ABSTRACT Title of Dissertation: NATIONAL
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Selected Intermediate-Level Solo Piano Music Of
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Selected intermediate-level solo piano music of Enrique Granados: a pedagogical analysis Harumi Kurihara 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 Kurihara, Harumi, "Selected intermediate-level solo piano music of Enrique Granados: a pedagogical analysis" (2005). LSU Doctoral Dissertations. 3242. https://digitalcommons.lsu.edu/gradschool_dissertations/3242 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]. SELECTED INTERMEDIATE-LEVEL SOLO PIANO MUSIC OF ENRIQUE GRANADOS: A PEDAGOGICAL ANALYSIS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Doctor of Musical Arts in The School of Music by Harumi Kurihara B.M., Loyola University, New Orleans, 1993 M.M.,University of New Orleans, 1997 August, 2005 ACKNOWLEDGMENTS I would like to express my sincere appreciation to my major professor, Professor Victoria Johnson for her expert advice, patience, and commitment to my monograph. Without her help, I would not have been able to complete this monograph. I am also grateful to my committee members, Professors Jennifer Hayghe, Michael Gurt, and Jeffrey Perry for their interest and professional guidance in making this monograph possible. I must also recognize the continued encouragement and support of Professor Constance Carroll who provided me with exceptional piano instruction throughout my doctoral studies. -
Music in the Time of Goya
Music in the Time of Goya Programme ‘Goyescas’: Music in the Time of Goya Some of the greatest names in classical music support the Iberian and Latin American Music Society with their membership 2 November 2016, 7.00pm José Menor piano Daniel Barenboim The Latin Classical Chamber Orchestra featuring: Argentine pianist, conductor Helen Glaisher-Hernández piano | Elena Jáuregui violin | Evva Mizerska cello Nicole Crespo O’Donoghue violin | Cressida Wislocki viola and ILAMS member with special guest soloists: Nina Corti choreography & castanets Laura Snowden guitar | Christin Wismann soprano Opening address by Jordi Granados This evening the Iberian and Latin American Music Society (ILAMS) pays tribute to one of Spain’s most iconic composers, Enrique Granados (1867–1916) on the centenary year of his death, with a concert programme inspired by Granados’ greatest muse, the great Spanish painter Francisco de Goya y Lucientes (1746–1828), staged amidst the Baroque splendour of St John’s Smith Square – a venue which, appropriately, was completed not long before Goya’s birth, in 1728. Enrique Granados To pay homage to Granados here in London also seems especially fi tting given that the great Composer spent his fi nal days on British shores. Granados Will you drowned tragically in the English Channel along with his wife Amparo after their boat, the SS Sussex, was torpedoed by the Germans. At the height of his join them? compositional powers, Granados had been en route to Spain from New York where his opera, Goyescas, had just received its world premiere, and where he had also given a recital for President Woodrow Wilson; in his lifetime Granados was known as much for his virtuoso piano playing as for his talent as a composer. -
Colombian Nationalism: Four Musical Perspectives for Violin and Piano
COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada. -
Granados: Goyescas
Goyescas Enrique Granados 1. Los Requiebros [9.23] 2. Coloquio en La Reja [10.53] 3. El Fandango de Candil [6.41] 4. Quejas, ó la Maja y el Ruiseñor [6.22] 5. El Amor y la Muerte: Balada [12.43] 6. Epilogo: Serenata del Espectro [7.39] Total Timings [54.00] Ana-Maria Vera piano www.signumrecords.com The Goyescas suite has accompanied me throughout with her during the recording sessions and felt G my life, and I always knew that one day I would generous and grounded like never before. The music attempt to master it.The rich textures and came more easily as my perspectives broadened aspiring harmonies, the unfurling passion and I cared less about perfection. Ironically this is tempered by restraint and unforgiving rhythmic when you stand the best