F Music and Art

Total Page:16

File Type:pdf, Size:1020Kb

F Music and Art le Res f Music and Art thot ho was thor Frieda Klink, Contralto . greatost pianist that jHusical Happenings ever plnycd. lt ia imposstible to Jm- !P?P?£: agino Moiseiwtisch making a m'.stake Random Impressions At In tho sense of playing a wrong note. I Home and Abroad do not suppoao that Moiseiwitsch h so great a musictan as Rubinstein.I think ho does not pour his whole aoul Formed to Aid into his as Rubinstein must &w Organization Young Musicians; piano, The $ummor exhibition season is now a epiritual significance. In this vein have done to have lefc such an impres- in the art Several is the large hillside subject with ita I>eodat de Severac; An Old Friend sion on the world.but Moiseivitach is opening galleries. of the latter have announced showa to winglike cioud apparttion and ita bril- Pleases London Audience a master of the pinjio in the sense that liant star in the sky abovo. The entire Vclasquez is a master of point or Lloyd commence thia week and continue show reflects refinement in subject and George a master of tho spoken word or through tbe summer months. In each in treatment. It will remain Carpentier of the dclicacy Katharine Huneker the boxing game. case Is involved the work of a group on exhibition until 1. By Wright coined phraso "practising It is not possible to believe that July Muri in public," but will act as a of Americans and con- Tjsst year Miss Silba, a young prop for man can achievo such miraclea painters, mostly than talent broader in the .UJiist of more ordinary ability, deserving rccognition. production of sound, more variable than temporariei. While tiding over a Land sea pes, Old and New, an It is planned to a ^pressed tha opinion that organi- form board of tho ever-changing color of the period of lessened activifcy, the galler- be formed to determine twenty judges to datermine the merits aea, At the Ariington Mtioii skould until one had heard Moiseiwitsch play ies thus to exhibitions of of musicians of prospectivo candidates for a plan provide In the summer show at the Arlwiy- -¦le cligibility young wish- profes- for a couple of hours or with the coneert balls sional career. In order to more, representative scope and charaeter for tcn Galleries there are several fine ja? to storm of New okain a only two or three brief breaks. She recommended that such hearing candidates must present cre- the apeclal benefit of summer visitors landscapes by those distinguished York. dentials from Kitchener, it wns said, "cut out hia painters of out-of-door M«8f people be given an out-of-town musicians of high stand- heart and made himself a who may be interested more in the subjects. machine for inness and These to sta- heiricg by compotent judges. The ¦tng. tbe conquest of the Sudan." Moisei¬ broader activities of the home school Wyant. tend of their Branchea of the bilize the exhibition in which there ,uality performance would organization are to witsch, I imagine, cut out his heart and than in the work of in- a New York be established in other hav- any particular are many examples by the later ex- eiiher justify recital or cities, and made himself a maclilno for the con- ing passed a-^uccessful dividual. pontfnts of this field. There is a deep (V^y Treuld be advised against court- audition thosn quest of tho piano. He has won vic¬ who meet the there has refinement and maturity of understand- ,Rgfurther pub!icity and failure. Miss requirements of the tory after victory, and now, like Alex- At the Kraushaar galleries will be a ing in the art of these two masters Silba's suggestipn was without results, judges given try-outs in the ander, he must yearn for new worlds to been put on the wall3 collection by one smaller cities before that can always be studied to advan- no dared to incur the appearing in New conquer. There seems in twelve contemporary American artists. Jpptwntlj nothing the in a show where manner dsi>?ers involved in blighting the hopes York. Traveling expenses will be met art of piano that This exhibition, which will remain tage the of the playing Moiseiwitsch interpretation is ao varied as 0; budding genius. But although Miss by association and a fee of $50 cannot do. He is only but until the close of next month, has in it widely does not paid for each The thirty-one, of in the present> instance. The two Silbs's nsme appear on the appearance. financos he has been an accomplished pianist for much interest and artistic distinc- of the association an ex- Wyants are "Early Autumn" and "Ark- ioard of directors, the newly organized will depend upon more than He won tion. There is, for