DOCSLIB.ORG

Sargon's Flute: a Pedagogical Discussion

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sargon's Flute: a Pedagogical Discussion Sargon's Flute: A Pedagogical Discussion Item Type text; Electronic Dissertation Authors Van Winkle, Lisa K. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 18:12:46 Link to Item http://hdl.handle.net/10150/195028 SARGON’S FLUTE: A PEDAGOGICAL DISCUSSION OF THE MUSIC FOR FLUTE OF SIMON A. SARGON AND A COMPARISON TO SELECTED WORKS WITHIN THE CURRENT FLUTE LITERATURE by Lisa Kay Van Winkle ________________________ Copyright © Lisa Kay Van Winkle A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS With a Major in Music In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 5 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Lisa K. Van Winkle entitled Sargon’s Flute: A Pedagogical Discussion of the Music for Flute of Simon A. Sargon and a Comparison to Selected Works within the Current Flute Literature and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: May 4, 2005 Brian A. Luce _______________________________________________________________________ Date: May 4, 2005 Neil Tatman _______________________________________________________________________ Date: May 4, 2005 Kelland Thomas Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: May 4, 2005 Document Director: Brian A. Luce 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Lisa K. Van Winkle 4 ACKNOWLEDGMENTS This project would not have been possible without the support and commitment of several people. The author thanks Simon Sargon for the generous amount of time and energy that he contributed to the project. His professionalism and dedication to music are inspirational. It was a gift to be given the opportunity to examine, evaluate, play, and present the music of a living composer. Special thanks go to Helen Blackburn, who was convinced of the worth and feasibility of this project from the beginning. Her connection to Simon, as a frequent performer of his music, helped to create a bridge between the composer and the author. Many thanks for her brilliant performance of the premier of the Tarantella for Two Flutes and Piano at the University of Arizona. Without a supportive home and work environment, not only would this project have been difficult to finish, it would have been meaningless without family and friends to share the journey. I give my thanks to my husband, Ken, who was steadfastly patient, kind, and encouraging, in addition to being a wonderful proofreader. Thanks to my parents, who always believed that I could and would finish. Special thanks to the faculty and students at New Mexico State University; their support and understanding made it possible to complete the degree process. 5 DEDICATION To Steven J. Paul and Katherine Kitzman, two musicians whose untimely deaths had a profound influence on my life. 6 TABLE OF CONTENTS LIST OF TABLES ...........................................................................................................9 LIST OF FIGURES .......................................................................................................10 ABSTRACT ...................................................................................................................13 INTRODUCTION .........................................................................................................14 CHAPTER 1. BIOGRAPHICAL BACKGROUND .............................................................15 2. FLUTE LITERATURE REFERENCES AND HANDBOOKS .....................21 Nongraded Flute Repertoire Guides .........................................................24 Graded Repertoire Guides ........................................................................27 Summary ...................................................................................................32 3. SARGON’S MUSIC FOR FLUTE AND PIANO ..........................................33 The Queen’s Consort (1982) ...................................................................33 The Queen’s Consort, I. Prelude .......................................................34 Formal Structure and Harmony ..................................................34 Melody .......................................................................................38 Temporal Components ...............................................................40 The Queen’s Consort, II. Pavane ......................................................41 Formal Structure and Harmony ..................................................41 Melody .......................................................................................43 Temporal Components ...............................................................44 The Queen’s Consort, III. Aubade ....................................................44 Formal Structure and Harmony ..................................................44 Melody .......................................................................................46 Temporal Components ...............................................................47 The Queen’s Consort, IV. Gavotte and Musette ...............................48 Formal Structure and Harmony ..................................................48 Melody .......................................................................................50 Temporal Components ...............................................................51 The Queen’s Consort, V. Minuet ......................................................52 Formal Structure and Harmony ..................................................52 Melody .......................................................................................54 Temporal Components ...............................................................55 The Queen’s Consort, VI. Finale ......................................................56 Formal Structure and Harmony ..................................................56 