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CASADESUS the Complete French Columbia Recordings
THE FRENCH PIANO SCHOOL ROBERT CASADESUS The complete French Columbia recordings ROBERT CASADESUS The complete French Columbia recordings 1928–1939 including the first release of the 1931 Mozart ‘Coronation’ Concerto COMPACT DISC 1 (78.15) SCARLATTI 11 Sonatas 1. Sonata in D major, Kk430 (L463) .................................................................. (1.51) 2. Sonata in A major, Kk533 (L395) .................................................................. (2.23) 3. Sonata in D major, Kk23 (L411) ................................................................... (2.29) 4. Sonata in B minor, Kk377 (L263) .................................................................. (1.17) 5. Sonata in D major, Kk96 (L465) ................................................................... (4.10) 6. Sonata in D minor, Kk9 (L413) ..................................................................... (1.36) 7. Sonata in G major, Kk125 (L487) .................................................................. (2.00) 8. Sonata in B minor, Kk27 (L449) ................................................................... (1.54) 9. Sonata in G major, Kk14 (L387) ................................................................... (1.53) 10. Sonata in E minor, Kk198 (L22) ................................................................... (2.10) 11. Sonata in G major, Kk13 (L486) ................................................................... (1.58) Recorded on 15 June 1937; matrices CLX 1952-1Tracks 1,2, 1953-33,4, 1954-15, 1955-36,7, 1956-38,9, -
Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism. -
Simone Dinnerstein, Piano Sat, Jan 30 Virtual Performance Simone Dinnerstein Piano
SIMONE DINNERSTEIN, PIANO SAT, JAN 30 VIRTUAL PERFORMANCE SIMONE DINNERSTEIN PIANO SAT, JAN 30 VIRTUAL PERFORMANCE PROGRAM Ich Ruf Zu Dir Frederico Busoni (1866-1924) Johann Sebastian Bach (1685-1750) Three Chorales Johann Sebastian Bach Ich Ruf Zu Dir Richard Danielpour Frederico Busoni (1866-1924) | Johann Sebastian Bach, (1685-1750) (b, 1956) Les Barricades Mysterieuses François Couperin (1688-1733) Arabesque in C major, Op. 18 Robert Schumann (1810-1856) Mad Rush Philip Glass (b. 1937) Tic Toc Choc François Couperin BACH: “ICH RUF’ ZU DIR,” BWV 639 (ARR. BUSONI) Relatively early in his career, Bach worked in Weimar as the court organist. While serving in this capacity, he produced his Orgelbüchlein (little organ book): a collection of 46 chorale preludes. Each piece borrows a Lutheran hymn tune, set in long notes against a freer backdrop. “Ich ruf’ zu dir,” a general prayer for God’s grace, takes a particularly plaintive approach. The melody is presented with light ornamentation in the right hand, a flowing middle voice is carried by the left, and the organ’s pedals offer a steady walking bassline. The work is further colored by Bach’s uncommon choice of key, F Minor, which he tended to reserve for more wrought contrapuntal works. In this context, though, it lends a warmth to the original text’s supplication. In arranging the work for piano, around the year 1900, Busoni’s main challenge was to condense the original three-limbed texture to two. Not only did he manage to do this, while preserving the original pitches almost exactly, he found a way to imitate the organ’s timbral fullness. -
A Study of Nikolai Medtner's Compositional Technique: Form and Narrative in Tales
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2017 A Study of Nikolai Medtner's Compositional Technique: Form and Narrative in Tales Oliver H. Markson 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/1853 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] A STUDY OF NIKOLAI MEDTNER’S COMPOSITIONAL TECHNIQUE: FORM AND NARRATIVE IN TALES by OLIVER MARKSON A dissertation submitted to the Graduate Faculty in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2017 ii © 2017 OLIVER MARKSON All Rights Reserved iii 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 Philip Ewell Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Richard Kramer Norman Carey Philip Ewell Geoffrey Burleson THE CITY UNIVERSITY OF NEW YORK iv Abstract A STUDY OF NIKOLAI MEDTNER’S COMPOSITIONAL TECHNIQUE: FORM AND NARRATIVE IN TALES by Oliver Markson Advisor: Richard Kramer This dissertation delves into the compositional approach of Russian-born composer Nikolai Medtner. A discussion of Medtner’s own words on composition from his book The Muse and Fashion: Being a Defence of the Foundations of the Art of Music is followed by original analyses of four Tales. -
