DOCSLIB.ORG

Thedor Kullak's "Scenes from Childhood," Op. 62, and Op. 81: a Pedagogical Guide Jennifer Lynn Kottke Southern Illinois University Carbondale, [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thedor Kullak's Southern Illinois University Carbondale OpenSIUC Theses Theses and Dissertations 8-1-2015 Thedor Kullak's "Scenes from Childhood," Op. 62, and Op. 81: A Pedagogical Guide Jennifer Lynn Kottke Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/theses Recommended Citation Kottke, Jennifer Lynn, "Thedor Kullak's "Scenes from Childhood," Op. 62, and Op. 81: A Pedagogical Guide" (2015). Theses. Paper 1749. This Open Access Thesis is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THEODOR KULLAK'S "SCENES FROM CHILHOOD," OP. 62, AND OP. 81: A PEDAGOGICAL GUIDE by Jennifer Kottke B.A., Carroll University, 2010 M.M., Southern Illinois University, 2015 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Music. Department of Music in the Graduate School Southern Illinois University Carbondale August 2015 THESIS APPROVAL THEODOR KULLAK'S "SCENES FROM CHILDHOOD," OP. 62, AND OP. 81: A PEDAGOGICAL GUIDE By Jennifer Kottke A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Music Approved by: Dr. Cully Bell, Chair Dr. Yuko Kato Dr. Paul Transue Graduate School Southern Illinois University Carbondale May 2015 AN ABSTRACT OF THE THESIS OF JENNIFER KOTTKE, for the Master of Music degree in MUSIC, presented on MAY 13, 2015, at Southern Illinois University Carbondale. TITLE: THEODOR KULLAK'S "SCENES FROM CHILDHOOD," OP. 62 AND OP. 81: A PEDAGOGICAL GUIDE MAJOR PROFESSOR: Dr. Cully Bell Theodor Kullak (September 12, 1818 - March 1, 1882) composed "Scenes from Childhood," Op. 62 and Op. 81 for young piano students. This thesis is a guide for teaching these pieces to intermediate piano students. Following Kullak's biography, aspects of note-reading, fingering, rhythm, technique, and musicality are discussed and illustrated in specific examples from the music. i TABLE OF CONTENTS CHAPTER PAGE ABSTRACT ..................................................................................................................................... i LIST OF FIGURES ....................................................................................................................... iii CHAPTERS CHAPTER 1 – Introduction and Biography ........................................................................1 CHAPTER 2 – Note-Reading and Fingering.......................................................................5 CHAPTER 3 – Rhythm .....................................................................................................15 CHAPTER 4 – Technique .................................................................................................24 CHAPTER 5 – Musicality .................................................................................................32 BIBLIOGRAPHY ..........................................................................................................................44 APPENDICES Appendix A – List of Pieces ..............................................................................................49 VITA ............................................................................................................................................50 ii LIST OF FIGURES FIGURE PAGE Figure 1............................................................................................................................6 Figure 2............................................................................................................................8 Figure 3............................................................................................................................9 Figure 4............................................................................................................................9 Figure 5............................................................................................................................9 Figure 6..........................................................................................................................11 Figure 7..........................................................................................................................12 Figure 8..........................................................................................................................13 Figure 9..........................................................................................................................13 Figure 10........................................................................................................................14 Figure 11........................................................................................................................16 Figure 12........................................................................................................................17 Figure 13........................................................................................................................17 Figure 14........................................................................................................................20 Figure 15........................................................................................................................20 Figure 16........................................................................................................................21 Figure 17........................................................................................................................22 Figure 18........................................................................................................................23 Figure 19........................................................................................................................25 Figure 20........................................................................................................................25 Figure 21........................................................................................................................26 iii Figure 22........................................................................................................................27 Figure 23........................................................................................................................27 Figure 