AMERICAN CLASSICS Elliott CARTER
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Elliott Carter Works List
W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) .................................................. -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
A Study of Tyzen Hsiao's Piano Concerto, Op. 53
A Study of Tyzen Hsiao’s Piano Concerto, Op. 53: A Comparison with Rachmaninoff’s Piano Concerto No. 2 D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Lin-Min Chang, M.M. Graduate Program in Music The Ohio State University 2018 D.M.A. Document Committee: Professor Steven Glaser, Advisor Dr. Anna Gowboy Dr. Kia-Hui Tan Copyright by Lin-Min Chang 2018 2 ABSTRACT One of the most prominent Taiwanese composers, Tyzen Hsiao, is known as the “Sergei Rachmaninoff of Taiwan.” The primary purpose of this document is to compare and discuss his Piano Concerto Op. 53, from a performer’s perspective, with the Second Piano Concerto of Sergei Rachmaninoff. Hsiao’s preferences of musical materials such as harmony, texture, and rhythmic patterns are influenced by Romantic, Impressionist, and 20th century musicians incorporating these elements together with Taiwanese folk song into a unique musical style. This document consists of four chapters. The first chapter introduces Hsiao’s biography and his musical style; the second chapter focuses on analyzing Hsiao’s Piano Concerto Op. 53 in C minor from a performer’s perspective; the third chapter is a comparison of Hsiao and Rachmaninoff’s Piano Concertos regarding the similarities of orchestration and structure, rhythm and technique, phrasing and articulation, harmony and texture. The chapter also covers the differences in the function of the cadenza, and the interaction between solo piano and orchestra; and the final chapter provides some performance suggestions to the practical issues in regard to phrasing, voicing, technique, color, pedaling, and articulation of Hsiao’s Piano Concerto from the perspective of a pianist. -
A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels
Graduate Theses, Dissertations, and Problem Reports 2017 A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels Achareeya Fukiat Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Fukiat, Achareeya, "A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels" (2017). Graduate Theses, Dissertations, and Problem Reports. 5630. https://researchrepository.wvu.edu/etd/5630 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A SURVEY OF SELECTED PIANO CONCERTI FOR ELEMENTARY, INTERMEDIATE, AND EARLY-ADVANCED LEVELS Achareeya Fukiat A Doctoral Research Project submitted to College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger, -
R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research. -
The Evolution of Elliott Carter's Rhythmic Practice Author(S): Jonathan W. Bernard Source: Perspectives of New Music, Vol. 26, No
The Evolution of Elliott Carter's Rhythmic Practice Author(s): Jonathan W. Bernard Source: Perspectives of New Music, Vol. 26, No. 2 (Summer, 1988), pp. 164-203 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833189 Accessed: 07/02/2010 18:10 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org THE EVOLUTIONOF ELLFTOTTCARTER'S RHYTHMICPRACTICE JONATHANW. BERNARD INTRODUCTION ELLIOTT CARTER'SWORK over the past forty years has made him per- haps the most eminent living American composer, and certainly one of the most important composers of art music in the Western world. -
Carter US 15/11/07 19:27 Page 4
559362 bk Carter US 15/11/07 19:27 Page 4 Pacifica Quartet AMERICAN CLASSICS Simin Ganatra, Violin I • Sibbi Bernhardsson, Violin II Masumi Per Rostad, Viola • Brandon Vamos, Cello Recognized for its virtuosity, exuberant performance style, and often daring repertory choices, the Pacifica Quartet has carved out a compelling musical path. Since the group first came together in 1994, the ensemble has swept top Elliott prizes in several leading international competitions from the Cleveland Quartet Award to the Naumburg. In 2006, the Pacifica was awarded the prestigious Avery Fisher Career Grant, only the second chamber music ensemble ever to be selected. The Pacifica Quartet tours extensively throughout the United States, Europe, and the Far East, with frequent CARTER broadcasts. Prolific in the recording studio, the quartet’s acclaimed recordings include the complete string quartets of Mendelssohn, Dvofiák chamber works, and the complete quartets of Easley Blackwood. Recitals include cycles of the complete string quartets of Beethoven. The Pacifica was appointed a member of The Chamber Music Society of String Quartets Nos. 1 and 5 Lincoln Center’s CMS Two programme for gifted young musicians in 2002. The Quartet is an ardent advocate of contemporary music, commissioning and performing as many as eight new works a year. A champion of the string quartets of Elliott Carter, the ensemble has distinguished itself with performances of the complete cycle of five Pacifica Quartet quartets in New York, San Francisco, Chicago, and Cleveland, and abroad in Japan, Germany, and the Edinburgh International Festival. As resident string quartet for Contempo, one of the country’s leading contemporary music organizations, the Quartet presents a series of concerts each year devoted exclusively to new music. -
Bassoon Pedagogy: a Panel Discussion at the 2003 IDRS Conference
