Richard Strauss the Great Romantic Composer of the 20Th Century RICHARD
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Final Dissertation Document
Abstract Title of Dissertation: INFLUENCES AND TRANSFORMATIONS: 19TH- CENTURY SOLO AND COLLABORATIVE PIANO REPERTOIRE Miori Sugiyama, Doctor of Musical Arts, 2012 Dissertation Directed by: Professor Rita Sloan School of Music, Piano Division This dissertation is an exploration of the inter-relationships of genres in the collaborative piano repertoire, particularly in music of the 19th century, an especially important period for collaborative piano repertoire. During this time, much of the repertoire gave equal importance to the piano in duo and ensemble repertoire. Starting with Schubert, and becoming more apparent with the development of the German lied, the piano became a more integral part of any composition, the piano part being no longer simplistic but rather a collaborative partner with its own voice. Mendelssohn transformed the genre of lieder by writing them, without their words, for solo piano. In addition to creating some of the greatest and most representative lieder in the Romantic period, composers such as Schumann, Brahms, and Strauss continued the evolution of the sonata by writing works that were more technically demanding on the performer, musically innovative, and structurally still evolving. In the case of Chopin who wrote mostly piano works, a major influence came from the world of opera, particularly the Bel Canto style. In exploring two specific genres, vocal and instrumental piano works by these composers; it is fascinating to see how one genre translates to another genre. This was especially true in the vocal and instrumental works by Schubert, Schumann, Brahms, Chopin, and Strauss. All of these composers, with the exception of Chopin, contributed equally to both the song and sonata genres. -
Leihmaterial Bote & Bock
Leihmaterial Bote & Bock - Stand: November 2015 - Komponist / Titel Instrumentation Komp. / Dauer Aa, Michel van der 2 After Life B 2S,M,A,2Ba; 2005-06/ 95' Oper nach dem Film von Hirokazu Kore-Eda 0.1.1.BKl.0-0.1.0.1-Org(=Cemb)-Str(3.3.3.2.2); 2009 elektr Soundtrack; Videoprojektionen 1 The Book of DisquietB 1.0.1.1-0.1.0.0-Perc(1): 2008 75' Musiktheater für Schauspieler, Ensemble und Film Vib/Glsp/3Metallstücke/Cabasa/Maracas/Egg Shaker/ 4Chin.Tomt/grTr/Bambusglocken/Ratsche/Peitsche(mi)/ HlzBl(ti)/2Logdrum/Tri(ho)/2hgBe-4Vl.3Va.2Vc.Kb- Soundtrack(Laptop,1Spieler)-Film(2Bildschirme) 0 Here [enclosed] B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2003 17' für Kammerorchester und Soundtrack Soundtrack(Laptop, 1Spieler); Theaterobjekt K Here [in circles] B Kl.BKl.Trp-Perc(1)-Str(1.1.1.1.1); 2002 15' für Sopran und Ensemble kl Kassetten-Rekorder (z.B. Sony TCM-939) 0 Here [to be found]B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2001 18' für Sopran, Kammerorchester und Soundtrack Soundtrack(Laptop, 1 Spieler) Here Trilogy B 2001-03 50' siehe unter Here [enclosed], Here [in circles], Here [to be found] F Hysteresis B Fg-Trp-Perc(1)-Str*; Soundtrack(Laptop,1 Spieler); 2013 17' für Solo-Klarinette, Ensemble und Soundtrack *Streicher: 1.0.1.1.1 (alle vertärkt) oder 4.0.3.2.1 oder 6.0.5.4.2; Kb mit tiefer C-Saite 2 Imprint B 2Ob-Cemb-Str(4.4.3.2.1); 2005 14' für Barock-Orchester Portativ-Orgel zu spielen vom Solo-Violinisten; Historische Instrumente (415 Hz Stimmung) oder moderne Instrumente in Barock-Manier gespielt 1 Mask B 1.0.1.0-1.1.1.0-Perc(1)-Str(1.1.1.1.1)- -
A Survey and Guide to the Most Frequently Programmed Lieder In
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States Joseph Christopher Turner Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Turner, Joseph Christopher, "A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States" (2010). LSU Doctoral Dissertations. 3319. https://digitalcommons.lsu.edu/gradschool_dissertations/3319 This Dissertation 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SURVEY AND GUIDE TO THE MOST FREQUENTLY PROGRAMMED LIEDER IN THE UNDERGRADUATE STUDIOS OF SELECTED MAJOR MUSIC INSTITUTIONS IN THE UNITED STATES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Joseph Christopher Turner B.M., Mississippi College, 1994 M.M., Mississippi College, 1998 August 2010 i © Copyright 2010 Joseph Christopher Turner All rights reserved. ii DEDICATION To my parents iii ACKNOWLEDGEMENTS There are so many without whom this project would not have been possible. I wish to thank the following individuals for their support and encouragement: Prof. -
Richard Lert Papers 0210