example, K$r\. twenty years! the ville." Inness are "Nook Near Our Jfusica! Debx-.t Association is a prac- various memberships, ranging from an Rubinstein at Odessa tremely good landscape by Ernest Law- By annual Soloist, Goldman Band, Mon¬ prize University Village" and one other. the rieal realisation of her scheme. membership at $1 a year to life when he was nine. Now it is son of most delicate and velvety qual¬ Among held that rest is a "White This courageous body of men and membership at $500. day evening. he is" the world's master ity, showing a vista of low fields in striking example, player. Tenement," Robert It is a TCT.cn will not only act as a restrain- At present the board of in- Moiseiwitsch is not a soft greens and yellows and a limpid by Spencer. judges theatrieal per- strange, house of stories isg lafluence upon the annual crop cf cludes Frank Damrosch, chairman; opera "Lo Cceur du Moulin," a pieture former. He sits bolt most of stream winding through them. A meri- large many upright and windowa on a Kispers, squealera and bangers, for Leopold Auer, Franz Kneisel, Alexander cf Languedoc peasant life. In this the time, while his hands about the torious example by Prendergast, a park situated the bank of fly stream amid fields. It is an in- »hose activities tho late James Gibbons Lambert, Herbert David country his music is little known, but keyboard with the lightness and quick- scene of vague beauty and animation, rolling W^herspoon, there be more of congruity of which the artist has made Bispham, Richard Hageman, perhaps may it next nesa of shuttles. Now and then the is shown, together with a character- Dudley a picture that is full of beauty. Daniel HUSICAL INSTRUCTION Buck and Frank Hemstreet. On the year. rhythm of the music becomes part of istically decorative exterior and figure Arthur B. Davies. Just as Garber's "Dark River" is a work of board of directors are John Louw Nel- Benno Moiseiwitsch him and his head bends and sways as study by a line between conspicuous quality, being a broad, hilly NEW YORK AMERICAN son, general director and originator in he sweeps the music from the machine. the latter draws sharp Plays London his and its vista in a winter mantle. Another ex¬ of the plan; Rutger Bleeker Jewett, His hands soar in front of him central subject background, dONSERVATORY OF MUSIC Admirers of Benno Moiseiwitsch, who high the artist all ele- ample of simihr atmosphere is Ballard 163 West Howard F. Clark, Mrs. Denison D. and crash with the scientific preceding brings his 72d Street played here many tlmes last season, accuracy ments in a com¬ Williams's "Block Island," showing a Dana, vice-presidents; Wallace Cox, of a steam-Tiammer that can be together sympathetic HIGH CLASS INSTRUCTORS will read with pleasure the following graded other ex¬ bleak coastal inlet under lowering secretary; Province L. Poguc, treas- to smash a steel bar or to crack an bination... Tbere are, too, In AH Branchos of Music. and impressions left by his recent recital terior studies by Halpert, Myers, clouds. George W, Bruestle, E. W. TERMS REA.SONABLE. uier, Bronson H. Davis. egg; or his fingers stroke the keys so LORENZO FRAIMONT It is to on a writer in The London Daily Ex- (From the Kuehne and Kroll. The "Circus Pa- Redfield, Cullen Yates, Ernest Lawson, SEND FOR PROSi'ECTUS. be hoped that the associa¬ 8oftly that the notes are as painting by Van der Weyden presented by Italy to the tion jiress: resulting rade," by Gifford Beal, and John Sloan's Robert Reid, H. B. Snell, Edraund will pursue a vigorous campaign as the of a people of Belgium) There are some in this world gentle tinkling brook. are Greacen, E. Loyal Field and Martin of weeding out mediocrities, its most things Nor does he his miraclea early work, "Moving Pictures," that are worth and on nccomplish akin in their imbued Rico are others whose work may be i Heller important function. As for its philan- doing, Saturday without exertion. I School and appeal. Botigare Klein physical say noth¬ two from the School of ber and a seen here the next afternoon I rode miles on 31, program announced as "Aa with human interest. Thera is a rem- throughout two Piano Instouction, thropic aims in fostering young talent, twenty-five of the mental of Accompanist, Coach tramcars and omnibuses in order to ing astounding labor Landscape Architecture. Professor Afternoon of Fairy Tales," to be given iniscent note of romance in the latter months. nd Two Piano Enscmble Classes. have not most of the musical titans all the music he Edward C. Moore will of this and hear Benno Molseivitsch play the remembering played accompany the February 18, will be under Mr.