24........................................................................................................................28 Figure 25........................................................................................................................29 Figure 26........................................................................................................................29 Figure 27........................................................................................................................30 Figure 28........................................................................................................................31 Figure 29........................................................................................................................33 Figure 30........................................................................................................................33 Figure 31........................................................................................................................34 Figure 32........................................................................................................................35 Figure 33........................................................................................................................36 Figure 34........................................................................................................................36 Figure 35........................................................................................................................37 Figure 36........................................................................................................................38 Figure 37........................................................................................................................39 Figure 38........................................................................................................................40 Figure 39........................................................................................................................41 Figure 40........................................................................................................................41 Figure 41........................................................................................................................42 Figure 42........................................................................................................................42 Figure 43........................................................................................................................43 iv CHAPTER 1 INTRODUCTION AND BIOGRAPHY Composers of the Romantic Era brought about many changes to classical music. One such change was the formation of short pieces known as character pieces. These pieces were composed most frequently for the piano. Among this genre were pieces with descriptive titles that suggested a certain narrative, such as, "The Little Wanderer," or "Spinning Song." These descriptive pieces
Load more

Recommended publications
  • TOCC0557DIGIBKLT.Pdf
    MORITZ MOSZKOWSKI: ORCHESTRAL MUSIC, VOLUME TWO by Martin Eastick History has not served Moszkowski well. Even before his death in 1925, his star had been on the wane for some years as the evolving ‘Brave New World’ took hold after the Great War in 1918: there was little or no demand for what Moszkowski once had to offer and the musical sensitivities he represented. His name did live on to a limited extent, with the odd bravura piano piece relegated to the status of recital encore, and his piano duets – especially the Spanish Dances – continuing to be favoured in the circles of home music-making. But that was about the limit of his renown until, during the late 1960s, there gradually awoke an interest in nineteenth-century music that had disappeared from the repertoire – and from people’s awareness – and the composers who had been everyday names during their own lifetime, Moszkowski among them. Initially, this ‘Romantic Revival’ was centred mainly on the piano, but it gradually diversified to music in all its forms and continues to this day. Only very recently, though, has attention been given to Moszkowski as a serious composer of orchestral music – with the discovery and performance in 2014 of his early but remarkable ‘lost’ Piano Concerto in B minor, Op. 3, providing an ideal kick-start,1 and the ensuing realisation that here was a composer worthy of serious consideration who had much to offer to today’s listener. In 2019 the status of Moszkowski as an orchestral composer was ramped upwards with the release of the first volume in this Toccata Classics series, featuring his hour-long, four-movement symphonic poem Johanna d’Arc, Op.
    [Show full text]
  • My Musical Lineage Since the 1600S
    Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent
    [Show full text]
  • Download Booklet
    INTRODUCTION Given the renowned clarity of the pipework and THE ORGAN OF ST BAVO, HAARLEM voicing of the organ, I began to ruminate upon I am so thrilled that my tenth disc for if the Reubke Sonata on the 94th Psalm had Signum has coincided with the remarkable been formally recorded on disc at St Bavo. organ and building of St Bavo, in the Dutch Though the work was written in 1857 for the city of Haarlem. Ladegast organ in Merseburg Cathedral, with the 1 Chaconne, from Partita No. 2, BWV 1004 (arr. Messerer) [14.24] changes and enlargements made to the organ Johann Sebastian Bach (1685-1750) The Church and the history of its 1738 Christian of St Bavo, coupled with the clarity and style 2 Toccata & Fugue in F Major, BuxWV 157 [4.55] Muller organ is very well documented, with of voicing, this seemed to be an exciting new Dietrich Buxtehude (1637-1707) composers such as Mozart, Handel and possibility. We have been unable to unearth Mendelssohn all having played the instrument. I a recording of the Reubke (on a professional 3 Nun komm, der Heiden Heiland, BWV 659 [5.42] cannot add anything germane that is not easily label) and so it was decided to build a programme Johann Sebastian Bach discovered online regarding the organ of St around this masterpiece. A few compromises Bavo, however, I would like to provide a brief had to be found as occasionally the compass 4 Trio Jesus Christus Unser Heiland, BWV 688 [3.55] insight into the composition of the repertoire of the organ did not provide enough notes Johann Sebastian Bach for this disk.
