Volume 74, Number 06 (July-August 1956) Guy Mccoy
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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 -
The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
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 -
2016 Program Booklet
Rebecca Penneys Piano Festival Fourth Year July 12 – 30, 2016 University of South Florida, School of Music 4202 East Fowler Avenue, Tampa, FL The family of Steinway pianos at USF was made possible by the kind assistance of the Music Gallery in Clearwater, Florida Rebecca Penneys Ray Gottlieb, O.D., Ph.D President & Artistic Director Vice President Rebecca Penneys Friends of Piano wishes to give special thanks to: The University of South Florida for such warm hospitality, USF administration and staff for wonderful support and assistance, Glenn Suyker, Notable Works Inc., for piano tuning and maintenance, Christy Sallee and Emily Macias, for photos and video of each special moment, and All the devoted piano lovers, volunteers, and donors who make RPPF possible. The Rebecca Penneys Piano Festival is tuition-free for all students. It is supported entirely by charitable tax-deductible gifts made to Rebecca Penneys Friends of Piano Incorporated, a non-profit 501(c)(3). Your gifts build our future. Donate on-line: http://rebeccapenneyspianofestival.org/ Mail a check: Rebecca Penneys Friends of Piano P.O. Box 66054 St Pete Beach, Florida 33736 Become an RPPF volunteer, partner, or sponsor Email: [email protected] 2 FACULTY PHOTOS Seán Duggan Tannis Gibson Christopher Eunmi Ko Harding Yong Hi Moon Roberta Rust Thomas Omri Shimron Schumacher D mitri Shteinberg Richard Shuster Mayron Tsong Blanca Uribe Benjamin Warsaw Tabitha Columbare Yueun Kim Kevin Wu Head Coordinator Assistant Assistant 3 STUDENT PHOTOS (CONTINUED ON P. 51) Rolando Mijung Hannah Matthew Alejandro An Bossner Calderon Haewon David Natalie David Cho Cordóba-Hernández Doughty Furney David Oksana Noah Hsiu-Jung Gatchel Germain Hardaway Hou Jingning Minhee Jinsung Jason Renny Huang Kang Kim Kim Ko 4 CALENDAR OF EVENTS University of South Florida – School of Music Concerts and Masterclasses are FREE and open to the public Donations accepted at the door Festival Soirée Concerts – Barness Recital Hall, see p. -
SONNAMBULA-LA-2.Pdf
2 La Fenice prima dell’Opera 2012 2 2012 Fondazione Stagione 2012 Teatro La Fenice di Venezia Lirica e Balletto Vincenzo Bellini laSonnambula a sonnambula L ellini b incenzo incenzo v FONDAZIONE TEATRO LA FENICE DI VENEZIA TEATRO LA FENICE - pagina ufficiale seguici su facebook e twitter follow us on facebook and twitter FONDAZIONE TEATRO LA FENICE DI VENEZIA Destinare il cinque per mille alla cultura è facile e non costa nulla. Quando compili la tua dichiarazione dei redditi, indica il codice fiscale della Fondazione Teatro La Fenice di Venezia: 00187480272 Aiuti la cultura, aiuti la musica. Incontro con l’opera FONDAZIONE lunedì 16 gennaio 2012 ore 18.00 AMICI DELLA FENICE SANDRO CAPPELLETTO, MARIO MESSINIS, DINO VILLATICO STAGIONE 2012 Lou Salomé sabato 4 febbraio 2012 ore 18.00 MICHELE DALL’ONGARO L’inganno felice mercoledì 8 febbraio 2012 ore 18.00 LUCA MOSCA Così fan tutte martedì 6 marzo 2012 ore 18.00 LUCA DE FUSCO, GIANNI GARRERA L’opera da tre soldi martedì 17 aprile 2012 ore 18.00 LORENZO ARRUGA La sonnambula lunedì 23 aprile 2012 ore 18.00 PIER LUIGI PIZZI, PHILIP WALSH Powder Her Face giovedì 10 maggio 2012 ore 18.00 RICCARDO RISALITI La bohème lunedì 18 giugno 2012 ore 18.00 GUIDO ZACCAGNINI Carmen giovedì 5 luglio 2012 ore 18.00 MICHELE SUOZZO L’elisir d’amore giovedì 13 settembre 2012 ore 18.00 MASSIMO CONTIERO Clavicembalo francese a due manuali copia dello Rigoletto strumento di Goermans-Taskin, costruito attorno sabato 6 ottobre 2012 ore 18.00 alla metà del XVIII secolo (originale presso la Russell PHILIP GOSSETT Collection di Edimburgo). -
Charles Villiers Stanford's Experiences with and Contributions