Recommended publications
  • Rachmaninoff's Rhapsody on a Theme By
    RACHMANINOFF’S RHAPSODY ON A THEME BY PAGANINI, OP. 43: ANALYSIS AND DISCOURSE Heejung Kang, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Pamela Mia Paul, Major Professor and Program Coordinator Stephen Slottow, Minor Professor Josef Banowetz, Committee Member Steven Harlos, Interim Chair of Piano Jessie Eschbach, Chair of Keyboard Studies James Scott, Dean of the College of Music Sandra L. Terrill, Interim Dean of the Robert B. Toulouse School of Graduate Studies Kang, Heejung, Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43: Analysis and Discourse. Doctor of Musical Arts (Performance), May 2004, 169 pp., 40 examples, 5 figures, bibliography, 39 titles. This dissertation on Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43 is divided into four parts: 1) historical background and the state of the sources, 2) analysis, 3) semantic issues related to analysis (discourse), and 4) performance and analysis. The analytical study, which constitutes the main body of this research, demonstrates how Rachmaninoff organically produces the variations in relation to the theme, designs the large-scale tonal and formal organization, and unifies the theme and variations as a whole. The selected analytical approach is linear in orientation - that is, Schenkerian. In the course of the analysis, close attention is paid to motivic detail; the analytical chapter carefully examines how the tonal structure and motivic elements in the theme are transformed, repeated, concealed, and expanded throughout the variations. As documented by a study of the manuscripts, the analysis also facilitates insight into the genesis and structure of the Rhapsody.
    [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]
  • 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.
    [Show full text]
  • Download Booklet
    111116 bk Moiseiwitsch10 9/6/06 11:33 AM Page 5 current recital programme opened with Bach’s recording was made and published. There were also two ADD Chromatic Fantasy and Fugue and Beethoven’s unissued recordings of Schumann’s Carnaval Op. 9 ‘Moonlight’ Sonata followed by a group of short pieces mentioned above whilst Brahms’s Variations and Great Pianists • Moiseiwitsch 10 8.111116 by Stravinsky, Eugene Goossens, Moszkowski, Chopin Fugue on a theme by Handel Op. 24, was first set down and Palmgren, with Liszt’s Mephisto Waltz concluding in January 1925, then as an early electric recording in the concert. October of the same year, but the published version was Two popular encores by Moszkowski and Delibes not made until March 1930. One major work that did were recorded in March 1922 whilst a session on 4th get issued was of Mendelssohn’s Piano Concerto No. 1 May produced Mussorgsky’s Gopak and Schumann’s in G minor Op. 25, recorded with the Royal Albert Hall ACOUSTIC Traumeswirren. Five days later Moiseiwitsch was at the Orchestra and Sir Landon Ronald in January 1925. In Salle Gaveau in Paris where he gave two recitals, the the 1924-1925 season Moiseiwitsch was playing five RECORDINGS second of which included Liszt’s Piano Sonata in B concertos, No. 1 in B flat minor Op. 23 by Tchaikovsky, minor, Schumann’s Kreisleriana Op. 16, and Chopin’s No. 2 in C minor Op. 18 by Rachmaninov, No. 1 in E Four Ballades. On 13th June he recorded a work that flat by Liszt, Schumann’s Concerto in A minor Op.