http://oac.cdlib.org/findaid/ark:/13030/kt638nf3ww No online items Finding Aid of the Richard Lert papers 0210 Finding aid prepared by Rebecca Hirsch The processing of this collection and the creation of this finding aid was funded by the generous support of the National Historic Publications and Records Commission. USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California, 90089-0189 213-740-5900 [email protected] June 2010 Finding Aid of the Richard Lert 0210 1 papers 0210 Title: Richard Lert papers Collection number: 0210 Contributing Institution: USC Libraries Special Collections Language of Material: English Physical Description: 58.51 Linear feet70 boxes Date (inclusive): 1900-1981 Abstract: This collection consists of Richard Lert's video and audio recordings of performances, rehearsals and lectures, personal papers and his music score library. Lert was born in Vienna and trained as an orchestral conductor in Germany. He moved to the United States in 1932 with his family and was the conductor of the Pasadena Symphony Orchestra from 1932 until his retirement in 1972. creator: Lert, Richard, 1885-1980 Biographical Note Richard Lert was born September 19, 1885, in Vienna, Austria. He trained as an orchestral conductor under Arthur Nikisch and began his career in Darmstadt, Germany, where he met and married his wife, Vicki Baum, in 1916. They had two sons. Lert held posts in Frankfurt, Kiel and Hannover before becoming the music director of the Berlin National Opera. Lert and his family moved to Los Angeles in 1932, where he became the music director of the Pasadena Symphony Orchestra. -
An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXAMINATION OF STYLISTIC ELEMENTS IN RICHARD STRAUSS’S WIND CHAMBER MUSIC WORKS AND SELECTED TONE POEMS By GALIT KAUNITZ A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Galit Kaunitz defended this treatise on March 12, 2012. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffrey Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to my parents, who have given me unlimited love and support. iii ACKNOWLEDGEMENTS I would like to thank my committee members for their patience and guidance throughout this process, and Eric Ohlsson for being my mentor and teacher for the past three years. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi Abstract -
View List (.Pdf)
Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
RICHARD STRAUSS Eine Alpensinfonie Frankfurt Radio Symphony Andrés Orozco-Estrada TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS MORE
TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS MORE RICHARD STRAUSS Eine Alpensinfonie Frankfurt Radio Symphony Andrés Orozco-Estrada TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS MORE Richard Strauss (1864 – 1949) 19 Gewitter und Sturm, Abstieg 3. 58 (Thunder and Tempest, Descent) Eine Alpensinfonie (An Alpine Symphony) (1915) 20 Sonnenuntergang (Sunset) 2. 31 21 Ausklang (Quiet Settles) 7. 17 1 Nacht (Night) 3. 36 22 Nacht (Night) 2. 19 2 Sonnenaufgang (Sunrise) 1. 43 3 Der Anstieg (The Ascent) 2. 20 Total playing time: 55. 32 4 Eintritt in den Wald (Entry into the Forest) 5. 35 5 Wanderung neben dem Bache (Wandering by the Brook) 0. 48 6 Am Wasserfall (At the Waterfall) 0. 14 7 Erscheinung (Apparition) 0. 46 8 Auf blumigen Wiesen (On Flowering Meadows) 1. 01 ← ← 9 Auf der Alm (On the Alpine Pasture) 2. 37 10 Durch Dickicht und Gestrüpp auf Irrwegen 1. 33 (Through Thickets and Undergrowth on the Wrong Path) 11 Auf dem Gletscher (On the Glacier) 1. 19 12 Gefahrvolle Augenblicke (Dangerous Moments) 1. 31 13 Auf dem Gipfel (On the Summit) 5. 46 14 Vision (Vision) 3. 55 15 Nebel steigen auf (Mists Rise) 0. 20 16 Die Sonne verdüstert sich allmählich 0. 52 (The Sun Gradually Becomes Obscured) 17 Elegie (Elegy) 2. 03 Frankfurt Radio Symphony 18 Stille vor dem Sturm (Calm Before the Storm) 3. 17 Conducted by Andrés Orozco-Estrada Richard Strauss (1864 – 1949) 19 Gewitter und Sturm, Abstieg 3. 58 Musical philosopher in ecstatic La mer, or Britten’s mysterious was highly interesting, individual and subjected to a detailed programmatic -
CHAN 6659(4) CHAN 6659 BOOK.Qxd 22/5/07 4:12 Pm Page 2
CHAN 6659 Cover.qxd 22/5/07 4:08 pm Page 1 CHAN 6659(4) CHAN 6659 BOOK.qxd 22/5/07 4:12 pm Page 2 Johannes Brahms (1833–1897) Sonata No. 2 in D major, Op. 94a 23:52 5 I Moderato 8:10 COMPACT DISC ONE 6 II Presto 4:40 Sonata No. 1 in G major, Op. 78 29:26 7 III Andante 3:50 1 I Vivace ma non troppo 11:14 8 IV Allegro con brio 7:02 2 II Adagio 8:51 TT 53:34 3 III Allegro molto moderato 9:16 COMPACT DISC THREE Sonata No. 2 in A major, Op. 100 20:24 Franz Schubert (1797–1828) 4 I Allegro amabile 8:23 5 II Andante tranquillo – Vivace 6:37 Sonata in A major for Violin and Piano, 6 III Allegretto grazioso (quasi andante) 5:21 Op. post. 162 D574 21:43 1 I Allegro moderato 8:21 Sonata No. 3 in D minor, Op. 108 21:41 2 II Scherzo and Trio 4:04 7 I Allegro 8:29 3 III Andantino 4:13 8 II Adagio 4:33 4 IV Allegro vivace 4:58 9 III Un poco presto e con sentimento 2:46 10 IV Presto agitato 5:39 5 Fantasie in C major for Violin and Piano, TT 71:44 Op. post. 159 D934 25:41 COMPACT DISC TWO Sergey Sergeyevich Prokofiev (1891–1953) Richard Strauss (1864–1949) Sonata No. 1 in F minor, Op. 80 29:31 Sonata in E flat major, Op. 18 32:02 1 I Andante assai 7:01 6 I Allegro ma non troppo 12:24 2 II Allegro brusco 7:01 7 II Improvisation. -