Charles Villiers Stanford’s Experiences with and contributions to the solo piano repertoire Adèle Commins Charles Villiers Stanford (1852-1924) has long been considered as one of the leaders of the English Musical Renaissance on account of his work as composer, conductor and pedagogue. In his earlier years he rose to fame as a piano soloist, having been introduced to the instrument at a very young age. It is no surprise then that his first attempts at composition included a march for piano in i860.1 The piano continued to play an important role in Stanford’s compositional career and his last piano work, Three Fancies, is dated 1923. With over thirty works for the instrument, not counting his piano duets, Stanford’s piano pieces can be broadly placed in three categories: (i) piano miniatures or character pieces which are in the tradition of salon or domestic music; (ii) works which have a pedagogical function; and (iii) works which are written in a more virtuosic vein. In each of these categories many of the works remain unpublished. In most cases the piano scores are not available for purchase and this has hindered performances after his death.2 The repertoire of pianists should not be limited to the music of European composers and publishers, like performers, are responsible for the exposure a composer’s works receives. New editions of Stanford’s piano music need to be created and published in order to raise awareness of the richness of Stanford’s contribution to piano literature. While there has been renewed interest in the composer’s life and music by musicologists and performers — primarily initiated by the recent Stanford biographies in 2002 by Dibble and Rodmell — the 1 Originally termed Opus 1 in Stanford’s sketch book it was reproduced in Anon., ‘Charles Villiers Stanford’, The Musical Times and Singing Class Circular, 39 670 (1898), 785-793 (p. -
25301 Cmp.Pdf
GRAN TEATRE DEL LICEU Temporada 1988-1989 ., . Generalitat de Catalunya Ajuntament de Barcelona JOIERS Ministerio de Cultura Diputació de Barcelona i Passe� de Gròckl, 41 EL REGULADOR BAGUÉS SanI Pau, 6 - Te�fons 216 0173 216 01 74 Rambla de les Flors, 105/Carrne, 1 Te�fons 317 32 46 - 318 57 37 Societat del Gran Teatre del Liceu 08IYJ7 Barcelona Te�fon 31719 74 08IYJ1 Barcelona 08IYJ2 Barcelona ® Lucia di Lammermoor Drama líric en 4 actes Llibret de Salvatore Cammarano (segons la novel-la de Walter Scott) Música de Gaetano Donizetti Funció de Gala Dilluns, 21 de novembre, a les 21 h., funció núm. 32, torn C Dijous, 24 de novembre, a les 21 h., funció núm. 33, torn B Diumenge, 27 de novembre, a les 17 h., funció núm. 34, torn T Dimecres, 30 de novembre, a les 21 h., funció núm. 35, torn A Un s o f]i o di Lucia di Lammermoor eternità Lord Enrico Ashton Vicenç Sardinero Lucia Joan Sutherland Sir Edgardo de Ravenswood Alfredo Kraus Lord Arturo Bucklaw Josep Ruiz Raimondo Bidebent Harry Dworchak Alisa Ma. Àngels Sarroca Normanna Alfredo Heilbron Director d'Orquestra Richard Bonynge Director d'Escena Vittorio Patané Directors del Cor Romano Gandolfi Vittorio Sicuri Adjunt a la Direcció del Cor Miquel Ortega Decorats Pier Luigi Piantanida (realitzats per la «Bottega Veneziana») Vestuari Pier Luciano Cavalloti (realitzat per Arrigo-Milà) Viall' concertino Josep M. Alpiste Producció Gran Teatre del Liceu ORQUESTRA SIMFÒNICA I COR DEL GRAN TEATRE DEL LICEU Laura Biagiotti ROMA Par/ums ® AZZARO Contingut argumental Lloc de l'acció: Escòcia p o u R H o MM E Època: als voltants de l'any 1700 Acte I Quadre I: En el pare del castell de Ravenswood Normanno, cap dels escuders de Ravenswood, ordena als caçadors l'individu miste que explorin els voltants per poder descobrir qui és riós que hom ha vist rodejant el castell. -
South Bend Youth Symphony Orchestra IV
Music from Lincoln (2012) John Williams South Bend Youth Concert Orchestra I. The People’s House (b. 1932) Emilie Grondin, conductor II. Getting Out The Vote III. Elegy South Bend Youth Symphony Orchestra IV. With Malice Towards None, for strings Robert Boardman, music director/conductor V. With Malice Towards None, for solo trumpet and orchestra 4 pm Sunday, May 3, 2015 Jackson Kubaszyk, trumpet Campus Auditorium Choral Fantasy, Op. 80 Ludwig van Beethoven “Grand March” from Aida Giuseppe Verdi (1770-1827) (1813-1901) Tamra Garrett and Maketo Michel, sopranos arr. by Merle Isaac Amy Davis, alto Aaron Bobson and Andrzej Stec, tenor Symphony No. 88 Franz Joseph Haydn Lawrence Mitchell-Matthews, bass Finale – Abridged (1732-1809) Natasha Stojanovska, piano arr. by Merle Isaac South Bend Symphonic Choir Marvin Curtis, director and chorusmaster Pirates of the Caribbean: Klaus Badelt South Bend Youth Symphony Orchestra The Curse of the Black Pearl (b. 1967) arr. by Ted Ricketts * world premiere South Bend Youth Concert Orchestra INTERMISSION The Winter’s Passed Wayne Barlow (1912-1996) Abigail Pitts, oboe Violin Concerto No. 1 in G minor, Op. 26 Max Bruch I. Allegro Moderato (1838-1920) Kathy Zhang, violin Romeo and Juliet Overture Peter Ilyitch Tchaikovsky (1840-1893) South Bend Festival Overture* John William Griffith (b. 1997) John William Griffith, conducting Howler* Thomas Limbert (b. 1974) Commissioned by Robert Boardman and the This activity made possible, in part, with support from the South Bend Youth Symphony Orchestra Community Foundation of St. Joseph County's Arts Everywhere initiative. Program Notes The Winter’s Passed Wayne Barlow The Winter's Passed by American composer Wayne Barlow is a “Grand March” from Aida Giuseppe Verdi short, single-movement work for oboe and string orchestra. -
The First Piano Concerto of Johannes Brahms: Its History and Performance Practice
THE FIRST PIANO CONCERTO OF JOHANNES BRAHMS: ITS HISTORY AND PERFORMANCE PRACTICE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS by Mark Livshits Diploma Date August 2017 Examining Committee Members: Dr. Joyce Lindorff, Advisory Chair, Keyboard Studies Dr. Charles Abramovic, Keyboard Studies Dr. Michael Klein, Music Studies Dr. Maurice Wright, External Member, Temple University, Music Studies ABSTRACT In recent years, Brahms’s music has begun to occupy a larger role in the consciousness of musicologists, and with this surge of interest came a refreshingly original approach to his music. Although the First Piano Concerto op. 15 of Johannes Brahms is a beloved part of the standard piano repertoire, there is a curious under- representation of the work through the lens of historical performance practice. This monograph addresses the various aspects that comprise a thorough performance practice analysis of the concerto. These include pedaling, articulation, phrasing, and questions of tempo, an element that takes on greater importance beyond just complicating matters technically. These elements are then put into the context of Brahms’s own pianism, conducting, teaching, and musicological endeavors based on first and second-hand accounts of the composer’s work. It is the combining of these concepts that serves to illuminate the concerto in a far more detailed fashion, and ultimately enabling us to re-evaluate whether the time honored modern interpretations of the work fall within the boundaries that Brahms himself would have considered effective and accurate. ii ACKNOWLEDGEMENTS Many thanks to my committee and Dr. -
Albert Herring Music by Benjamin Britten Libretto by Eric Crozier
Four Hundred Ninety-Sixth Program of the 2011-12 Season _______________________ Indiana University Opera Theater presents as its 422nd production Albert Herring Music by Benjamin Britten Libretto by Eric Crozier Based on the novella Le Rosier de Madame Husson by Guy de Maupassant Arthur Fagen, Conductor James Marvel, Stage Director James Marvel, Set & Costume Concept Patrick Mero, Lighting Designer _________________ Musical Arts Center Thursday, February Ninth Friday, February Tenth Saturday, February Eleventh Eight O’Clock Sunday, February Twelfth Two O’Clock music.indiana.edu Rosenkavalier Richard Strauss Conductor: David Effron Stage Director: Vincent Liotta Set & Costume Designers: William Forrester & Linda Pisano Last produced in 1966! Couple photo by Ken Howard, courtesy of The Santa Fe Opera. NEW Production Your once-in-a lifetime opportunity to FEBRUARY enjoy Strauss’s elegant world of the 7PM glitterati in this grand new production! 24, 25 MARCH For tickets and subscriptions, visit the Musical Arts Center Box Office, (812) 855-7433, or go online to music.indiana.edu/operaballet. 2, 3 7PM Opera Insights 6pm Synopsis Takes place in the village of Loxford, East Suffolk. Act I Scene 1: Home of Lady Billows The aristocratic Lady Billows has decided to revive the local May Day Festival. She appoints a small committee to help identify a suitably chaste village girl to be crowned May Queen and offers 25 guineas as the prize. When the committee has its final meeting in April, the evidence against its nominees is universally damning—not one of the local girls still qualifies to win the prize. The Superintendent of Police comes to the rescue. -