Melody .......................................................................................58 Temporal Components ...............................................................59 7 TABLE OF CONTENTS—Continued Dusting Around With Scott’s Rag for Flute and Piano (1993): Variations on Scott Joplin’s Celebrated Rag Time Two-Step “The Entertainer” for Flute and Chamber Orchestra .........................60 Formal Structure and Harmony .........................................................61 Melody ..............................................................................................67 Temporal Components ......................................................................69 Sunflowers for Flute and Piano (1997) ....................................................71 Sunflowers, I. Allegro ........................................................................74 Formal Structure and Harmony ..................................................74 Melody .......................................................................................75 Temporal Components ...............................................................76 Sunflowers, II. Romanza ....................................................................77 Formal Structure and Harmony ..................................................77 Melody .......................................................................................81 Temporal Components ...............................................................82 Sunflowers, III. Finale .......................................................................84 Formal Structure and Harmony ..................................................84 Melody .......................................................................................87 Temporal Components ...............................................................88 Tarantela for Two Flutes and Piano (2004) .............................................91 Formal Structure and Harmony .........................................................93 Melody ..............................................................................................99 Temporal Components ....................................................................101 4. PEDAGOGICAL EVALUATION OF SARGON’S COMPOSITIONS FOR FLUTE AND PIANO AND COMPARISON TO THE
Load more

Recommended publications
  • Wind, String, & Mixed Chamber Groups
    WIND, STRING, & MIXED CHAMBER GROUPS - SPRING 2019 (v 2.1) - including piano, harp, and percussion - PLEASE read the “Rules of the Road” for chamber music on the “performance” section of INSIDE MUSIC on the School of Music website: https://www.cmu.edu/cfa/music/current-students/ensembles/chamber-music.html Each group should select/elect/draft a “contact person” and submit that person’s name to the chamber music Graduate Assistant, Yalyen Savignon: [email protected] Please note that this is the second draft of the roster. All registered students have been placed, and all requests have been fulfilled. We hope that few if any further changes will need to be made. Remember, other students’ education depends on your being a reliable member of your group! IF YOU SPOT MISTAKES ON THIS LIST, PLEASE CONTACT PROF. WHIPPLE. RJW and CW, February 6, 2019 57-228 OR 57-928 SEXTETS sec A - WIND & PIANO SEXTET Alisa Smith, flute Elizabeth Mountz, oboe Elizabeth Carney, clarinet Ji Won Song, horn Andrew Hahn, bassoon Winfred Wang, piano coaches: R. James Whipple QUINTETS sec B - GRADUATE WIND QUINTET Theresa Abalos, flute Evan Tegley, oboe Alex Athitakas, clarinet Diana McLaughlin, horn Nicholas Evans, bassoon coach: Thomas Thompson sec C - “VENTUS FERRO” TBA, flute Alicia Smith, oboe Zack Neville, clarinet Ziming Zhu, horn Dreya Cherry, bassoon coach: James Gorton sec D - PROKOFIEV: Quintet in g minor Christian Bernard, oboe Bryce Kyle, clarinet TBA, violin Angela-Maureen Zollman, viola Mark Stroud, bass coach: James Gorton STRING QUARTETS 57-226 OR 57-926 1. Jasper Rogal, violin Noah Steinbaum, violin Angela Rubin,viola Kyle Johnson, cello coach: Cyrus Forough 2.
    [Show full text]
  • Francis Poulenc: Three Novelettes Pdf, Epub, Ebook
    FRANCIS POULENC: THREE NOVELETTES PDF, EPUB, EBOOK Millan Sachania | 16 pages | 31 Mar 2001 | CHESTER MUSIC | 9780711978133 | English | London, United Kingdom Francis Poulenc: Three Novelettes PDF Book If you do not wish to be contacted, leave it blank. Close X Learn about Smart Music. Suitable for pianists of pre-Grade One to Grade Two standard. These duets will develop a strong sense of rhythm, phrasing and dynamic shading, and provide If you believe that any review contained on our site infringes upon your copyright, please email us. It is often described as the climax of Poulenc's early period. Manuel de Falla's music perfectly reflects the full-blooded passion and intellectual aspirations of early 20th century Spanish culture. Buy It Now. Piano music by Francis Poulenc. All songs Written in on commission from the Boston Symphony Orchestra, it has three movements and a duration of about 20 minutes. You can also listen to your MP3 at any time in your Digital Library. Learned the pieces easily. The Concerto pour orgue, cordes et timbales in G minor, FP 93, is an organ concerto composed by Francis Poulenc between and It was dedicated to the French cellist Pierre Fournier, who had helped with the technical aspects of the cello part, as the composer was unfamiliar with the instrument. Product Details. The Sextuor Sextet , FP , is a chamber music composition written by Francis Poulenc for a standard wind quintet and piano. Tell a friend or remind yourself about this product. Forty well-known traditional songs and popular hits influenced by the musical heritage They were delivered in a timely fashion and These novelettes demonstrate multi-layered piano writing.
    [Show full text]
  • Paris, 1918-45
    un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza­ tions.