chance of approaching precision, the melancholy offset by ominous, dark your ideals and embracing your audience. humour, the elegance and high drama, the resignation and the hopefulness all speak to my sense of © Ana-Maria Vera, 2008 being a vehicle, offeeling the temperature changes, the ambiguity, and the emotion the way an actor might live the role of a lifetime. And so this particular project has meant more to me than almost any in my career. Catapulted into the limelight as a small child, I performed around the globe for years before realising I had never had a chance to choose a profession for myself. Early success, rather than going to my head, affected my self-confidence as a young adult and I began shying away from interested parties, feeling the attention wasn't deserved and therefore that it must be of the wrong kind. -
Chopin and Poland Cory Mckay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1
Chopin and Poland Cory McKay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1 The nineteenth century was a time when he had a Polish mother and was raised in people were looking for something new and Poland, his father was French. Finally, there exciting in the arts. The Romantics valued is no doubt that Chopin was trained exten- the exotic and many artists, writers and sively in the conventional musical styles of composers created works that conjured im- western Europe while growing up in Poland. ages of distant places, in terms of both time It is thus understandable that at first glance and location. Nationalist movements were some would see the Polish influence on rising up all over Europe, leading to an em- Chopin's music as trivial. Indeed, there cer- phasis on distinctive cultural styles in music tainly are compositions of his which show rather than an international homogeneity. very little Polish influence. However, upon Fryderyk Franciszek Chopin used this op- further investigation, it becomes clear that portunity to go beyond the conventions of the music that he heard in Poland while his time and introduce music that had the growing up did indeed have a persistent and unique character of his native Poland to the pervasive influence on a large proportion of ears of western Europe. Chopin wrote music his music. with a distinctly Polish flare that was influ- The Polish influence is most obviously ential in the Polish nationalist movement. seen in Chopin's polonaises and mazurkas, Before proceeding to discuss the politi- both of which are traditional Polish dance cal aspect of Chopin's work, it is first neces- forms. -
Tchaikovsky.Pdf
Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day. -
Agosto-Setembro
GIANCARLO GUERRERO REGE O CONCERTO PARA PIANO EM LÁ MENOR, DE GRIEG, COM O SOLISTA DMITRY MAYBORODA RECITAIS OSESP: O PIANISTA DMITRY MAYBORODA APRESENTA PEÇAS DE CHOPIN E RACHMANINOV FABIO MARTINO É O SOLISTA NO CONCERTO Nº 5 PARA PIANO, DE VILLA-LOBOS, SOB REGÊNCIA DE EDIÇÃO CELSO ANTUNES Nº 5, 2014 TIMOTHY MCALLISTER INTERPRETA A ESTREIA LATINO-AMERICANA DO CONCERTO PARA SAXOFONE, DE JOHN ADAMS, COENCOMENDA DA OSESP, SOB REGÊNCIA DE MARIN ALSOP OS PIANISTAS BRAD MEHLDAU E KEVIN HAYS APRESENTAM O PROGRAMA ESPECIAL MODERN MUSIC RECITAIS OSESP: JEAN-EFFLAM BAVOUZET, ARTISTA EM RESIDÊNCIA 2014, APRESENTA PEÇAS PARA PIANO DE BEETHOVEN, RAVEL E BARTÓK MÚSICA NA CABEÇA: ENCONTRO COM O COMPOSITOR SERGIO ASSAD O QUARTETO OSESP, COM JEAN-EFFLAM BAVOUZET, APRESENTA A ESTREIA MUNDIAL DE ESTÉTICA DO FRIO III - HOMENAGEM A LEONARD BERNSTEIN, DE CELSO LOUREIRO CHAVES, ENCOMENDA DA OSESP ISABELLE FAUST INTERPRETA O CONCERTO PARA VIOLINO, DE BEETHOVEN, E O CORO DA OSESP APRESENTA TRECHOS DE ÓPERAS DE WAGNER, SOB REGÊNCIA DE FRANK SHIPWAY CLÁUDIO CRUZ REGE A ORQUESTRA DE CÂMARA DA OSESP NA INTERPRETAÇÃO DA ESTREIA MUNDIAL DE SONHOS E MEMÓRIAS, DE SERGIO ASSAD, ENCOMENDA DA OSESP COM SOLOS DE NATAN ALBUQUERQUE JR. A MEZZO SOPRANO CHRISTIANNE STOTIJN INTERPRETA CANÇÕES DE NERUDA, DE PETER LIEBERSON, SOB REGÊNCIA DE LAWRENCE RENES MÚSICA NA CABEÇA: ENCONTRO COM O COMPOSITOR CELSO LOUREIRO CHAVES JUVENTUDE SÔNICa – UM COMPOSITOR EM Desde 2012, a Revista Osesp tem ISSN, BUSCA DE VOZ PRÓPRIA um selo de reconhecimento intelectual JOHN ADAMS 4 e acadêmico. Isso significa que os textos aqui publicados são dignos de referência na área e podem ser indexados nos sistemas nacionais e AGO ago internacionais de pesquisa. -