    [Show full text]
  • JULIUS REUBKE the Works for Piano & Organ
    JULIUS REUBKE The Works for Piano & Organ Paolo Marzocchi & Luca Scandali (CPO, 777 467 – 2, 2009) - Arte organaria e organistica, n. 73, ottobre – dicembre 2009 Questa proposta discografica merita apprezzamento in quanto, come primo elemento, permette un ascolto parallelo delle due opere più significative e monumentali di Julius Reubke (Hausneindorf, 1834 - Pillnitz, 1858) – la Sonata in Si bemolle minore per pianoforte (1856) e Il salmo 94. Sonata in do minore per organo (1857) –, due veri e propri «poemi sinfonici» scritti direttamente sotto l’influsso e il magistero delle innovative «Fantasie rapsodiche» (secondo la definizione di Wilibald Gurlitt) del suo insegnante Franz Liszt (1811-1886). La conoscenza degli affreschi delineati nel pianismo ‘orchestrale’ della Sonata in Si bemolle minore costituisce una condizione preliminare indispensabile per gli organisti che intendono affrontare coscientemente la scrittura organistica dinamica, flessibile ed ‘espressiva’ della grande Sonata in do minore, e viceversa. Altro motivo di apprezzamento va indicato nel fatto che il CD raccoglie l’«opera completa» per pianoforte e per organo del geniale Reubke, allievo prediletto di Liszt a Weimar dal 1854 al 1856; tra i brani organistici figurano un Trio in Mi bemolle maggiore e un Adagio in Mi minore (brano qui in prima registrazione, recentemente ritrovato in un album appartenuto all’insegnante di Liszt Marie von Sayn-Wittgenstein, prima versione della sezione centrale della grande Sonata per organo). Altra ragione di positiva valutazione risiede nell’alta qualità interpretativa del pianista Paolo Marzocchi e dell’organista Luca Scandali, la cui levatura magistrale tecnico-musicale si può pienamente constatare nella resa convincente delle due colossali e difficili Sonate.
    [Show full text]
  • Donald R. Oakes in an ORGAN RECITAL SUNDAY, FEBRUARY 9, 1969 • 4:15 P.M
    THE COLLEGE OF IDAHO MUSIC DEPARTMENT and THE FIRST UNITED METHODIST CHURCH present Donald R. Oakes in an ORGAN RECITAL SUNDAY, FEBRUARY 9, 1969 • 4:15 P.M. JEWETT CHAPEL-AUDITORIUM PROGRAM PARTITA on "Nun komm der Heiden Heiland" Hugo Distler I Toccata (1908-1942) II Chorale mit Variationen Ill Chaconne IV Toccata Hugo Distler is one of the most exciting of the pre-World War II German church music composers. His style is admittedly neo-Barque and the present composition is exemplary. The Partita is framed by short, identical Toccatas, built out of the opening motif of the chorale tune, which enclose the Chorale with its seven variations and the Chaconne. Throughout the variations the chorale tune, nearly always appearing straight and undecorated, is treated like a Cantus Firmus, but each new variation brings a new type of filigree to the contrapuntal text which surrounds it. In the last variation, however, only the harmonic texture is recognizable as belonging to the chorale. The Chaconne, comprising eighteen additional variations, utilizes only the first phase of the chorale for the ostinato and builds gradually but inevitably to the dynamic climax which coincides with the concluding Toccata. TRIO SONATA IV, in EMINOR J. S. Bach I Adagio-Vivace (1685-1750) II Andante Ill Un poco Allegro The Fourth Trio Sonata is from a group of six Bach wrote for the instruction of his eldest son, Friedemann, and possibly also for his next son, Carl Philip Emmanuel. Modern editions stem from two extant manuscript copies of differing dates, the earlier from Friedemann's possession, and the later from Emmanuel's.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A PEDAGOGICAL GUIDE TO THE 25 ETUDES MÉLODIQUES OPUS 45 OF STEPHEN HELLER A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By LARISSA MARIE KIEFER Norman, Oklahoma 2001 UMI Number: 3009547 UMI UMI Microform 3009547 Copyright 2001 by Bell & Howell Information and Leaming Company.
    [Show full text]
  • Amy Fay and Her Teachers in Germany
    AMY FAY AND HER TEACHERS IN GERMANY A Dissertation Presented for the Doctor of Musical Arts Degree The University of Memphis Judith Pfeiffer May 2008 UMI Number: 3310124 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3310124 Copyright 2008 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 To the Graduate Council: I am submitting herewith a dissertation written by Judith Pfeiffer entitled "Amy Fay and her Teachers in Germany." I have examined the final copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts with a major in Music. Gilbert, M.M. ijor Professor We have read this dissertation and recommend its acceptance: Jatiet K. Page, Ph.D. ip LAX'.~MedA, Kamran Ince, D.M.A. U^ andal Rushing, D.M,Ar Accepted for the Council: V^ UjMlkriJidk KarenlD. Weddle-West, Ph.D. Vice Provost for Graduate Programs ABSTRACT Pfeiffer, Judith. DMA. The University of Memphis.