    [Show full text]
  • The Chesterian (1915-1961)
    Introduction to: Liesbeth Hoedemaeker, The Chesterian (1915-1940, 1947-1961) Répertoire international de la presse musicale (www.ripm.org) Copyright © 2013 RIPM Consortium Ltd The Chesterian 1915-1961 The Chesterian [CHE], one of England’s most important journals dealing with the development of musical composition and style during the first half of the twentieth century, was published by J. & W. Chester, the well-known music publisher. The journal1 was issued in two series, the first from 1915-1919; the second, titled New Series, from 1919-1961. Publication was interrupted from 1940 to 1947, years of the Second World War. The journal’s format is small: ca. 11 x 19 cm. The volumes were published annually from September to July. The first series consists of twenty, sixteen-page issues containing 320 numbered pages. The New Series consists of two- hundred-and-eight issues and 8,632 pages, including unnumbered pages. The number of annual issues begins at eight per volume in September 1919; declines to six in September 1932 until 1939; and, after the interruption, to four issues in 1947. The cover pages often contain information, such as lists of contributors, opinions of subscribers, contents of earlier issues and advertisements. The appearance of the New Series sparked sufficient interest to be recognized in the New York Tribune which offered an extensive preliminary list of contributors, citing letters as being of special interest: A feature of this magazine will be letters from various music centres containing information of current musical events. Ernest Newman, René Chalupt, Guido M. Gatti and Adolfo Salazar will be the respective contributors of letters from London, Paris, Italy and Spain.2 The journal’s appearance was also noted in The Musical Times: The Chesterian will be a … very readable little circular … In its new form it will appear eight times in the year.
    [Show full text]
  • Nationalism, Primitivism, & Neoclassicism
    Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets
    [Show full text]
  • Sonata for Flute and Piano in D Major, Op. 94 by Sergey Prokofiev
    SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE HONORS THESIS Presented to the Honors Committee of Texas State University-San Marcos in Partial Fulfillment of the Requirements for Graduation in the Honors ColLege by Danielle Emily Stevens San Marcos, Texas May 2014 1 SONATA FOR FLUTE AND PIANO IN D MAJOR, OP. 94 BY SERGEY PROKOFIEV: A PERFORMANCE GUIDE Thesis Supervisor: ________________________________ Kay Lipton, Ph.D. School of Music Second Reader: __________________________________ Adah Toland Jones, D. A. School of Music Second Reader: __________________________________ Cynthia GonzaLes, Ph.D. School of Music Approved: ____________________________________ Heather C. GaLLoway, Ph.D. Dean, Honors ColLege 2 Abstract This thesis contains a performance guide for Sergey Prokofiev’s Sonata for Flute and Piano in D Major, Op. 94 (1943). Prokofiev is among the most important Russian composers of the twentieth century. Recognized as a leading Neoclassicist, his bold innovations in harmony and his new palette of tone colors enliven the classical structures he embraced. This is especially evident in this flute sonata, which provides a microcosm of Prokofiev’s compositional style and highlights the beauty and virtuosic breadth of the flute in new ways. In Part 1 I have constructed an historical context for the sonata, with biographical information about Prokofiev, which includes anecdotes about his personality and behavior, and a discussion of the sonata’s commission and subsequent premiere. In Part 2 I offer an anaLysis of the piece with generaL performance suggestions and specific performance practice options for flutists that will assist them as they work toward an effective performance, one that is based on both the historically informed performance context, as well as remarks that focus on particular techniques, challenges and possible performance solutions.
    [Show full text]
  • School of Music Program Notes
    First Half Deanna Buringrud,flute Gail Novak,piano Honors Project Recital Hall I April 7, 2019 j 12 p.m. Program Sonata for Flute and Piano Francis Poulenc Allegro malinconico Cantilena Presto giocoso First Sonata, for Flute and Piano Bohuslav Martinu I II III INTERMISSION ARIZONA STATE UNIVERSITY School of Music Program Notes First Sonata for Flute and Piano, Bohuslav Marinu (Dec. 1890 - 1959) Bohuslav Marinu was a Czech composer of early-mid 20th century. Bohuslav grew up in a family without material wealth. He began violin at a young age and excelled quickly. The town was impressed by his talent when attending his recitals, and raised the funds to send him to the Prague Conservatory in 1906. Martinu was expelled from the Prague conservatory in 1910 due to "incorrigible negligence." Martinu became more interested in the composition aspect of music than his individual performance, and as such did not practice his violin enough. First Sonata for Flute and Piano was composed in 1945 in South Orleans, Cape Cod. During this time, Marinu was living in the United States to escape France when it was occupied by the Nazis in WW2. Though he didn't speak english very well, Martinu quickly adapted to his environment and ended up teaching both at Princeton and the Tanglewood institution in Berkshire. First Sonata was written for Georges Laurent, the principle flutist of the Boston Symphony. It premiered in New York 1949. Remnants ofMartinu's past can be heard throughout the sonata, such as the perfect fourths in the first movement that represent the church bells his father rang.
