Changing Chopin
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian 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 Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 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]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840 -
Boston Symphony Orchestra Concert Programs, Summer, 1946
TANGLEWOOD — LENOX, MASSACHUSETTS SYMPHONY BERKSHIRE FESTIVAL SERGE KOUSSEVITZKY, Conductor Series B AUGUST 1, 3, 4 STEIItWAV it vm Since fhe time of Liszt, the Sfeinway has consistently been, year after year, the medium chosen by an overwhelming number of concert artists to express their art. Eugene List, Mischa Elman and William Kroll, soloists of this Berk- shire Festival, use the Steinway. Significantly enough, the younger artists, the Masters of tomorrow, entrust their future to this world-famous piano — fhey cannot afFord otherwise to en- danger their artistic careers. The Stein- way is, and ever has been, the Glory Road of the Immortals. M. STEINERT & SONS CO. : 162 BOYLSTON ST.. BOSTON Jerome F. Murphy, Prasic/enf • Also Worcester and SpHngfieid MUSIC SHED TANGLEWOOD (Between Stockbridge and Lenox, Massachusetts) NINTH BERKSHIRE FESTIVAL SEASON 1 946 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1946, BY BOSTON SYMPHONY ORCHESTRA, IflC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Henry B. Sawyer Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott TANGLEWOOD ADVISORY COMMITTEE Allan J. Blau G. Churchill Francis George P. Clayson Lawrence K. Miller Bruce Crane James T. Owens -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
*141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital). -
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 -
Women Pioneers of American Music Program
Mimi Stillman, Artistic Director Women Pioneers of American Music The Americas Project Top l to r: Marion Bauer, Amy Beach, Ruth Crawford Seeger / Bottom l to r: Jennifer Higdon, Andrea Clearfield Sunday, January 24, 2016 at 3:00pm Field Concert Hall Curtis Institute of Music 1726 Locust Street, Philadelphia Charles Abramovic Mimi Stillman Nathan Vickery Sarah Shafer We are grateful to the William Penn Foundation and the Musical Fund Society of Philadelphia for their support of The Americas Project. ProgramProgram:: WoWoWomenWo men Pioneers of American Music Dolce Suono Ensemble: Sarah Shafer, soprano – Mimi Stillman, flute Nathan Vickery, cello – Charles Abramovic, piano Prelude and Fugue, Op. 43, for Flute and Piano Marion Bauer (1882-1955) Stillman, Abramovic Prelude for Piano in B Minor, Op. 15, No. 5 Marion Bauer Abramovic Two Pieces for Flute, Cello, and Piano, Op. 90 Amy Beach (1867-1944) Pastorale Caprice Stillman, Vickery, Abramovic Songs Jennifer Higdon (1962) Morning opens Breaking Threaded To Home Falling Deeper Shafer, Abramovic Spirit Island: Variations on a Dream for Flute, Cello, and Piano Andrea Clearfield (1960) I – II Stillman, Vickery, Abramovic INTERMISSION Prelude for Piano #6 Ruth Crawford Seeger (1901-1953) Study in Mixed Accents Abramovic Animal Folk Songs for Children Ruth Crawford Seeger Little Bird – Frog He Went A-Courtin' – My Horses Ain't Hungry – I Bought Me a Cat Shafer, Abramovic Romance for Violin and Piano, Op. 23 (arr. Stillman) Amy Beach June, from Four Songs, Op. 53, No. 3, for Voice, Violin, and -
11.2020-Hawaiʻi-MTNA-Competition