    [Show full text]
  • The First Movement of Piano Sonata in B-Flat Minor by Julius
    THE FIRST MOVEMENT OF PIANO SONATA IN B-FLAT MINOR BY JULIUS REUBKE: A COMPARISON OF THREE EDITIONS FROM THE PERFORMER’S POINT OF VIEW Imre Pátkai, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Pamela Mia Paul, Major Professor Elvia Puccinelli, Minor Professor Gustavo Romero, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies James C Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Pátkai, Imre. The First Movement of Piano Sonata in B-flat Minor by Julius Reubke: A Comparison of Three Editions from the Performer’s Point of View. Doctor of Musical Arts (Performance), August 2014, 49 pp., 3 tables, 5 figures, 33 musical examples, bibliography, 36 titles. The objective of this dissertation is to review the discrepancies between the first edition, Stradal’s edition and Marzocchi’s edition of Reubke’s piano sonata, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as fingerings, pedaling, phrasing, tempo markings is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Detailed assessment of these discrepancies, accompanied by the author’s comments are listed in the comprehensive comparison table in Appendix A. Additionally, directions are given in cases of presumptive errors, and discrepancies are addressed with possible variant solutions. In conclusion, the relative merit of the three editions is assessed in Chapter 4. Copyright 2014 by Imre Pátkai ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my advisor, Dr.
    [Show full text]
  • Alberto Jonas' Master School and Its Role in Early
    ALBERTO JONAS’ MASTER SCHOOL AND ITS ROLE IN EARLY TWENTIETH-CENTURY PIANO VIRTUOSITY by ROSS EDILLOR SALVOSA B.Mus., Conservatory of Music at Lynn University, 2002 M.Mus., Conservatory of Music at Lynn University, 2009 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in The Faculty of Graduate and Postdoctoral Studies (Piano) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2018 © Ross Edillor Salvosa, 2018 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Alberto Jonas’ Master School and Its Role in Early Twentieth-Century Piano Virtuosity submitted by Ross Edillor Salvosa in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance Examining Committee: Prof. L. Mark Anderson, Piano Performance Supervisor Dr. Alexander Fisher, Musicology Supervisory Committee Member Dr. Terence Dawson, Piano Performance Supervisory Committee Member Dr. Scott Goble, Music Education University Examiner Prof. Rena Sharon, Piano Performance University Examiner Additional Supervisory Committee Members: Supervisory Committee Member Supervisory Committee Member ii Abstract First published in 1922 by Carl Fischer Music in New York, Alberto Jonas’ monumental seven-volume Master School of Modern Piano Playing and Virtuosity is the most comprehensive early twentieth-century treatise on piano playing. The present study provides a survey of the rise of the piano’s popularity, evolution of piano construction, and development of piano playing technique during the nineteenth century, as well as comparative studies of preparatory exercises found in commonly used volumes during Jonas’ lifetime, namely Franz Liszt’s Technical Studies (1873), Carl Tausig’s Daily Studies (1873), and Rafael Joseffy’s School of Advanced Piano Playing (1910).
