Thejoy That Comes with Music
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Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 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]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES 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 by Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840 -
Amica Items for Sale
THE AMICA NEWS BULLETIN Published by the AutomatiC Musical Instrument Collectors' Association, a non-profit club devoted to the restoration, distribu tion and enjoyment of musIcal Instruments using perforated paper music rolls. Contributions: All subjects of interest to readers of the bulletin are encouraged and Invited by the publisher, All artIcles must be received by the 10th of the preceding month. Every attempt will be made to publish all articles of general Interest to AMICA members at the earliest possible time and at the discretion of the publisher. ADVERTISING Line ad rate: 8q per word, $1.20 minimum. OFFICERS Page rate: $12.50 per quarter page or multiple thereof. Ad copy will be typeset (at additional cost) only if requested. INTERNATIONAL CHAPTER ~ Each photograph or half-tone, $5.00 OFFICERS OFFICERS ~ Camera-ready copy that is oversized or underSized will be changed to correct Size at your cost. PRESIDENT NO. CALIFORNIA - Camera-ready copy must reach the pUblisher by the 10th of the preceeding month. Bo.b Rosencrans Pres.: Frank loob Cash must accompany order, Typesetting or size alteration VICE-PRESIDENT Vice Pres.: Howard Koff charges will be billed separately. Make checks payable to Richard Drewniak Sec.: Dick Reutlinger AMICA INTERNATIONAL. Treas.: Bill Wherry SECRETARY All ads will appear on the last pages of the BULLETIN, at the Reporter: Diane Lillibridge Isadora Koff discretion of the publisher. SO. CALIFORNIA BULLETIN Publication of business advertising in no way Implies AMICA's Pres.: Prentiss Knowlton endorsement of any commercial operation. However, AMICA re Tom Beckett ,Vice Pres. Elliott N. Lacy serves the fight to refuse any ad that is not in keeping with AMICA's 6817 Cliffbrook Drive Sec.: Evelyn Meeder general standards or If complaiots are received indicating that said Dallas, Texas 75240 business does not serve the best Interests of the members of Trcas.: Jim Christopher AMICA, according to its goals i:lnd by-laws. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
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 -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects -
Review of “22 Chopin Studies” by Leopold Godowsky by OPUS KLASSIEK , Published on 25 February 2013
Review of “22 Chopin Studies” by Leopold Godowsky by OPUS KLASSIEK , published on 25 February 2013 Leopold Godowsky (Zasliai, Litouwen 1870 - New York 1938) was sailing with the tide around 1900: the artistic and culturally rich turn of the century was a golden age for pianists. They were given plenty of opportunities to expose their pianistic and composing virtuosity (if they didn't demand the opportunities outright), both on concert stages as well as in the many music salons of the wealthy. Think about such giants as Anton Rubinstein, Jan Paderewski, Josef Hoffmann, Theodor Leschetizky, Vladimir Horowitz, Sergei Rachmaninoff, Ferruccio Busoni and Ignaz Friedman. The era of that other great piano virtuoso, Franz Liszt, was actually not even properly past. Liszt, after all, only returned from his last, very successful, but long and exhausting concert tour in the summer of 1886. The tour, through England and France, most likely did him in. (He died shortly afterwards, on the 31st of July 1886, at the age of seventy-four). Leopold Godowsky Godowsky's contemporaries called him the 'Buddha' of the piano, and he left a legacy of more than four hundred compositions, which make it crystal-clear that he knew the piano inside and out. Even more impressive, he shows in his compositions that as far as the technique of playing he had more mastery than his great contemporary Rachmaninoff, which clearly means something! It was by the way the very same Rachmaninoff who saw in Godowsky the only musician that made a lasting contribution to the development of the piano. -
Godowsky6 30/06/2003 11:53 Page 8