Johannes Brahms JOHANNES BRAHMS (1833-1897) Piano Sonata PIANO SONATA NO.3 FANTASIEN OP.116 KLAVIERSTÜCKE OP.119 Fantasien Op.116 - Klavierstücke Op.119 JON NAKAMATSU
johannes brahms JOHANNES BRAHMS (1833-1897) piano sonata PIANO SONATA NO.3 FANTASIEN OP.116 KLAVIERSTÜCKE OP.119 Fantasien op.116 - Klavierstücke op.119 JON NAKAMATSU This disc presents three of Brahms’s finest piano works. The Fantasias and Klavierstücke, which date from his last years, are also among the best-known. jon Nakamatsu Jon Nakamatsu, Gold Medal Winner at the 1997 Van Cliburn International Piano Competition, judiciously adds a much earlier work, the Third Sonata written when the composer was twenty. ’ - CD Now HMA 1957339 ‘Nakamatsu is clearly a major talent. Have compositional style and substance ever enjoyed a more intimate marriage than in music by Brahms? Elliptically avoiding conventional stages of artistic growth, Brahms from the first wrote works of an uncommon wisdom and of a maturity that is informed by the ineffable. Nostalgia infuses all of his music, and by the time he reached old age, having composed for more than forty years, this nostalgia had intensified to a compound for which we have no name, a poetic tristesse that amalgamates melancholy, wistfulness, longing, and regret. This essence is Brahms’s alone. That Brahms was different, even difficult, was immediately evident. After the first American performance of the Piano Trio op.8 in 1855, for instance, The New York Times praised its ‘many good points, and much sound musicianship’, yet remarked that the ‘motives . suggest something that had been heard before, and induce a skeptical frame of mind, not altogether just . .’1 For a critic to question his own skepticism is fascinating in itself, and it implies that the ‘something heard before’ was not a theme per se nor a ‘motivo’, but rather, if less definably, an ethos that echoed the past. -
® Gran Teatre D L Liceu : I Gran Teatre Del Liceu
® GRAN TEATRE D L LICEU : I GRAN TEATRE DEL LICEU Temporada 1993-94 CONSORCI DEL GRAN TEATRE DEL LICEU GENERALITAT DE CATALUNYA 6 AJUNTAMENT DE BARCELONA MINISTERIO DE CULTURA DIPUTACIÓ DE BARCELONA MIKIMOTO SOCIETAT DEL GRAN TEATRE DEL LICEU THE ORIGINATOR OF CULTURED PEARLS. SINCE 1893. TOKYO-NEW YORK-PARIS ® Lucia di Lammermoor Drama líric en tres actes Llibret de Salvatore Cammarano (segons la novel·la de Walter Scott) Música de Gaetano Donizetti En versió de concert (Amb sobretitulat) (L'òpera es representarà amb dos intermedis de 20 minuts) Palau Sant Jordi Dimarts, 28 de juny, 21'30 h. , Index 7 Repartiment 10 Resum argumental 22 Novel-la històrica 28 El Deliri, o el Desig sense Cos 38 Madame Bovary a l'òpera r 46 De l'ostracisme a la màxima popularitat 67 Biografies 87 Enregistraments 101 Castellano/Français/English ® Lucia di Lammermoor Lord Enrico Ashton Joan Pons Lucia Edita Gruberova Sir Edgardo di Ravenswood Alfredo Kraus Lord Arturo Bucklaw José Azocar Raimondo Bidebent Stefano Palatchi Alisa Laura Polverelli Normanno Joan Cabero Direcció musical Richard Bonynge Director del cor Andrés Máspero ORQUESTRA SIMFÒNICA I COR DEL GRAN TEATRE DEL LICEU Violí concertino Josep Ma. Alpiste Realització de so Jordi Bonet Servei de traducció L'Avenç S. L. Serveis tècnics del Gran Teatre del Liceu EL PAlAU SANT JORDI, NOUí GRAN RECINTE OPERÍSTIC I Des de l'any passat el Gran Teatre del Liceu i Barcelona Promoció -empresa tingueren lloc el concert Opera Stars in Concert el 1991 amb la participació municipal que gestiona el Palau Sant Jordi- han estat treballant en el projecte de d'Alfredo Kraus, Renata Scotto, Melanie Holliday, Gail Gilmore, Ramón Vargas i a amb la voluntat de realitzar òperes escenificades pensades per grans espais, poder Paolo Coni, acompanyats per l'Orquestra Filharmònica Eslovaca, i el Liverpool incorporar nous sectors de públic a la tradició operística de la ciutat.