    [Show full text]
  • Liszt' S Technical Studies: a Methodology for the Attainment of Pianistic Virtuosity
    LISZT' S TECHNICAL STUDIES: A METHODOLOGY FOR THE ATTAINMENT OF PIANISTIC VIRTUOSITY BY NEIL GOODCHILD THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE DEGREE OF MASTER OF MUSIC (RESEARCH) THE SCHOOL OF ENGLISH, MEDIA AND PERFORMING ARTS MUSIC AND MUSIC EDUCATION UNIVERSITY OF NEW SOUTH WALES OCTOBER 2007 ABSTRACT In 1970, the Hungarian publishing firm Editio Musica Budapest began a long term project, ending in 2005, that endeavored to compile and publish all Liszt's works in a complete edition titled, The New Liszt Edition (NLE). Through the efforts of this firm, Liszt' s Technical Studies were published in the way that he had originally intended for the first time in 1983. Yet, although the eminent Liszt-scholar Michael Saffle has stated that 'Pedagogy is one of the most thoroughly-mined veins of Liszt material ever uncovered', academic discussions on Liszt's Technical Studies (Walker, 2005), his definitive pedagogical work for piano, are scarce. What it was that Liszt set out as being fundamental to the acquisition of pianistic virtuosity in the Technical Studies and the nature of its trajectory is generally unknown. Through an examination of the didactic instruction Liszt supplied in the Preface of the autograph manuscript to the Technical Studies and specific technical commentaries written by Mme. Auguste Boissier in her Liszt pedagogue, I will argue that the Technical Studies are built on six artistic and mechanical principles, exemplified by Liszt in the exercises, written to help the pianist acquire technical virtuosity. The methodical divisions of the work into sections that deal with specific mechanical objectives are illustrated with musical examples and their technical trajectory defined.
    [Show full text]
  • THE ORGAN MUSIC of LISZT by ZOLTÁN GÁRDONYI
    THE ORGAN MUSIC OF LISZT by ZOLTÁN GÁRDONYI According to Raabe's catalogue, the number of works by Liszt approaches 700 and according to Searle this round figure is actually some seventy more than this; his forty works for the organ make up a negligible proportion of his oeuvre. Indeed, of these forty works there are scarcely ten which were originally intended for the organ. Another twenty are organ transcriptions of works Liszt initially intended for some other medium (orchestra, or voice, or something else), and about a dozen are transcriptions of works by other composers, originally written for some other medium. Nevertheless, a comparison with the number of organ works by contemporary composers of his stature will reveal that perhaps only Mendelssohn wrote a similar number of pieces for the instrument, while Schumann has left scarcely any mark on the history of organ music; Berlioz, Chopin and Wagner have left no mark at all. Before them, the Viennese classics composed no works for solo organ either.1 This seems to fully justify asking why, after Bach the instrument has been dominated by a few transitional or minor composers, whose names by now have been more or less forgotten.2 Classical music had reflected universal human ideals irrespective of religious differences, the organ with its liturgical restrictions, and as an instrument put almost exclusively to church use, became outdated. Furthermore, from the second half of the 18th century onwards, the ideal of sound changed in music: the rigid, impersonal sound of the organ proved unsuitable for flexible, dynamic transitions called for by empfindsam music playing.
    [Show full text]
  • The Artistic Profile of Aleksander Zarzycki: a Forgotten Composer of the Romantic Era
    Kwartalnik Młodych Muzykologów UJ no. 46 (3/2020), 21–37 DOI 10.4467/23537094KMMUJ.20.035.13908 www.ejournals.eu/kmmuj Klaudia Popielska THE ADAM MICKIEWICZ UNIVERSITY IN POZNAń The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era Abstract The second half of the nineteenth century is a neglected period in the history of Polish music, in the aspects of both research and performance. Works by many composers from this period have unfortunately been for- gotten. One such composer is undoubtedly Aleksander Zarzycki (1834– 1895), also a teacher and piano virtuoso, the author of more than 40 opus- es, including many solo songs with piano accompaniment, which have frequently been compared to the songs of Stanisław Moniuszko. Similarly as Poland’s most famous song composer, Zarzycki created two songbooks that belong to the trend of egalitarian songs. He was also renowned for his short piano pieces, written in the salon style with virtuoso elements. One of his most famous works is the Mazurka in G major, popularised by the Spanish virtuoso violinist Pablo Sarasate. Also of note is his Piano Con- certo in A-flat major Op. 17, drawing on Fryderyk Chopin’s Piano Concerto in A minor and Józef Wieniawski’s Concerto in G minor. Zarzycki’s works are 21 Kwartalnik Młodych Muzykologów UJ, No. 46 (3/2020) characteristic of his era, and contain elements of folklore, national style, virtuosity, and the so-called ‘Romantic mood’. Keywords Aleksander Zarzycki, Polish music of the nineteenth century, piano works, solo songs The second half of the nineteenth century was undoubtedly a difficult time in the territory of former Poland.
    [Show full text]