a limited number of watches each year. But then, that's something only the few will understand. SHREVECRUMP &LOW JEWELERS SINCE 1800 330BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • 1-800-225-7088 THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. -
The Ukrainian Weekly 1983, No.10
www.ukrweekly.com З r I Hr published by the Ukrainian National Association Inc., a fraternal non-profit association! s- - CO CD —X Д З> z я a-e. Ukrainian Weekl o-t o Vol. LI No. 10 THE UKRAINIAN WEEKLY SUNDAY. MARCH 6. 1983 25 і cents Catherine Yasinchuk, 86, dies; Historian's wife brutally beaten wrongly committed for 48 years by unknown assailants in Lviv PHILADELPHIA - Catherine Ya Russian, German, Austrian dialects, sinchuk, 86, who was wrongly institu Polish and Lithuanian. LVIV - The wife of Ukrainian at Lviv University, Mr. Dashkevych tionalized for 48 yeq`rs because she did Then Olga Mychajluk, an employee historian Yaroslav Dashkevych was was a reference specialist at the Aca not know English/died here at the in the state institution's personnel hospitalized after she was brutally demy of Sciences in Lviv before his Fairview Nursing Home in Erdenheim department, tried to talk to her in beaten by two men early in the year arrest in 1948. Imprisoned along with on Monday, February 14. Ukrainian. Miss Yasinchuk responded, while on her way home from work, his mother, he was released in 1956. No one had eVer heard of Miss and bit by bit she began to talk. reported the Harvard Ukrainian Re Soon after their release, his mother Yasinchuk until 1968, when, during a search Institute. died. It was learned that she had come to Liudmyla Dashkevych, whose hus Mr. Dashkevych has since become review ofthe status of patients at the United States alone at the age of IS. Philadelphia State Hospital, it was band is a noted Armenian specialist, one of the Soviet Union's most promi She met a young man, fell in love and was returning from her job as an editor nent experts in Armenian and Oriental learned that Miss Yasinchuk had been had a baby. -
A Celebration of Heritage
Opening Gala A Celebration of Heritage Mise Éire (Orchestral Suite) I Roisín Dubh II Boolavogue III Roisin Dubh/Druim Fhionn Donn Dílis IV Sliabh na mBan V Roisín Dubh Seán Ó Riada (1931-71) Cornucopia for Horn and Orchestra (1969/70) Prelude - Rondo In February of this year, Cork (and indeed, Ireland) lost one of the most intelligent and charismatic musicians to ever grace our shores. Aloys Fleischmann (1910-92) Alan Cutts had a huge influence on the education of literally hundreds of musicians - young and old - and he dedicated his time and expertise in the most humble and selfless manner imaginable. Intimations of Immortality for Tenor, Chorus and Orchestra, Op. 29 His rich wealth of knowledge was matched by his modesty and those of us who were lucky enough to study with and learn from him - be it Gerald Finzi (1901-56) in a junior choir or amateur orchestra; as a BMus or MA student at the Cork School of Music; as a member of Madrigal ’75, Wexford Opera Chorus, Irish Youth Choir, Fleischmann Choir; or as part of his many other activities including his appearances at the Cork International Choral Festival - will never forget his wisdom and charm. Cormac Ó hAodáin (French Horn) All of us on stage tonight wish to dedicate this concert to the memory Robin Tritschler (Tenor) of our friend, mentor and colleague, Alan. He is sorely missed but will forever be in our thoughts. Fleischmann Choir Cork School of Music Symphony Orchestra The 2015/2016 season of the Fleischmann Choir is also dedicated Maria Ryan (Leader) to Tadge O’Mullane and James Stevens. -
A Festival of Fučík
SUPER AUDIO CD A Festival of Fučík Royal Scottish National Orchestra Neeme Järvi Lebrecht Music & Arts Photo Library Photo Music & Arts Lebrecht Julius Ernst Wilhelm Fučík Julius Ernst Wilhelm Fučík (1872 – 1916) Orchestral Works 1 Marinarella, Op. 215 (1908) 10:59 Concert Overture Allegro vivace – [ ] – Tempo I – Andante – Adagio – Tempo I – Allegro vivo – Più mosso – Tempo di Valse moderato alla Serenata – Tempo di Valse – Presto 2 Onkel Teddy, Op. 239 (1910) 4:53 (Uncle Teddy) Marche pittoresque Tempo di Marcia – Trio – Marcia da Capo al Fine 3 Donausagen, Op. 233 (1909) 10:18 (Danube Legends) Concert Waltz 3 Andantino – Allegretto con leggierezza – Tempo I – Più mosso – Tempo I – Tempo di Valse risoluto – 3:06 4 1 Tempo di Valse – 1:48 5 2 Con dolcezza – 1:52 6 3 [ ] – 1:25 7 Coda. [ ] – Allegretto con leggierezza – Tempo di Valse 2:08 8 Die lustigen Dorfschmiede, Op. 218 (1908) 2:34 (The Merry Blacksmiths) March Tempo di Marcia – Trio – [ ] 9 Der alte Brummbär, Op. 210 (1907)* 5:00 (The Old Grumbler) Polka comique Allegro furioso – Cadenza – Tempo di Polka (lentamente) – Più mosso – Trio. Meno mosso – A tempo (lentamente) – Più mosso – Meno mosso – Più mosso – Meno mosso – Più mosso – [Cadenza] – Più mosso 4 10 Einzug der Gladiatoren, Op. 68 (1899) 2:36 (Entry of the Gladiators) Concert March for Large Orchestra Tempo di Marcia – Trio – Grandioso, meno mosso, tempo trionfale 11 Miramare, Op. 247 (1912) 7:47 Concert Overture Allegro vivace – Andante – Adagio – Allegro vivace 12 Florentiner, Op. 214 (1907) 5:20 Grande marcia italiana Tempo di Marcia – Trio – [ ] 13 Winterstürme, Op. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.