    [Show full text]
  • Summer Programs 2015 Highered Temple University Summer Owls
    Summer Programs 2015 Higher­Ed Temple University Summer Owls Leadership Program ● For students completing grades 10 and 11 ● Opportunity to earn 3 college credits in courses in business, media and communication, health professions, or science ● Additional workshops in time management, study skills, and organization ● Held July 13­August 2, 2015 ● Cost in 2014 was $4,195 (2015 cost is TBA) and includes the college course, room, board, workshops, and activities ● Students applying by March 17, 2015 will have their $55 application fee waived. Final application deadline is May 1 depending on space ● To apply students must submit a completed application, high school transcript, PSAT/SAT/ACT scores, one letter of recommendation from a teacher of counselor (recommended but not required). ● Students who successfully complete the summer course, apply to Temple, and matriculate as an undergraduate student will receive a $4,000 tuition grant ● For more information and to apply see http://www.temple.edu/summer/leadership/index.html Questions? Contact Dominque Kliger at (215)­204­2712 or e­mail [email protected] Cornell University Summer College Programs for High School Students ● For students completing grades 10­12 ● Opportunity to choose from over 60 courses and earn between 3­6 college credit ○ Three week session 1: June 20­July 11 ○ Three week session 2: July 12­August 1 ○ Six week programs: June 20­August 4 ● Cost is $6,020 for a three week program and $11,950 for a six week program including classes, room, and board ● Limited financial
    [Show full text]
  • Serge Diaghilev/Serge Lifar Collection [Finding Aid]. Library of Congress
    Serge Diaghilev/Serge Lifar Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2006 Revised 2012 November Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu003011 LC Online Catalog record: http://lccn.loc.gov/2006568220 Processed by the Music Division of the Library of Congress Collection Summary Title: Serge Diaghilev/Serge Lifar Collection Span Dates: 1750-1950 Bulk Dates: (bulk 1890-1929) Call No.: ML31.D53 Creator: Diaghilev, Serge, 1872-1929 Extent: around 1,350 items ; 81 boxes ; 91 linear feet Language: Collection material in English, French, and Russian Location: Music Division, Library of Congress, Washington, D.C. Summary: This collection is comprised in large part of printed music, widely representing 18th century Italian and 19th century Russian operatic music. Includes rare pre-revolutionary editions of Russian folk songs, annotated performance scores of Stravinsky, Mussorgsky, Rimsky-Korsakov, Gounod, Cimarosa. Non-musical materials include three letters from S. Prokofiev to S. Diaghilev, rare edition of books on music, literature and theater, libretti and synopses, souvenir books and programs and photographs. Several of the programs and photographs show Léon Bakst's set and costume designs. Non- musical materials also include Diaghilev’s personal notebook, containing entries in French, Russian, and English made in 1926-1929. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein.
    [Show full text]
  • Sir James Galway : Living Legend
    VOLUME XXXIV , NO . 3 S PRING 2009 THE LUTI ST QUARTERLY SIR JAMES GALWAY : LIVING LEGEND Rediscovering Edwin York Bowen Performance Anxiety: A Resource Guide Bright Flutes, Big City: The 37th NFA Convention in New York City THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXIV, N O. 3 S PRING 2009 DEPARTMENTS 5 From the Chair 59 New York, New York 7 From the Editor 63 Notes from Around the World 11 Letters to the Editor 60 Contributions to the NFA 13 High Notes 61 NFA News 16 Flute Shots 66 New Products 47 Across the Miles 70 Reviews 53 From the 2009 Convention 78 NFA Office, Coordinators, Program Chair Committee Chairs 58 From Your Convention Director 85 Index of Advertisers 18 FEATURES 18 Sir James Galway: Living Legend by Patti Adams As he enters his 70th year, the sole recipient of the NFA’s 2009 Lifetime Achievement Award continues to perform for, teach, and play with all kinds of people in all forms of mediums throughout the world. 24 The English Rachmaninoff: Edwin York Bowen by Glen Ballard Attention is only now beginning to be paid to long neglected composer York Bowen (1884–1961). 28 York Bowen’s Sonata for Two Flutes, op.103: The Discovery of the Original “Rough and Sketchy Score” by Andrew Robson A box from eBay reveals romance, mystery, and an original score. 24 32 Performance Anxiety: A Resource Guide compiled by Amy Likar, with introduction by Susan Raeburn Read on for an introduction to everything you ever wanted to know (but were afraid to ask) about performance anxiety and related issues.