    [Show full text]
  • The Changing Reputation and Legacy of John Powell (1882-1963)
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2012 “The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963) Karen Adam Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/2692 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Karen Adam 2012 All Rights Reserved “The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963) A thesis submitted in partial fulfillment of the degree of Master of Arts at Virginia Commonwealth University. by Karen Elizabeth Adam Bachelor of Arts, University of Richmond, 2006 Director: Dr. John T. Kneebone Associate Professor, Virginia Commonwealth University Department of History Virginia Commonwealth University Richmond, Virginia May 2012 Thanks I may have completed this project over several months, but it is the result of a lifetime of accumulated knowledge and experiences. Citations throughout the thesis acknowledge my debt to the scholars and works that came before me. The rest of this page contains my most sincere and heartfelt gratitude toward all others, most particularly to: My Lord and Savior, whose love and grace are sufficient and boundless, and through whom all things are possible. My parents, for listening to everything with patience, insight, and love, and for doing much to encourage me to persevere.
    [Show full text]
  • The AMICA BULLETIN
    The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION NOVEMBER/DECEMBER 2004 VOLUME 41, NUMBER 6 AMICA MINNEAPOLIS 2005 L June 29th - July 3rd (TENTATIVE SCHEDULE) Wednesday, June 29th .:. Registration .:. International Board Meeting .:. Optional half-day sightseeing tour .:. Hospitality Room open .:. Pumper practice Thursday, June 30th .:. Welcome breakfast with Foshay Tower video .:. Foshay Tower and Mill City Museum visit /vintage bus shuttle .:. Lunch on your own .:. Heights Theater: Organ concert, movie and Miss Jane's Parlor .:. Dinner on your own .:. Pumper Contest .:. Hospitality Room open Friday, July 1st .:. Breakfast and James J. Hill House video .:. Pavek Museum of Broadcasting, Chain of Lakes tour, Ron Olsen's Residence .:. Boxlunch at Como Park Pavilion .:. Carousel, Conservatory, Zoo and amusements at Como Park .:. Transportation Museum tour .:. Scandinavian Smorgasbord and tour of James J. Hill House .:. Nicholson House (next door) for dessert, organ concert and fireworks .:. Hospitality Room open Saturday, July 2 nd .:. Breakfast on your own .:. Workshops .:. Lunch on your own .:. Mart and free time .:. Banquet .:. Hospitality room open Sunday, July3rd .:. Farewell Breakfast and Business Meeting .:. Optional Home Tours ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr.
    [Show full text]
  • Download Booklet
    111115 bk Moisei9 6/8/06 11:11 AM Page 4 BEETHOVEN: 0 Andante in F major, WoO 8:31 ADD Sonata No. 8 in C minor, Op. 13 16:09 (Andante favori) ‘Pathétique’ Great Pianists • Moiseiwitsch 9 1 I Grave - Allegro di molto e con brio 6:51 Recorded 25th October 1950 8.111115 2 II Adagio cantabile 4:44 in Studio No. 3, Abbey Road 3 III Rondo allegro 4:33 Matrices 2EA 1516-17; Catalogue C 4099 Recorded 11th September 1941 in Studio No. 3, Abbey Road ! Rondo in C major, Op. 51 No. 1 4:50 BEETHOVEN Matrices 2EA 9466-69; Catalogue C 3246-47 Recorded 15th June 1942, in Studio No. 3, Abbey Road Sonata No. 14 in C sharp minor, 12:48 Matrix 2EA 9878; Catalogue C 3291 Sonata No. 8 Op. 27 No. 2 ‘Moonlight’ 4 I Adagio sostenuto 5:51 5 II Allegretto 2:01 D. SCARLATTI arr. TAUSIG: ‘Pathétique’ 6 III Presto agitato 4:55 @ Pastorale in E minor 1 6:05 and Capriccio in E major 2 Recorded 6th October 1941 Arr. from Sonata in D minor, K.9 (L.413)1 in Studio No. 3, Abbey Road and Sonata in E major, K.20 (L.375)2 Sonata No. 14 Matrices 2EA 9484-86; Catalogue C 3259-60 Recorded 21st February 1927, ‘Moonlight’ Studio C, Queen’s Small Hall Sonata No. 21 in C major, Op. 53 21:08 Matrices Bb 9946-47; Catalogue E 528 ‘Waldstein’ 7 I Allegro con brio 8:15 Sonata No. 21 8 II Introduzione - Adagio molto 3:53 WEBER: 9 III Rondo - Allegretto moderato 9:00 # Sonata No.