1 Concert 2 – Nordic Triumph November 16, 2019 Overture To
Concert 2 – Nordic Triumph November 16, 2019 Overture to Maskarade —Carl Nielsen Carl Nielsen is now acknowledged as Denmark’s most distinguished composer, and more than deserving to take his place with Grieg and Sibelius in the pantheon of Scandinavia’s long-revered composers. It was not always so, of course, and it was not until the middle of the twentieth century that his music enjoyed broad admiration, study, and performance. Not that he ever languished in obscurity, for by his forties, he was regarded as Denmark’s leading musician. He grew up in modest circumstances— certainly not a prodigy—studied assiduously, played in several unpretentious ensembles on various instruments, and began composing in small forms. He was intellectually curious, reading and pondering philosophy, history, and literature, and it must be said, was profoundly aided in his overall growth as a composer and in general intellectual sophistication by his long marriage to a remarkable woman. His wife, Anne Marie Brodersen, was a recognized major sculptor, a “strong- willed and modern-minded woman” who was relentless in the pursuit of her own, very successful career as an artist. Her independence—and penchant for frequently leaving the family to pursue her own career—impacted the tranquility of the marriage, without doubt. But, she was a stimulating, strong partner that unquestionably aided in his development into an artist of spiritual depth and sophistication. Nielsen’s reputation outside of Denmark is largely sustained by his six symphonies—Leonard Bernstein was an influential international champion of them—but he composed actively in almost all major genres. -
Edvard Grieg: Between Two Worlds Edvard Grieg: Between Two Worlds
EDVARD GRIEG: BETWEEN TWO WORLDS EDVARD GRIEG: BETWEEN TWO WORLDS By REBEKAH JORDAN A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Rebekah Jordan, April, 2003 MASTER OF ARTS (2003) 1vIc1vlaster University (1vIllSic <=riticisIll) HaIllilton, Ontario Title: Edvard Grieg: Between Two Worlds Author: Rebekah Jordan, B. 1vIus (EastIllan School of 1vIllSic) Sllpervisor: Dr. Hllgh Hartwell NUIllber of pages: v, 129 11 ABSTRACT Although Edvard Grieg is recognized primarily as a nationalist composer among a plethora of other nationalist composers, he is much more than that. While the inspiration for much of his music rests in the hills and fjords, the folk tales and legends, and the pastoral settings of his native Norway and his melodic lines and unique harmonies bring to the mind of the listener pictures of that land, to restrict Grieg's music to the realm of nationalism requires one to ignore its international character. In tracing the various transitions in the development of Grieg's compositional style, one can discern the influences of his early training in Bergen, his four years at the Leipzig Conservatory, and his friendship with Norwegian nationalists - all intricately blended with his own harmonic inventiveness -- to produce music which is uniquely Griegian. Though his music and his performances were received with acclaim in the major concert venues of Europe, Grieg continued to pursue international recognition to repudiate the criticism that he was only a composer of Norwegian music. In conclusion, this thesis demonstrates that the international influence of this so-called Norwegian maestro had a profound influence on many other composers and was instrumental in the development of Impressionist harmonies. -
Program Notes - by Cathy Wolfson 1 Festival Psalter - Allen Koepke (1939 - 2012) Was Born and Raised in Iowa
