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PREVIEW NOTES Shai Wosner, piano Friday, May 1, 2015 – 8:00 PM American Philosophical Society, 427 Chestnut Street Program Four Impromptus, D. 935 These two short works by Ligeti were written as Franz Schubert exercises during his studies at the Budapest Born: January 31, 1797 in Vienna, Austria Conservatory. They show the beginning of the shedding Died: November 19, 1828 in Vienna, Austria of Bartok's influence. While they are attractive and Composed: 1827 clearly structured pieces, they are also chromatic and Last PCMS performance: Emanuel Ax in 2010 modern in their harmonies, and constructed from tightly Duration: 34 minutes controlled little motives. Many have heard Hungarian influences in the first and Capriccio in G Major, Hob. XVII/1 last of these impromptus. Although both movements Franz Joseph Haydn are in F Minor, the fourth Impromptu has a melody Born: March 31, 1732, in Rohrau, Austria whose accented grace‐note embellishments and Died: May 31, 1809, in Vienna, Austria harmonic motions echo the minatory music of Hungary. Composed: 7 minutes First PCMS performance Impromptu in A‐flat Major, Op. 29 Duration: 1765 Frédéric Chopin Born: March 1, 1810 in Zelazowa Wola, Poland Capriccio in C Major, Hob. XVII/4 Died: October 17, 1849 in Paris, France Franz Joseph Haydn Composed: 1837 Composed: 1789 Last PCMS performance: Peter Serkin in 2009 First PCMS performance Duration: 5 minutes Duration: 6 minutes This work shows a clear ternary form without the In a letter to his publisher Artaria dating from March lengthy codas heard in late Chopin although the 1789, Haydn references his Capriccio: "In a moment of composer employs great variation within its sections. most excellent good humor I have written a quite new Capriccio for the pianoforte whose tastefulness, Impromptu in G‐flat Major, Op. 51 singularity, and special construction cannot fail to win Frédéric Chopin applause from connoisseurs and amateurs alike." Composed: 1842 Last PCMS performance: Richard Goode in 2003 Sonata in C Major, Op. 2, No. 3 Duration: 6 minutes Ludwig van Beethoven Born: December 16, 1770 in Bonn, Germany Dedicated to the Countess Esterházy, this Impromptu Died: March 26, 1827 in Vienna, Austria was composed in 1842 and published in 1843 in Leipzig. Composed: 1795 Last PCMS performance: Marcantonio Barone in 2013 Capriccios Nos. 1 and 2 Duration: 25 minutes György Ligeti Born: October 22, 1811 in Raiding, Hungary This is the last of the three sonatas from the Op. 2 group Died: July 31, 1886 in Bayreuth, Germany that Beethoven more or less composed simultaneously. Composed: 1947 Like the First Piano Sonata, the Third draws on material First PCMS performance from his youthful work, Piano Quartet No. 3, and Duration: 4 minutes contains some significant compositional innovations. .

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Franz Schubert's Impromptus D. 899 and D. 935: An
FRANZ SCHUBERT’S IMPROMPTUS D. 899 AND D. 935: AN HISTORICAL AND STYLISTIC STUDY A doctoral document submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Keyboard Studies Division of the College-Conservatory of Music 2005 by Ina Ham M.M., Cleveland Institute of Music, 1999 M.M., Seoul National University, 1996 B.M., Seoul National University, 1994 Committee Chair: Dr. Melinda Boyd ABSTRACT The impromptu is one of the new genres that was conceived in the early nineteenth century. Schubert’s two sets of impromptus D. 899 and D. 935 are among the most important examples to define this new genre and to represent the composer’s piano writing style. Although his two sets of four impromptus have been favored in concerts by both the pianists and the audience, there has been a lack of comprehensive study of them as continuous sets. Since the tonal interdependence between the impromptus of each set suggests their cyclic aspects, Schubert’s impromptus need to be considered and be performed as continuous sets. The purpose of this document is to provide useful resources and performance guidelines to Schubert’s two sets of impromptus D. 899 and D. 935 by examining their historical and stylistic features. The document is organized into three chapters. The first chapter traces a brief history of the impromptu as a genre of piano music, including the impromptus by Jan Hugo Voŕišek as the first pieces in this genre.
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Emanuel Ax Leonidas Kavakos Yo-Yo Ma WHEN: VENUE: Thursday, BING March 1, 2018 cONcErT haLL 7:30 PM Artists Notes Emanuel ax Leonidas Kavakos yo-yo Ma Brahms took his chamber music Piano Violin Cello seriously and re-energized the medium for the later 19th century, raising it to the highest level of achievement. his Program original plan was to bookend his output with the two versions of the B major Johannes Brahms (1833–1897) piano trio, written a quarter of a century apart—and then retire. But the Trio No. 2 in C Major, Op. 87 (1880–2) expressive musicality of the Meiningen court clarinetist propelled him to add a Allegro moderato coda of four more glorious chamber Andante con moto works as the finale of his creative life. Scherzo: Presto With an overall catalog of 24 widely Finale: Allegro giocoso varied chamber compositions spanning four decades, it’s arguably the piano trios that best marry the medium with Trio No. 3 in C minor, Op. 101 (1886) the message. Before Brahms, Allegro energico Beethoven had found his voice in the string quartet; schubert, for the most Presto non assai part, found his in the string quintet and Andante grazioso schumann his, in the piano quintet. It’s Allegro molto in the piano trio that Brahms finds the most comfortable, natural vehicle for —Intermission— his carefully crafted compositions. Trio No. 1 in B Major, Op. 8 (1853–4, rev. 1889) From the opening, gloriously expansive unison string melody, the Piano Trio No. Allegro con brio 2, in C, Op.
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View Committee
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ “Modern Marvels:” A Pedagogical Guide to Lowell Liebermann’s Album for the Young, Op. 43 A doctoral document submitted to the Graduate Thesis and Research Committee of the College-Conservatory of Music, University of Cincinnati In partial fulfillment of the requirements for the degree of Doctor of Musical Arts In the Division of Keyboard Studies of the College-Conservatory of Music by Adam Clark May, 2008 B.M., University of California, Santa Barbara (2002) M.M., University of Texas, Austin (2004) Project Advisor: Dr. Michelle Conda ABSTRACT Lowell Liebermann’s Album for the Young, Op. 43 is his only venture into the realm of pedagogical composition to date. Written in 1993 and published in 1995, it is a collection of eighteen small pieces for young pianists, progressing in difficulty from elementary (National Music Certificate Program (NMCP) Level 1) through late- intermediate (NMCP Level 8) levels. It contains both traditional and more recent compositional devises as well as numerous technical challenges, such as cross-rhythms, layered textures, and hand crossings. The pieces are intelligent and appealing, and can be a valuable tool
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CHAPTER THREE Schubert's Impromptus
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