Hawaiʻi MTNA Competition Junior Piano CONTESTANTS: Sola Bando, Justin Chan, Sophie Chan, Jannik Evanoff, Isabella Liu, Anderson Mao, Aya Okimoto TEACHERS: Steven Casano, Monica Chung, Joyce Shih, Annu Shionoya, Wendy Yamashita, Thomas Yee Contestant #1 Piano Sonata No. 16 in C Major, K. 545 W.A. Mozart I. Allegro Waltz in D-flat Major, Op. 64, No. 1 Frédéric Chopin Contestant #2 Sonata in B minor No. 47, Hob. XVI/32 Franz Joseph Haydn I. Allegro moderato The Lark Glinka arr. Bakakirev If I Were a Bird (Si Oiseau J'etais), Op. 2, No. 6 George Martin Adolf von Henselt Six Romanian Folk Dances, Sz. 56 Béla Bartók Contestant #3 Italian Concerto in F Major, BWV 971 Johann Sebastian Bach I. Allegro Nocturne in C-sharp Minor, Op. posth. Frédéric Chopin Three Preludes George Gershwin III. Allegro ben ritmato e deciso Sonata in C-sharp Minor, Op. 27, No. 2 Ludwig van Beethoven III. Presto agitato Contestant #4 Sonata in F Minor, Op. 2, No. 1 Ludwig van Beethoven I. Allegro II. Adagio Seven Morceaux de Salon, Op. 10 Sergei Rachmaninoff II. Valse III. Barcarolle Contestant #5 Italian Concerto in F Major, BWV 971 Johann Sebastian Bach III. Presto Milonga, Op. 3 Alberto Ginastera Impromptu No. 1 in A-flat major, Op. 29 Frédéric Chopin Contestant #6 Rondo a Capriccio, Op. 129 Ludwig van Beethoven Impromptu in G-flat major, Op. 90, No. 3 Franz Schubert Wedding Day at Troldhaugen, Op. 65, No. 6 Edvard Grieg Six Dances in Bulgarian Rhythm from ‘Mikrokosmos’ Béla Bartók No. 2 & 6, Sz. 107/6/149 and 153 Contestant #7 Scherzo No. -
THE 2018–19 CONCERT SEASON at PEABODY Peabody Studio Orchestra Saturday, November 17, 2018
THE 2018–19 CONCERT SEASON AT PEABODY Peabody Studio Orchestra Saturday, November 17, 2018 Peabody Conductors' Orchestra Tuesday, November 27, 2018 Peabody Symphony Orchestra Saturday, December 1, 2018 STEINWAY. YAMAHA. [ YOUR NAME HERE ] With your gi to the Piano Excellence Fund at Peabody, you can add your name to the quality instruments our outstanding faculty and students use for practice and performance every day. The Piano Department at Peabody has a long tradition of excellence dating back to the days of Arthur Friedheim, a student of Franz Liszt, and continuing to this day, with a faculty of world-renowned artists including the eminent Leon Fleisher, who can trace his pedagogical lineage back to Beethoven. Peabody piano students have won major prizes in such international competitions as the Busoni, Van Cliburn, Naumburg, Queen Elisabeth, and Tchaikovsky, and enjoy global careers as performers and teachers. The Piano Excellence Fund was created to support this legacy of excellence by funding the needed replacement of more than 65 pianos and the ongoing maintenance and upkeep of nearly 200 pianos on stages and in classrooms and practice rooms across campus. To learn more about naming a piano and other creative ways to support the Peabody Institute, contact: Jessica Preiss Lunken, Associate Dean for External Affairs [email protected] • 667-208-6550 Welcome back to Peabody and the Miriam A. Friedberg Concert Hall. This month’s programs show o a remarkable array of musical styles and genres especially as related to Peabody’s newly imagined ensembles curriculum, which has evolved as part of creating the Conservatory’s groundbreaking Breakthrough Curriculum. -
"A Composer's View" in "Music Librarianship in America, Part 4: Music Librarians and Performance"
"A composer's view" in "Music librarianship in America, Part 4: Music librarians and performance" The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Babbitt, Milton. 1991. "A composer's view" in "Music librarianship in America, Part 4: Music librarians and performance". Harvard Library Bulletin 2 (1), Spring 1991: 123-132. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42661672 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 123 A Composer's View Milton Babbitt ince we are gathered in this hall in a spirit of scholarly inquiry, celebrating the S central instrument of such inquiry, I think I can best begin-at least, I dare to begin-by posing a question: "What am I doing here?" I do not come here as a scholar, I come here as a composer. If I seem to be somewhat aporetic, I assure you it is not because I feel in the presence of so many librarians the way Wystan Auden once said he felt in the presence of scientists. He said that he felt like a ragged mendicant in the presence of merchant princes. Well, I don't feel that way: I sim- ply feel like a ragged mendicant. The aporia actually results from pondering the complex problem that must have beset the planning committee in choosing speakers. -