    [Show full text]
  • The Impact of Russian Music in England 1893-1929
    THE IMPACT OF RUSSIAN MUSIC IN ENGLAND 1893-1929 by GARETH JAMES THOMAS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham March 2005 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis is an investigation into the reception of Russian music in England for the period 1893-1929 and the influence it had on English composers. Part I deals with the critical reception of Russian music in England in the cultural and political context of the period from the year of Tchaikovsky’s last successful visit to London in 1893 to the last season of Diaghilev’s Ballet russes in 1929. The broad theme examines how Russian music presented a challenge to the accepted aesthetic norms of the day and how this, combined with the contextual perceptions of Russia and Russian people, problematized the reception of Russian music, the result of which still informs some of our attitudes towards Russian composers today. Part II examines the influence that Russian music had on British composers of the period, specifically Stanford, Bantock, Vaughan Williams, Holst, Frank Bridge, Bax, Bliss and Walton.
    [Show full text]
  • Rachmaninov (1873-1943)
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Sergei Rachmaninov (1873-1943) Born at Oneg, Novgorod Region. He had piano lessons from an early age but his serious training in composition began at the Moscow Conservatory where he studied counterpoint with Sergei Taneyev and harmony with Anton Arensky. He began to compose and for the rest of his life divided his musical time between composing, conducting and piano playing gaining great fame in all three. After leaving Russia permanently in 1917, the need to make a living made his role as a piano virtuoso predominant. His 4 Piano Concertos, Rhapsody on a Theme of Paganini and substantial solo piano works make him one of the world's most-performed composers. However, he also composed operas and liturgical choral works as well as other pieces for orchestra, chamber groups and voice. Piano Concerto No. 1 in F-sharp minor, Op. 1 (1892, rev. 1917) Leif Ove Andsnes (piano)/Antonio Pappano/Berlin Philharmonic Orchestra ( + Piano Concerto No. 2) EMI CLASSICS 74813-2 (2005) Agustin Anievas (piano)/Rafael Frühbeck de Burgos/New Philharmonia Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Prelude in C-sharp minor, 10 Preludes and 12 Preludes) EMI CLASSICS TRIPLE 5 00871-2 (2007) (original LP release: ANGEL SCB 3801 {3 LPs}) (1973) Vladimir Ashkenazy (piano)/Bernard Haitink/Royal Concertgebouw Orchestra (+ Rhapsody on a Theme of Paganini) DECCA 417613-2 (1987) Vladimir Ashkenazy (piano)/André Previn/London Symphony Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Variations on a Theme of Corelli and Piano Sonata No.
