DOCSLIB.ORG

Thejoy That Comes with Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thejoy That Comes with Music (I Jnfernafionaf JlJRJ8Jl SEND IN YOUR SUGGESTIONS FOR RECUTTING BY NICK JARRETT Mieczyslaw Manz, 75, Is Dead; I know many of us have a pet roll or rolls we would A Concert Pianist and Teacher like to see recut. I took this matter up with . Mieczyslaw Munz, a fonner major, the Brahms concerto in Elwood Hansen, owner of the plant at Turlock. He concert pianist who appeared D minor and the Franck Sym­ assured me that there is no exclusive contract to ~ith many of the.world's lead- phonic Variations. prevent such a project, and suggested that I might 109 orchestras, di~ yesterday Mr Munz made his solo of a heart attack 10 an ambu-' . co-ordinate requests from the membership. Please lance as he was being taken to debut at Aeoli:an, Hall 10 New write and let me know what ~ would like. hospital from his home at the York on Oct. 20, 1922. The Ten Park Avenue Hotel. He New York Times review called was 75 years old. him "an absorbed artist, under It has been suggested that special attention be Mr. Munz, who taught at the whose hands mere tricks and given to the type of rolls that seldom appear on Juilliard School for 12 years, graces of piano playm'.. fall was scheduled to return to the . • lists of recuts: PIANO music played by the great Juilliard School next month, away as chips from the sculp- artists of the reproducing piano's heyday. This is after a sabbatical year of teach- tor's chisel, wbliIe he lays ~are iing at Giebel University in the larger curves of sustamed not an attempt to put AMR or Klavier out of business, Tokyo. ' melody and inlier meaning." rather it is to see if there is a demand for the He was· the ooly teacher of He played two other recitals Emanuel Ax, the first winner that year, then J.Ilade his or· beautiful performances of the past. of the Arthur Rubinstein Inter· chestra debut With the New national Piano Competition, York Symphony. He played a held in Tel Aviv in 1974. Mr. Ax Town Hall recital in 1938. Please send your suggestions to: studied with -him from 1964 Mr. Munz was much in de­ Nick Jarrett to 1975. Ann Schein. Walter mand into the 1940's as _ 3622 21st Street. Hautzig lIolld EUgeJle Indjic had soloist, appearing with the also studied with Mr. Munz. Philadelphia, Boston, '-8t. Louis, San Francisco, CA 94114 Born in Cl'lIco"'. Poland. Mr. Cincinnatoi and Minneapolis Munz studied at the Vienna S~phonies regularly. under Academy of Mus,ic and Berl·in such conductors as Koussevlt­ Hochschule fur Musik. One of sky, Walter, Reiner. Goossens his teachers wu Feruccio and de' Sabata. Busoni; _ In Europe. he performed un' For his- debut In 1920 wIth der the direction of MeDlelberg the Berlin SymphoiIy. he per· and Gabrilowltch.His tours FROM THE PUBLISHER formed the feat of appearing took him frequently to the in three major works: the Orient, Australia and all 'the Liszt oiano concerto in A music capitals of Europe and NEEDLEWORK PROJECT: Please be reminded of our needle­ - Latin America. work photo request in the August-September BULLETIN, In 1~1, he~rtormed in ~~ with the National (page 153). I hope to receive enough photos to run THE NEW YORK TIMES, Orchestral AIeociation undec­ a "Needlework Special" in the Christmas issue. Leon Batzin. THURSDAY, AUGUST 26,'.76 In addition to his, teaching at JuilHard, which began In POSTAL EXPENSES: In these recent months of extra­ 1963, Mr. Munz had'taught ear· lier at the Peabody Conserva· weight mailings ( Bulletin + membership directory, tory of Music in Baltimore an4 44-page Convention special) it becomes even more at the Curtill Institute in Phila- Contributed by Dan Schacher delphia. He also taught for_a: evident how much it costs AMICA to get your BULLETIN yea.r at the Manhattan School to you when yoi have moved without notification. A of Music. returned (with postage due) and remailed copy can Th_' are no immediate sur·' vivors. He was married briefly cost more than $1.20 for the "turnaround." Remember, Mr. - Munz was an honorary in 1932 to the former Amiela 3rd class is not forwarded by the PO unless you spe­ member of AMICA. Mlynarska, now the wife ol Arthur Rubinstein. cifically request it and agree to pay the cost. A funeral service will be held Please help - notify Anita and me of any changes in at 2:15 P.M., today at the Riv· erside Chapel, Amsterdam Ave­ address promptly! nue at 76th Street. AMICA ITEMS AMICA TECHNICALITIES BOOKS: Volume I AMICA Stationery. $3.20 (letter size), $1.75 FOR SALE· (1969-1971), $5.50 postpaid; Volume II (1972­ (note size), including mailing charges. Fine 1974), $7.50 postpaid; or order both sets for quality stationery with ornate AMICA borders. AMICA BULLETINS. BOUND ISSUES: 1969, $12.50 postpaid. Reprints of interesting techni­ Each packet contains 25 letters and matching $9; 1971, $15; 1972, $15; 1973, $15. 