    [Show full text]
  • Francis Poulenc'in Flüt Ve Piyano Sonati Hakkinda Bir
    Balkan Müzik ve Sanat Dergisi Nisan 2021 Cilt 3 Sayı 1 (107-120) 107 DOI: 10.47956/bmsd.898174 İnceleme Makalesi FRANCIS POULENC’İN FLÜT VE PİYANO SONATI HAKKINDA BİR İNCELEME A REWIEV OF FRANCIS POULENC’S FLUTE AND PIANO SONATA Çisem ÖNVER ZAFER* Geliş Tarihi: 16.02.2021 Kabul Tarihi: 15.03.2021 (Received) (Accepted) Öz: Çağdaş dönem müziği denilince akla gelen isimlerden biri olan Francis Poulenc, üflemeli çalgıların repertuvarlarına zenginlik kazandırmıştır. Sadece piyano eşlikli eserler değil, oda müziği alanında da çalışmalar yapan besteci, dönemin özelliklerini müziğine yansıtmıştır. Aynı zamanda kendine has melodik yapıları da eserlerinde kullanan besteci, klasik müzikte tanınan isimler arasında yerini almıştır. Bestecinin melodik üslubunu sergileyen en önemli örnekler arasında üç eser, Flüt ve Piyano için Sonat (1956-57), Klarnet ve Piyano için Sonat (1962) ve Obua ve Piyano için Sonat (1962) sayılabilir. Tek bir nefesli çalgı ve piyano, her üflemeli çalgının tamamen yeteneklerini gösterdiği ve şiirsel bir metnin yokluğu göz önüne alındığında, saf melodik çizginin ifadesi için mükemmeldir. Ayrıca bu eserler altı yıl içinde yazılmış olup, bestecinin en olgun tarzını temsil etmektedirler. Bu bağlamda yazdığı flüt ve piyano sonatı birçok öğrenci ve sanatçının repertuvarında yer alan gözde eserlerin başında gelmektedir. Anahtar Kelimeler: Çağdaş Dönem, Flüt sonatı, Francis Poulenc Abstract: Francis Poulenc, one of the names that comes to mind when it comes to contemporary music, enriched the repertoire of wind instruments. The composer, who not only works with piano accompaniment but also works in the field of chamber music, reflected the characteristics of the period to her music. At the same time, the composer, who uses his own melodic structures in his works, has taken his place among the well-known names in classical music.
    [Show full text]
  • 581 Anna Hashimoto Book
    A Touch of France Donato Lovreglio (revisione Alamiro Giampieri) [1] Fantasia da Concerto 11:01 A A A A n n T T n n o o a a u Arthur Benjamin u H H c A Natural Sound Recording c h h a [2] Le Tombeau de Ravel (Valse-Caprices) a s s o o h h f f i CDE 84581 TT 7time’53” 13:32 i F F m m r r o o a Claude Debussy a n n t t o o c c [ ] e 3 Première Rhapsodie 8:14 e - - C C l l a a r r i Francis Poulenc Sonata for Clarinet and Piano i n 5 015959 458128 n e e t [4] Allegro tristamente 5:56 t , , D LC 13637 MCPS [5] Romanza 5:20 D a b a n n i [6] Allegro con fuoco 3:26 i e e l l S S m m i Camille Saint-Saëns Sonata for Clarinet and Piano, op.167 i t t h h - [7] Allegretto 4:46 - P P i i a [8] Allegro animato 2:21 a n k n o [9] Lento 4:31 o [10] Molto allegro 5:14 Recorded by Ric ha rd Hug he s Produced by Susa nne Hug he s Assistant engineer Ale x G e ttinb y Claude Debussy [11] Petite Pièce 1:20 C ove r Photography Robert Carpenter Turner Ernesto Cavallini [12] Carnevale di Venezia 7:43 C C D D E E 8 Clarinet 8 4 Anna Hashimoto - 4 5 p& m Meridian Records 2009 5 8 www.meridian-records.co.uk Daniel Smith - Piano 8 1 P.O.
    [Show full text]