Chicago Presents Symphony Muti Symphony Center
CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI zell music director SYMPHONY CENTER PRESENTS 17 cso.org1 312-294-30008 1 STIRRING welcome I have always believed that the arts embody our civilization’s highest ideals and have the power to change society. The Chicago Symphony Orchestra is a leading example of this, for while it is made of the world’s most talented and experienced musicians— PERFORMANCES. each individually skilled in his or her instrument—we achieve the greatest impact working together as one: as an orchestra or, in other words, as a community. Our purpose is to create the utmost form of artistic expression and in so doing, to serve as an example of what we can achieve as a collective when guided by our principles. Your presence is vital to supporting that process as well as building a vibrant future for this great cultural institution. With that in mind, I invite you to deepen your relationship with THE music and with the CSO during the 2017/18 season. SOUL-RENEWING Riccardo Muti POWER table of contents 4 season highlight 36 Symphony Center Presents Series Riccardo Muti & the Chicago Symphony Orchestra OF MUSIC. 36 Chamber Music 8 season highlight 37 Visiting Orchestras Dazzling Stars 38 Piano 44 Jazz 10 season highlight Symphonic Masterworks 40 MusicNOW 20th anniversary season 12 Chicago Symphony Orchestra Series 41 season highlight 34 CSO at Wheaton College John Williams Returns 41 CSO at the Movies Holiday Concerts 42 CSO Family Matinees/Once Upon a Symphony® 43 Special Concerts 13 season highlight 44 Muti Conducts Rossini Stabat mater 47 CSO Media and Sponsors 17 season highlight Bernstein at 100 24 How to Renew Guide center insert 19 season highlight 24 Season Grid & Calendar center fold-out A Tchaikovsky Celebration 23 season highlight Mahler 5 & 9 24 season highlight Symphony Ball NIGHT 27 season highlight Riccardo Muti & Yo-Yo Ma 29 season highlight AFTER The CSO’s Own 35 season highlight NIGHT. -
Current Review
Current Review Richard Strauss & Dmitri Shostakovich: Sonatas for Violin & Piano aud 97.759 EAN: 4022143977595 4022143977595 Fanfare (Huntley Dent - 2019.08.01) I’m at a loss whether to call this unusual juxtaposition of Strauss and Shostakovich balanced or schizoid—all the melodic rapture belongs to Strauss, all the deep tragic feeling to Shostakovich. In the Victorian era a violin sonata couldn’t be all marzipan and sunshine without exhibiting post-Paganini virtuosity. Neither of these works complies. Strauss’s Violin Sonata dates from the years, 1887 and 1888, when he was ready to burst forth with great orchestral tone poems, and at times, as in the opening piano flourish that aspires to be the opening of Ein Heldenleben, you can hear that Strauss needed a grander stage than chamber music affords. He doesn’t particularly exploit the violin’s ability to dazzle except in passing moments, so his Violin Sonata must fly on the wings of song, which is does quite lusciously. Since I’ve never collected the work, I have no decided opinions about existing recordings, but to my ears the superb German violinist Franziska Pietsch and competition-winning Spanish pianist Josu De Solaun offer an ideal performance. I’ve admired every release I’ve heard from Pietsch, who has grown into a major interpretative talent from her beginnings as a child prodigy in East Germany. Her playing exhibits real command besides the expected tonal beauty, perfect technique, and musicality. Strauss wrote a solo-quality part for the piano, too, and De Solaun takes full advantage in bold, bravura style. -
An Introduction to the Songs of Felix Wolfes (1892-1971) with Complete Chronological Catalogue
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 An Introduction to the Songs of Felix Wolfes (1892-1971) With Complete Chronological Catalogue. Viola R. Dacus Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Dacus, Viola R., "An Introduction to the Songs of Felix Wolfes (1892-1971) With Complete Chronological Catalogue." (1995). LSU Historical Dissertations and Theses. 6004. https://digitalcommons.lsu.edu/gradschool_disstheses/6004 This Dissertation 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.