Bassoon Pedagogy: A Panel Discussion at the 2003 IDRS Conference By: Michael Burns Burns, Michael. “Bassoon Pedagogy: Report on the Pedagogy Round Table.” The Double Reed, vol. 27-2, 2004. Made available courtesy of International Double Reed Society: http://www.idrs.org/publications/ ***Note: This version of the document is not the copy of record. ***Note: Figures may be missing from this format of the document The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one of the events consisted of a Bassoon Pedagogy Round Table in which several distinguished international panellists were asked to discuss aspects of bassoon pedagogy in front of an audience. Prior to the conference. each panellist was sent a list of questions to answer by the moderator and co-host of IDRS 2003. Michael Burns, The following are the answers to those questions sent in advance and dispersed at the round-table as a handout. Burns then asked each of the panelists to illuminate their answers more in person which led to some wonderful additional inter- :haw amongst these bassoonists as well as question and answer sessions with the audience. I would like to once again thank my colleagues for their expertise and willingness to share their ideas. The panel consisted of: Meyrick Alexander, principal Philharmonia Orchestra, bassoon professor. Guildhall School of Music and Drama. London Judith Farmer, principal Santa Barbara Chamber Orchestra. bassoon professor. University of Southern California. Kiyoshi Koyama. principal Japan Philharmonic Symphony Orchestra Kim Walker, bassoon professor. Indiana University. International soloist Liu Zhaolu, principal Shanghai Symphony, bassoon professor, Shanghai Conservatory of Music MYRICK ALEXANDER'S ANSWERS How do you leach technique on the bassoon? I provide students with a quick and simple daity routine of scales and exercises which produces a retiable. -
108-Oppens-Plays-Carter-Booklet.Pdf
Ellliott Carter (b. 1908) 1 90+ (1994) (4:55) 2 Retrouvailles (2000) (1:38) 3 Night Fantasies (1980) (19:48) Producer & Engineer: Judith Sherman Engineering & Editing Assistant: Jeanne Velonis Two Diversions (1999) (7:28) Graphic Design: Melanie Germond 4 I. (4:03) 5 Cover Photo: Christian Steiner II. (3:21) Photo of Elliott Carter and Ursula Oppens (p. 3 & traycard): Malcolm Addey 6 Matribute* (2007) (2:05) Recorded February 4–8, 2008, at the American Academy of Arts and Letters, NYC OPPENS Piano Sonata (1945–46) (23:31) Steinway Piano 7 I. Maestoso; Legato scorrevole (10:22) PLAYS Publishers: 8 II. Andante (13:03) 90+, Retrouvailles, Two Diversions for Piano, Two Thoughts about Piano (Caténaires and CARTER Intermittences): Hendon Music, Inc Two Thoughts About the Piano (2005–06) (10:55) Night Fantasies: Associated Music Publishers 9 Intermittences (7:04) Matribute: Boosey & Hawkes, Inc. bk ELLIOTT Piano Sonata: Theodore Pressser Company Caténaires* (3:48) Total: (70:53) CARTER Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. AT 100 The Chicago Classical Recording Foundation’s activities are supported in part by contributions Ursula Oppens piano and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, *World Premiere Recording THE Negaunee Foundation, Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. COMPLETE Contributions to The Chicago Classical Recording Foundation may be made at PIANO www.cedillerecords.org or 773-989-2515. -
Composer Brochure
CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time. -
Music 785 Repertory, Spring 2012 Page 1
Music 785 Repertory, Spring 2012 Page 1 Repertory Studied, Spring 2012 (*) Indicates that you are responsible for identifying the movements of the work. Aaron Copland (1900-1990) M1613.3 C66 A8 LP 8794 5:09 As it Fell Upon a Day (1923) for soprano, flute and clarinet M1010.C6 C6 Circ CD 981 16:19 Piano Concerto (1926) 6:38 I. Andante sostenuto 9:31 II. Molto moderato (molto rubato) M27.C67 V2 Circ CD 3316 12:28 Piano Variations (1930) (*) M1001.C78 S92 Circ CD 425 15:28 Short Symphony (1933) 4:29 Allegro vivace 5:16 Lento 5:47 Finale: Precise and rhythmic M624.C65 S9 Sextet (revision of Short Symphony) M1003.C78 B5 Circ CD 5918 21:16 Billy the Kid, ballet (1938) 3:07 1. Introduction: The Open Prairie 6:37 2. Street in a Frontier Town 3:04 3. Prairie Night (Card Game at Night) 1:58 4. Gun Battle 2:07 5. Celebration (after Billy’s Capture) 2:52 6. The Open Prairie Again M1045.C77 C7 Circ CD 981 19:11 Connotations (1961-62) M25.C67 M5 Circ CD 3316 2:41 Proclamation (1973-82) Roger Sessions (1896-1985) M1003.S5 B5 Circ CD 4870 22:01 Orchestral Suite from "The Black Maskers" (1923) also Circ CD 430 4:14 I. Dance 7:51 II. Scene 3:46 III. Dirge 5:50 IV. Finale (*) M1001.S48 S91 Circ CD 154 18:00 Symphony No. 1 (1929) 5:35 I. Guisto 7:23 II. Largo 5:33 III. Allegro Vivace M24.S48 F7 Circ CD 262 8:20 From My Diary (1937-40) for piano 2:45 I - To Milton Babbitt 2:38 II - To Edward T. -
Download Program Notes
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair ALL-MOZART PROGRAM enerations of listeners have found spe- ey management — in recent years he had Gcial poignancy in the music Wolfgang turned to friends to help him weather dry Amadeus Mozart composed in 1791, the year spells in his cash flow — but he was in no in which he celebrated his 35th birthday way impoverished, and his family was living and, ten and a half months later, was buried in a generally comfortable middle-class life. He an unmarked grave. The pathos is all but irre- had good reason to feel positively about the sistible, and in retrospect one finds it tempting direction his career was taking. Since late to imagine that his music of that year foretells 1787 he had enjoyed a salaried appointment the tragedy that lay around the bend. Howev- (with few obligations) as composer to the er, until his very last weeks Mozart had no rea- Imperial-Royal Chamber Music of Emperor son to imagine that he would be dying anytime Joseph II. What’s more, in May 1791 he was soon. Many of his works from that year are not appointed assistant music director of St. Ste- at all melancholy, including some charming phen’s Cathedral, the major church in Vien- songs, a pleasant set of keyboard variations, a na. That brought him no immediate income, couple of pieces for mechanical musical clock, but it set him up to take over the music di- the String Quintet in E-flat major, and no fewer rectorship should the position open up — than 35 genial minuets, German dances, con- which seemed imminent given the age and tradances, and Ländler.