    [Show full text]
  • Music of John Powell Roy Hamlin Johnson, Piano
    Music of John Powell Roy Hamlin Johnson, piano Sonate Psychologique, Op. 15 (1905) Variations and Double-Fugue on a Theme of F. C. Hahr, Op. 20 (1907) JOHN POWELL (b. 1882, Richmond, Va., d. 1963, Charlottesville) was a concert pianist, composer, and eloquent advocate of an American national music based on the folk music of his native South. Most important among his works derived from that source are the Rhapsodie Nègre (1918)—inspired by Joseph Conrad's Heart of Darkness—and the Symphony in A (1945). Before World War I, he also wrote in what he then termed "classical," i.e. German Post-Romantic style. The climax of that period is the 62-minute Sonata Teutonica, Op. 24 (1913)—abridged, recorded (CRI 368), and published (Oxford University Press, 1983) by the undersigned. The two compositions on the present disc, plus the Sonata Noble, Op. 21 (1908), form the rest of his major "classical" works for solo piano. With the exception of the Hahr Variations, all of this genre includes extra-musical references-, the most elaborate of these items, by far, are the program notes which accompany Teutonica. Next in line in this regard are the various headings in the unpublished SONATE PSYCHOLOGIQUE, OP. 15 (1905), a work written while Powell was studying piano with Theodor Leschetizky in Vienna (1902-1907). The sonata is dedicated "To Warrington Dawson," a fellow Southerner. Its original title was in German (Psychologische Sonate), as was its motto ("On the text of St. Paul: 'The Wages of Sin is Death.'"). The movement headings are given in a mixture of German, Italian, French, and Greek (the bracketed translations and key indications are this writers): I.
    [Show full text]
  • Piano Rolls and Contemporary Player Pianos: the Catalogues, Technologies, Archiving and Accessibility
    Piano Rolls and Contemporary Player Pianos: The Catalogues, Technologies, Archiving and Accessibility Peter Phillips A Thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Historical Performance Unit Sydney Conservatorium of Music University of Sydney 2016 i Peter Phillips – Piano Rolls and Contemporary Player Pianos Declaration I declare that the research presented in this thesis is my own original work and that it contains no material previously published or written by another person. This thesis contains no material that has been submitted to any other institution for the award of a higher degree. All illustrations, graphs, drawings and photographs are by the author, unless otherwise cited. Signed: _______________________ Date: 2___________nd July 2017 Peter Phillips © Peter Phillips 2017 Permanent email address: [email protected] ii Peter Phillips – Piano Rolls and Contemporary Player Pianos Acknowledgements A pivotal person in this research project was Professor Neal Peres Da Costa, who encouraged me to undertake a doctorate, and as my main supervisor, provided considerable and insightful guidance while ensuring I presented this thesis in my own way. Professor Anna Reid, my other supervisor, also gave me significant help and support, sometimes just when I absolutely needed it. The guidance from both my supervisors has been invaluable, and I sincerely thank them. One of the greatest pleasures during the course of this research project has been the number of generous people who have provided indispensable help. From a musical point of view, my colleague Glenn Amer spent countless hours helping me record piano rolls, sharing his incredible knowledge and musical skills that often threw new light on a particular work or pianist.
    [Show full text]
  • Celebrate Beethoven Catalogue Ludwig Van Beethoven (1770–1827)
    CELEBRATE BEETHOVEN CATALOGUE LUDWIG VAN BEETHOVEN (1770–1827) Born in Bonn in 1770, the eldest son of a singer in the Kapelle of the Archbishop-Elector of Cologne and grandson of the Archbishop’s Kapellmeister, Beethoven moved in 1792 to Vienna. There he had some lessons from Haydn and others, quickly establishing himself as a remarkable keyboard player and original composer. By 1815 increasing deafness had made public performance impossible and accentuated existing eccentricities of character, patiently tolerated by a series of rich patrons and his royal pupil the Archduke Rudolph. Beethoven did much to enlarge the possibilities of music and widen the horizons of later generations of composers. To his contemporaries he was sometimes a controversial figure, making heavy demands on listeners by both the length and the complexity of his writing, as he explored new fields of music. Beethoven’s monumental contribution to Western classical music is celebrated here in this definitive collection marking the 250th anniversary of the composer’s birth. ThisCELEBRATE BEETHOVEN catalogue contains an impressive collection of works by this master composer across the Naxos Music Group labels. Contents ORCHESTRAL .......................................................................................................................... 3 CONCERTOS ........................................................................................................................ 13 KEYBOARD ...........................................................................................................................
    [Show full text]