Dr. Jeffry A. Jahn Music Director Gregg Reynolds Accompanist Moments in time April 2013 Festival Psalter Allen Koepke (1939 - 2012) If Ye Love Me Thomas Tallis (c.1505 – 1585) Ave Verum Corpus William Byrd (b?1543 – 1623) Three Madrigals Emma Lou Diemer (b.1927) “O Mistress Mine, Where Are You Roaming?” “Take, O Take Those Lips Away” “Sigh No More, Ladies, Sigh No More!” Tenebrae factae sunt Johann Michael Haydn (1737 – 1806) Festival Te Deum Benjamin Britten (1913 – 1976) Interval Våren (Spring) Edvard Grieg (1843 – 1907)/arr. Paul Christiansen How fair is Thy face Edvard Grieg Ave Maria Giuseppe Verdi (1813 – 1901) “Va, pensiero” (Chorus of the Hebrew Slaves) Giuseppe Verdi from Nabucco Bridal Chorus, from Lohengrin Richard Wagner (1813 – 1883) My Song in the Night arr. Paul Christiansen Feller From Fortune arr. Henry Somers Wayfaring Stranger arr. Alice Parker What Would You Do If You Married a Soldier? arr. Mack Wilberg Alleluia Ralph Manuel (b.1951) Program Notes - by Cathy Wolfson 1 Festival Psalter - Allen Koepke (1939 - 2012) was born and raised in Iowa. He received a master’s degree from the University of Northern Iowa, was Director of Choral Music at St. Mark’s Lutheran Church in Cedar Rapids, and taught for 16 years at Kirkwood Community College as Professor Emeritus. He received a number of awards for his compositions and teaching excellence, including “Iowa Professor of the Year” by the Carnegie Foundation for the Advancement of Teaching and “Innovator of the Year” by the national organization, “League For Innovation.” Festival Psalter is based upon texts from Psalm 98: 5-10, Psalm 100: 2, and Psalm 29: 11. -
Rethinking the Dynamics of Music and Nationalism
Rethinking the Dynamics of Music and Nationalism University of Amsterdam, 26-29 September 2017 Conference Booklet Organizational committee: Prof. dr. Joep Leerssen, Professor of Modern European Literature, University of Amsterdam dr. Kasper van Kooten, Postdoctoral Research Fellow, University of Amsterdam 1 Table of Contents: Schedule p. 3 Abstracts p. 10 Practical Information p. 44 2 Schedule: Tuesday 26 September Opening of Conference Location: Vlaams Cultuurhuis De Brakke Grond, Nes 45, 1012 KD Amsterdam (close to Dam Square) 18.30 Registration, coffee and tea 19.00 Kasper van Kooten, Postdoctoral research fellow, Modern European Literature, University of Amsterdam – Welcome and introduction 19.05 Katharine Ellis, Professor of Music, University of Cambridge – Nationalism, Ethnic Nationalism, and the Third Republic’s Folk Music Problem 19.50 Joep Leerssen, Professor of Modern European Literature, University of Amsterdam – The Persistence of Voice: Instrumental Music and Romantic Orality of the Late John Neubauer (1933-2015) 20.10 Krisztina Lajosi-Moore, Assistant Professor in Modern European Literature and Culture, University of Amsterdam, and Kasper van Kooten – Opera and National Identity-Articulation in Germany and Hungary 20.30 – 21.15 Audience questions and panel discussion – The Outer Edges of National-Classical Music: Territory, Society, Tradition 21.15 - 22.00 Drinks 3 Wednesday 27 September Location: De Rode Hoed, Cultureel Centrum, Keizersgracht 102, 1015 CV Amsterdam Room: Vrijburgzaal Banningzaal 09.00-10.00 Keynote: Graeme -
Musically Russian: Nationalism in the Nineteenth Century Joshua J
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:40 PM - 4:00 PM Musically Russian: Nationalism in the Nineteenth Century Joshua J. Taylor Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons Taylor, Joshua J., "Musically Russian: Nationalism in the Nineteenth Century" (2016). The Research and Scholarship Symposium. 4. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/4 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Musically Russian: Nationalism in the Nineteenth Century What does it mean to be Russian? In the eighteenth and early nineteenth centuries, Russian nobility was engrossed with French culture. According to Dr. Marina Soraka and Dr. Charles Ruud, “Russian nobility [had a] weakness for the fruits of French civilization.”1 When Peter the Great came into power in 1682-1725, he forced Western ideals and culture into the very way of life of the aristocracy. “He wanted to Westernize and modernize all of the Russian government, society, life, and culture… .Countries of the West served as the emperor’s model; but the Russian ruler also tried to adapt a variety of Western institutions to Russian needs and possibilities.”2 However, when Napoleon Bonaparte invaded Russia in 1812, he threw the pro- French aristocracy in Russia into an identity crisis.