Ludwig Van Beethoven Hdt What? Index
LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father. -
An Annotated Translation of Moriz Rosenthal) S Elise Braun Barnett
An Annotated Translation of Moriz Rosenthal) s Franz Liszt, Memories and Reflections Elise Braun Barnett Introduction Otto Deri often used to discuss programs for piano recitals with me. More than once he expressed surprise that the late piano compositions of Liszt were performed only rarely. He recommended their serious study since, as he pointed out, in these pieces Liszt's conception of melody, rhythm, and harmony are quite novel and anticipate Debussy, Ravel, and Bartok. These discussions came to mind when a friend of mine, Mrs. Oscar Kanner, a relative of Moriz Rosenthal,! showed me an article by the pianist entitled "Franz Liszt, Memories and Reflections," which had appeared in a 1911 issue of the journal Die Musik,2 and also a handwritten, unpublished autobiography written in New York during the last years of Rosenthal's life, 1940 to 1946. Rosenthal's concerts in Europe and America are still remembered by the older generation. His musical conceptions, emotions projected on the piano with an amazing technique, remain an unforgettable experience. He is also remembered as having been highly cultivated, witty, and sometimes sar- castic. His skill in writing is less known, but his autobiography and essays reveal a most refined, fluent, and vivid German style. He is able to conjure up the "golden days," when unity of form and content was appreciated. It is my hope that the following annotated translation of Rosenthal's article will provide a worthy tribute to the memory of Otto Deri. Translation In October of 1876, as a youngster of thirteen, I played for Franz Liszt during one of his frequent visits to the Schottenhof in Vienna,3 and I was admitted to his much envied entourage as perhaps the youngest of his disciples. -
Bob Houston, Percussion DMA Recital Assisted by Carol Houston, Piano Conrad Bauschka, Trumpet Dr
37? .A/g/J Ato, /£5"^ A COMPARATIVE ANALYSIS OF SELECTED KEYBOARD COMPOSITIONS OF CHOPIN, BRAHMS, AND FRANCK AS TRANSCRIBED FOR THE MARIMBA BY CLAIR OMAR MUSSER, EARL HATCH, AND FRANK MAC CALLUM TOGETHER WITH THREE RECITALS OF WORKS BY BARTOK, CRUMB, MIYOSHI, KRAFT AND OTHERS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts Robert E. Houston, B.A., M. M Denton, Texas December, 1980 Houston, Robert E., Jr., A Comparative Analysis of Selected Keyboard Compositions of Chopin, Brahms, and Franck as Transcribed for the Marimba by Clair Omar Musser, Earl Hatch, and Frank Mac Callum Together with Three Recitals of Works by Bartok, Crumb, Miyoshi, Kraft and Others. Doctor of Musical Arts, December, 1980, 53 pp., 14 illustrations, bibli- ography, 27 titles. This study is an examination of Earl Hatch and Clair Musser's transcriptions for marimba of Chopin's Waltz, Opus 64 No. 1, Musser's arrangement of Chopin's Mazurka, Opus 17 No. 4, Hatch's setting of Brahms' Hungarian Dance No. 5, and Frank Mac Callum's treatment of Franck's "Chorale" from the Prelude, Chorale and Fugue. Additionally, the role of the transcription during the Romantic Period, the historical development of the marimba tran- scription, and performance considerations of the specific works presented are discussed. Some of the most successful marimba transcriptions are for the marimba or mallet ensemble. Today writers are more judicious in their choice of subject matter for ensemble transcrip- tion, drawing upon a variety of musical styles from differing musical periods.