Tomer Gewirtzman Photo by Claudio Papapietro
Tomer Gewirtzman Photo by Claudio Papapietro Juilliard Scholarship Fund The Juilliard School is the vibrant home to more than 800 dancers, actors, and musicians, over 90 percent of whom are eligible for financial aid. With your help, we can offer the scholarship support that makes a world of difference—to them and to the global future of dance, drama, and music. Behind every Juilliard artist is all of Juilliard—including you. For more information please contact Tori Brand at (212) 799-5000, ext. 692, or [email protected]. Give online at giving.juilliard.edu/scholarship. iii The Juilliard School presents Leo B. Ruiz Memorial Award Recital Tomer Gewirtzman, Piano Friday, November 30, 2018, 7:30pm Weill Recital Hall at Carnegie Hall DMITRI SHOSTAKOVICH Prelude and Fugue in D Minor, Op. 87, No. 24 (1906-75) LUDWIG VAN BEETHOVEN Andante Favori in F Major, WoO 57 (1770-1827) NIKOLAI MEDTNER Fairy Tale, Op. 51, No. 3 (1880-1951) ALEXANDER SCRIABIN Sonata No. 2 in G-Sharp Minor, Op. 19 (1871-1915) Andante Presto Three Études, Op. 65 Allegro Fantastico Allegretto Molto Vivace Intermission JOHANNES BRAHMS Sonata No. 3 in F Minor, Op. 5 (1833-97) Allegro maestoso Andante espressivo Scherzo – Allegro energico Intermezzo – Andante molto Finale – Allegro moderato ma rubato Tomer Gewirtzman is the winner of the seventh annual Leo B. Ruiz Memorial Recital Award. This concert is made possible by the Artists International Leo B. Ruiz Recital Memorial Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. -
Nikolai Medtner: a New Source for Sonata in F Minor, Op
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2018 Nikolai Medtner: A new source for Sonata in F Minor, Op. 5 Clement Barrera Acevedo James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Performance Commons, and the Music Practice Commons Recommended Citation Acevedo, Clement Barrera, "Nikolai Medtner: A new source for Sonata in F Minor, Op. 5" (2018). Dissertations. 199. https://commons.lib.jmu.edu/diss201019/199 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Nikolai Medtner: A New Source for Sonata in F Minor, Op. 5 Clement Barrera Acevedo A document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music August 2018 FACULTY COMMITTEE: Committee Chair: Gabriel Dobner Committee Members/ Readers: Lori Piitz Mary Jean Speare ii ACKNOWLEDGEMENTS I am very grateful for so many people who truly care to be a positive part of my life. First, I would like to thank my committee members for this document: Dr. Gabriel Dobner, my adviser and piano teacher for the last six years, for showing me a myriad of possibilities in making the music come alive; Dr. Lori Piitz, for her undying support as I build a career as a musician and her patience in helping me to clarify my writing; Dr. -
Philharmonic Au Dito R 1 U M
LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living. -
Solo Recital Ensemble Recital Competition
CONTESTANTS hen Tianyuan Liu was six, he wondered whether he wanted to become a pilot or Wa pianist. He happily chose the musical path that he had begun at age four as a piano student. At age ten, he was accepted into the Central Conservatory of Music’s primary school, and three years later, into the secondary school. At the same time, he was attending the British School of Beijing. During those years, Tianyuan studied with Bao Huiqiao and toured China, winning top prizes in eleven competitions and a concerto performance with the Wuhan Philharmonic Orchestra. In his teen years, Tianyuan’s China tours grew into international ones through his participation in music festivals and competitions in the Ukraine, Spain, and Poland. Yianyuan has played eighteen concertos. Among his notable concerto performances are those with the Xiamen Philharmonic featuring concertos by Sergei Rachmaninoff, Ludwig van Beethoven, and Franz Liszt. He performed both of Frédéric Chopin’s concertos with the Polish Torum City Orchestra. Tianyuan Liu ~ age 20 In addition to music, Tianyuan’s international interests include European History and Beijing, China and Baltimore, Maryland English Literature. He has an International Baccalaureate Diploma and a bilingual diploma. Currently, Tianyan is a sophomore at the Peabody Institute of Music at Johns Hopkins University where he studies with Boris Slutsky. SOLO RECITAL ENSEMBLE RECITAL JOHANN SEBASTIAN BACH NIKOLAI MEDTNER The Well-Tempered Clavier, Book II Sonata Reminiscenza, Opus 38, No.1 Prelude and Fugue No. 23 in B major, BWV 892 JOHANNES BRAHMS SERGEI RACHMANINOFF Sonata No. 2 for piano and violin in A major, Opus 100 Étude-Tableaux, Opus 39 I. -