225187 bk Godowsky6 30/06/2003 11:53 Page 8 Claudius zugeschriebenen Gedichts. Litanei, Robert Braun gewidmet, nach der DDD In Wohin?, dessen Widmungsträger Sergej Vertonung eines Gedichts von Johann Georg Jacobi, ist Rachmaninow ist, bearbeitet Godowsky das zweite Lied ein Gebet für den Seelenfrieden der Verstorbenen. Das Leopold 8.225187 der Schönen Müllerin, in dem der junge Müllersbursche Originallied und die Transkription sind von einer den Bach hört, dessen sanftes Rauschen, in der Stimmung inneren Friedens durchzogen. Klavierfassung eingefangen, ihn aufzufordern scheint, Godowskys Schubert-Transkriptionen enden mit GODOWSKY seine Reise fortzusetzen, doch wohin? einem Konzertarrangement der Ballettmusik zu Die junge Nonne, David Saperton gewidmet, Rosamunde aus dem Jahr 1923 und der Bearbeitung des basiert auf der Vertonung eines Gedichts von Jacob dritten Moment musical op. 94 von 1922. Schubert Transcriptions Nicolaus Craigher. Die junge Nonne kontrastiert den in der Natur brausenden Sturm mit dem Frieden und Keith Anderson Wohin? • Wiegenlied • Die Forelle • Das Wandern • Passacaglia ewigen Lohn des religiösen Lebens. Deutsche Fassung: Bernd Delfs Konstantin Scherbakov, Piano 8.225187 8 225187 bk Godowsky6 30/06/2003 11:53 Page 2 Leopold Godowsky (1870-1938) für 44 Variationen in der traditionellen barocken Form, Godowsky jede Strophe des Original-Lieds. Piano Music Volume 6: Schubert Transcriptions zu denen u.a. auch eine gelungene Anspielung auf den Das Wandern ist das erste Lied des Zyklus Die Erlkönig zählt. Die Variationen, in denen das Thema in schöne Müllerin, in dem der junge Müllersbursche seine The great Polish-American pianist Leopold Godowsky of Saint-Saëns, Godowsky transcribed for piano his unterschiedlichen Gestalten und Registern zurückkehrt, Wanderung beginnt. -
Pianist, Committed to Liberty, the Lithuanian Gives New Life, with Delicacy and Gravity, to Works Neglected by Posterity
Again, great piano. Diapason, 04.2021 • more Rubackytė infuses this monster with sonic delight, an art of great line and a delightful slaughter.. Philippe Cassard, Nouvel Observateur, 02.2021 • more A virtuoso pianist, committed to liberty, the Lithuanian gives new life, with delicacy and gravity, to works neglected by posterity. “Sophie Bourdais, Télérama, 02.2021 • more Mūza Rubackytė Pianist Biography Awards Albums Book release Concert Salle Gaveau ... Biography Mūza Rubackytė, Pianist rom Liszt’s 24 Etudes to Shostakovich’s 24 In 2009 Mūza created the Vilnius International Piano preludes and fugues, from the complete Festival of which she is the artistic director. For this Years of Pilgrimage of Liszt to the works for achievement, the City of Vilnius honours her with its F highest decoration: the Saint Christopher Award for piano from Čiurlionis, Mūza meets all challenges with elegance and commitment. the best cultural event. In 2020 Mūza payed tribute, both on stage and on Mūza was born in Lithuania and lives between Paris, record, to her compatriot the pianist and composer Vilnius and Geneva. Leopold Godowsky, on the occasion of the 150th an- After her studies at the Tchaikovsky Conservatory in niversary of his birth near Vilnius. In the 20th century Moscow, she was a laureate of the famous “All Union many “Litvak” (Lithuanian Jews) went into exile, like competition” in St. Petersburg, which elected the best Godowsky, who died in New York in 1938. musicians of the USSR, and then of the Grand Prix of The repertoire of Mūza includes more than forty pro- the Budapest Liszt-Bartók International Piano Compe- grams in recital, concerto with orchestra or chamber tition. -
An Annotated Translation of Moriz Rosenthal) S Elise Braun Barnett
An Annotated Translation of Moriz Rosenthal) s Franz Liszt, Memories and Reflections Elise Braun Barnett Introduction Otto Deri often used to discuss programs for piano recitals with me. More than once he expressed surprise that the late piano compositions of Liszt were performed only rarely. He recommended their serious study since, as he pointed out, in these pieces Liszt's conception of melody, rhythm, and harmony are quite novel and anticipate Debussy, Ravel, and Bartok. These discussions came to mind when a friend of mine, Mrs. Oscar Kanner, a relative of Moriz Rosenthal,! showed me an article by the pianist entitled "Franz Liszt, Memories and Reflections," which had appeared in a 1911 issue of the journal Die Musik,2 and also a handwritten, unpublished autobiography written in New York during the last years of Rosenthal's life, 1940 to 1946. Rosenthal's concerts in Europe and America are still remembered by the older generation. His musical conceptions, emotions projected on the piano with an amazing technique, remain an unforgettable experience. He is also remembered as having been highly cultivated, witty, and sometimes sar- castic. His skill in writing is less known, but his autobiography and essays reveal a most refined, fluent, and vivid German style. He is able to conjure up the "golden days," when unity of form and content was appreciated. It is my hope that the following annotated translation of Rosenthal's article will provide a worthy tribute to the memory of Otto Deri. Translation In October of 1876, as a youngster of thirteen, I played for Franz Liszt during one of his frequent visits to the Schottenhof in Vienna,3 and I was admitted to his much envied entourage as perhaps the youngest of his disciples. -
« Leopold Godowsky's Fifty-Three Studies on Chopin's Études »
« Leopold Godowsky’s Fifty-Three Studies on Chopin’s Études » by « Younggun Kim » A thesis submitted in conformity with the requirements for the degree of « Doctor of Musical Arts » « Graduate Department of Music » University of Toronto © Copyright by « Younggun Kim » « 2017 » Leopold Godowsky’s Fifty-Three Studies on Chopin’s Études Younggun Kim Doctor of Musical Arts Graduate Department of Music University of Toronto 2017 Abstract Leopold Godowsky (1870-1937) composed works that require pianistic fluency of an exceptional order, including fifty-three Studies based on twenty-six of Frédéric Chopin’s twenty-seven Études. The purpose of this dissertation is to examine the significance of these Studies and to reveal the compositional techniques that Godowsky used to create them. This dissertation consists of a foreword and seven chapters. The foreword describes the unique position that Godowsky’s Studies occupy in the piano literature and argues that they deserve further scholarly research. Chapter one discusses Godowsky’s life and the composition of the Studies, and it provides a review of relevant literature. Chapter two is divided into ii two sections. The first section proposes five compositional techniques that are used to create the Studies: switch, condensation, superimposition/addition, reconstruction and merging. The second section examines Godowsky’s classification of the Studies into five categories: Strict Transcriptions, Free Transcriptions, Cantus Firmus Versions, Versions in Form of Variations and Metamorphoses. Chapters three, four and five are case studies of selected Studies, arranged by the compositional techniques presented in Chapter two. Chapter three deals with Studies that are composed using switch, superimposition/addition and merging technique. -
Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community. -
Waste Paper Collection
SATUKDAY, JUNE 16,1946 m y Tke WeatlMr Average Dally CiTcnlation TWELVB I of C. 8. WoBthee ilaurt;pBt^r EuBning Iffralb For the Meirth of Nay, 184* '. lacreaebig chMdineoo followod by , to my girt trtend We are going 9,065 aoatteaed shower* tonight; Tncaday to play houae." Winn National Honor Aiiftioii Marl oonalderable rlondlnea* vrith acat- And what looked like a real Member of the Audit tered abowera and ttraaderatoim*. y \ Fiiniilit Town Heard A long Main SHeot ' atory developed into a eaaual Item ./ B o r«M of OtreuiatkMie Opens Sliiiclay Manchester^'A City of Village Charm « i> ^ i fo r thla column. Call 5141 ‘ ‘ The Polith Natlonel AU‘*nce, And on Som e of Mnnchenler't Side Stree Too W altef Biinde who is on the —FOR Group No. iM *. (FOURTEEN PAGES) PRICE THREE CENTS Amerif'an Iwgi in hrewoi k* com lJmi!*iiaIly Lair Dale ft>r (fjlaaelfled Advertlstng oa Pag* It) MANCHESTER, CONN., MONDAY, JUNE 17. 1946 'monthly meetin*: mittee. s.ais that ieletiiration of VOL. LXV„ NO. 219 • t 1:30 p.m.. et <i North ' aland at the brenking point We, don’t know whether or not the I-'ornth of .Lilly .^hoiihln'l stop SlraHl»4*rri4*H Thit* Year A ll member* are iirifcd to attcnU. reader* o t these column* are fre- patience reading that “ the hr opened hei gift* while seated i t Just plamuiig fur a fiicw.ork* quetvt reitder*. of Herald editorial*. ihow. He love* a parade and he !<* KrporU’tf CITY CAB P ' Bunaet uotm^i.Counc41, Degree of Poca- p „,* on a bit of comment dec a decorated pmbrella.'' nil's there should'tie-a liig pa- Smiles After Maritime Dispute Settled hanta* will hold the .