1974 calities articles which have appeared in the envelopes. Send orders to Robert Lemon, 4560 unbound sets, $15; 1974 bound sets, $18; AM ICA Bulletin, arranged and indexed into Green Tree Drive, Sacramento, CA 94823. 1975 bound, $18, PRICES INCLUDE appropriate categories, spiral bound to lie flat. POSTAGE :AND HANDLING. Spiral bound to Send orders to Howard Koff, 2141 Deodara "They All Laughed When I Sat Down At The lie flat. Send to Mary Lilien, 4260 Olympiad Drive, Los Altos, CA 94022. Piano, But When IT Began To Play ..." Drive, Los Angeles, CA 90043. This- sound and color super-8 movie, produced ROLL LEADERS: DUD-ART, Autl\enti~. For AMICA Sterling Silver Pins, $4.25, including by AMICA members, is again available for loan order sheet, see the April, 1973 Bulletin. Nick mailing charges. Lapel pin or tie tack with to AMICA members and chapters. For more Jarrett, 3622 • 21st Street, San Francisco, CA AMICA design. Order from Robert Lemon, information write to Howard Koff. 2141 94114. 4560 Green Tree Drive, Sacramento, CA 94823. Deodara Drive, Los Altos, CA 94022. - 112 - Jnfernafional JlJKJeJl '---to. AMPICO AAMPICHRETTE BY RICHARD M. TWICHELL This idea is so simple I hesitate to mention it, but on the other hand, it is so effective that I can't resist. Like other Ampico A owners, I have long harbored a secret envy of those lucky or well-heeled Arnica bretheren who can with their model B Ampichrons, enjoy the delights of their pianos automatically, at pre-determined intervals. Most of all, I wanted to hear the piano, in bed, before arising. A partial solution was to place an appliance timer between the piano plug and the wall outlet. This is the low-cost clockwork device normally used to switch the house lights on and off in attempt to fool the robbers when you're away on vacation. Operating on a 24 hour cycle, it employs 2 tab stops to activate and de­ activate a self-contained electrical outlet. I set the timer to turn on at wake-up time, usually a genteel 9 A.M. in my case. Then, it's just a mat­ ter of putting a roll on the piano and setting it to "play" before going to bed. Of course, the piano is usable in the normal way throughout the day, as the timer is still "on." I set the "off" tab at 11 P.M., which, out of consideration for the neigh­ bors, is my self-imposed piano curfew. This, in­ from PVC drainage and clear plexiglass plastic stock cidentally, is an added benefit: any late-night by the owner-inventor-builder, Melville McBride, who revelers or poker players who might be around are was kind enough to show us the "guts" of his instru­ effectively prevented from "tossing on a roll" at ment as well as explain the building and operation 4 A.M. while I'm out in the kitchen baking petits of the pipe-work. fours. Since the unit was not hooked up to its blower at the Picking the right roll for the first tune of the day time, we are unable to report on its musical capabil­ seems important; it tends to set the mood for the ities. Perhaps it's just as weI I as Melville advises morning. I would not venture to make recommendations, us the keyboard operator must wear earplugs while as it is a subjective matter involving the personal­ playing the call iope! ity and aesthetic nature of the wakee. The nickel­ odeonesque "Holzman March Medley" (Ampico 58127 ­ available from Frank Adams in recut) works well for me. Two things to remember: (l) Set up the roll after shut-off time, or it will of course play immediately. (2) Don't fail to switch from "rewind" to "play", or you will wake up to the sound of rewind end tab flapping, which is almost as boring as waking up to a clock radio babbling out 24 hour news and weathe~. - AHDIFFERENT HAIR CALLIOPE BY TOM BECKETT Whi Ie taking a quiet, late-afternoon stroll in a residential section of the California costal town of Aptos this past July, Carole and I noticed a local resident preparing to load a calliope into his van. I decided that this particular instrument deserved a closer look as it was obvious that this calliope was a little different - it had plastic whistles! These beautifully machined and fitted pipes were made - 173 - Is It Possible That the Whole P.D. Q. Bach fJl'hz·n·g T a u ' x.Q Book WQrld .I J .l~ £.1 ~ I' THE DEFINITIVE BIOGRAPHY OF P.D.Q.
Load more

Recommended publications
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • « 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 .
    [Show full text]