Boston Symphony Orchestra Concert Programs, Summer, 1951-1953
TANGLEWOOD ">••••: : : :S* :Si : In Massachusetts and New Hampshire new Steinway Pianos are sold ONLY by M. STEINERT & SONS STEINWAY... A century of leadership is significant of the unfailing QUALITY of the Steinway Piano. Since 1 853 this superb instrument has been chosen by an overwhelming majority of musicians and concert artists— and by thousands of homes, large and small— as all that is finest in music. Many Steinway models, vertical or grand, invite your comparison, for beauty of tone, exacting craftsmanship and sustained stamina. No other piano is so worthy of your consideration. /JJyjN M'Stoinert & Sons 162 BOYLSTON STREET • BOSTON Jerome F. Murphy, President BRANCHES IN WORCESTER • SPRINGFIELD • WELLESLEY HILLS BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director Berkshire Festival Season igj2 TANGLEWOOD, LENOX, MASSACHUSETTS THEATRE-CONCERT HALL Concerts by Members of the Orchestra Charles Munch, Conducting Concert Bulletin, with historical and descriptive notes by John N. Burk COPYRIGHT, 1952, BY BOSTON SYMPHONY ORCHESTRA, INC. Trustees of the Boston Symphony Orchestra, Inc. Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Philip R. Allen Theodore P. Ferris N. Penrose Hallowell M. A. De Wolfe Howe Michael T. Kellehkr Lewis Perry John Nicholas Brown Alvan T. Fuller Francis W. Hatch Charles D. Jackson Edward A. Taft Raymond S. Wilkins Oliver Wolcott Tanglewood Advisory Committee \V. F. Anthony Hanlon George E. Mole Whitney S. Stoddard Alan J. Blau Henry Dwight Lenges Bull Georcf. W. Edman Lawrence K. Miller James T. Owens Robert K. Wheeler George E. Judd, Manager Assistant Managers: T. D. Perry, Jr. N. S. Shirk gfWNtffWffWtffW^^ On July 24 — First Boston Symphony Concert Since London Of year-round Upera Season Charles Munch will assemble the Boston Symphony at your Uwn L/urtain C^bne Orchestra in full force for the first time since the orches- tra's return from Europe at the opening Shed concert on July 24. -
Marshall University Music Department Presents an Eighth Annual Festival of New Music Steve Hall
Marshall University Marshall Digital Scholar All Performances Performance Collection 3-2-2017 Marshall University Music Department Presents an Eighth Annual Festival of New Music Steve Hall Follow this and additional works at: http://mds.marshall.edu/music_perf Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Hall, Steve, "Marshall University Music Department Presents an Eighth Annual Festival of New Music" (2017). All Performances. 760. http://mds.marshall.edu/music_perf/760 This Recital is brought to you for free and open access by the Performance Collection at Marshall Digital Scholar. It has been accepted for inclusion in All Performances by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. MARSHALL UNIVERSITY SCHOOL OF MUSIC EIGHTH ANNUAL FESTIVAL OF NEW MUSIC sponsored by Marshall University School of Music, College of Arts and Media, and MUsic Alive Concert Series Featured Guest Composers 2017 Featured Composers Marshall University School of Music Luciano Berio (1925-2003) Jarohn Grandstaff, Marshall University Eighth Annual Craig Hultgren, Decorah, IA James Harley, University of Guelph Charles Ingram, University of Southern Mississippi Festival of New Music Daniel Kessner, California State University, Northridge Mike McFerron, Lewis University David Morneau, Artistic Director of Circuit Bridges March 2-3, 2017 Charles Norman Mason, University of Miami Gene Pritsker, founder Sound Liberation John Shuff, Marshall University Anne Warren, Artistic Director of Concrete Timbre, NY Luigi Zaninelli, University of Southern Mississippi Frank Zappa (1940-1993) Mark Zanter, Marshall University FESTIVAL SCHEDULE Featured Performers (see http://www.marshall.edu/music/vcalendar/ for an up-to-date li sting) Craig Hultgren Thursday, March 2, 2017 For several decades, cellist Craig Hultgren ha s been Concert One: Collage a fixture on the scenes for new music, the newly 7:30 PM, Marshall University Smith Recital Hall creative arts, and the avant-garde. -
Carmel Music Society
Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna