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Pembelajaran Praktik Biola Melalui Tiga Buku Karya C
PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA C. PAUL HARFURTH, SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL: KAJIAN TERHADAP KELEBIHAN, KELEMAHAN, DAN SOLUSI TESIS Oleh SOPIAN LOREN SINAGA NIM. 117037004 PROGRAM STUDI MAGISTER (S2) PENCIPTAAN DAN PENGKAJIAN SENI FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2012 Universitas Sumatera Utara PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA C. PAUL HARFURTH, SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL: KAJIAN TERHADAP KELEBIHAN, KELEMAHAN, DAN SOLUSI T E S I S Untuk memperoleh gelar Magister Seni (M.Sn.) dalam Program Studi Magister (S-2) Penciptaan dan Pengkajian Seni pada Fakultas Ilmu Budaya Universitas Sumatera Utara Oleh SOPIAN LOREN SINAGA NIM 117037004 PROGRAM STUDI MAGISTER (S2) PENCIPTAAN DAN PENGKAJIAN SENI FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2013 Universitas Sumatera Utara Judul Tesis : PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA C. PAUL HARFURTH, SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL:KAJIAN TERHADAP KELEBIHAN, KELEMAHAN, DAN SOLUSI Nama : Sopian Loren Sinaga Nomor Pokok : 117037004 Program Studi : Magister (S2) Penciptaan dan Pengkajian Seni Menyetujui Komisi Pembimbing, Drs. Muhammad Takari, M.Hum., Ph.D. Dra. Heristina Dewi, M.Pd. NIP. 196512211991031001 NIP. 196605271994032010 Ketua Anggota Program Studi Magister (S-2) Fakultas Ilmu Budaya Penciptaan dan Pengkajian Seni Dekan, Ketua, Drs. Irwansyah Harahap, M.A. Dr. Syahron Lubis, M.A. NIP 196212211997031001 NIP 195110131976031001 Universitas Sumatera Utara Tanggal lulus: Telah diuji pada Tanggal PANITIA PENGUJI UJIAN TESIS Ketua : Drs. Irwansyah, M.A. (……………………..) Sekretaris : Drs. Torang Naiborhu, M.Hum. (..…..………………..) Anggota I : Drs. -
University of Florida Thesis Or Dissertation Formatting
IRISH MUSIC AND HOME-RULE POLITICS, 1800-1922 By AARON C. KEEBAUGH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Aaron C. Keebaugh 2 ―I received a letter from the American Quarter Horse Association saying that I was the only member on their list who actually doesn‘t own a horse.‖—Jim Logg to Ernest the Sincere from Love Never Dies in Punxsutawney To James E. Schoenfelder 3 ACKNOWLEDGMENTS A project such as this one could easily go on forever. That said, I wish to thank many people for their assistance and support during the four years it took to complete this dissertation. First, I thank the members of my committee—Dr. Larry Crook, Dr. Paul Richards, Dr. Joyce Davis, and Dr. Jessica Harland-Jacobs—for their comments and pointers on the written draft of this work. I especially thank my committee chair, Dr. David Z. Kushner, for his guidance and friendship during my graduate studies at the University of Florida the past decade. I have learned much from the fine example he embodies as a scholar and teacher for his students in the musicology program. I also thank the University of Florida Center for European Studies and Office of Research, both of which provided funding for my travel to London to conduct research at the British Library. I owe gratitude to the staff at the Library of Congress in Washington, D.C. for their assistance in locating some of the materials in the Victor Herbert Collection. -
NUI MAYNOOTH Ûllscôst La Ttéiîéann Mâ Üuad Charles Villiers Stanford’S Preludes for Piano Op.163 and Op.179: a Musicological Retrospective
NUI MAYNOOTH Ûllscôst la ttÉiîéann Mâ Üuad Charles Villiers Stanford’s Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 Volumes) Volume 1 Adèle Commins Thesis Submitted to the National University of Ireland, Maynooth for the degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare 2012 Head of Department: Professor Fiona M. Palmer Supervisors: Dr Lorraine Byrne Bodley & Dr Patrick F. Devine Acknowledgements I would like to express my appreciation to a number of people who have helped me throughout my doctoral studies. Firstly, I would like to express my gratitude and appreciation to my supervisors and mentors, Dr Lorraine Byrne Bodley and Dr Patrick Devine, for their guidance, insight, advice, criticism and commitment over the course of my doctoral studies. They enabled me to develop my ideas and bring the project to completion. I am grateful to Professor Fiona Palmer and to Professor Gerard Gillen who encouraged and supported my studies during both my undergraduate and postgraduate studies in the Music Department at NUI Maynooth. It was Professor Gillen who introduced me to Stanford and his music, and for this, I am very grateful. I am grateful to the staff in many libraries and archives for assisting me with my many queries and furnishing me with research materials. In particular, the Stanford Collection at the Robinson Library, Newcastle University has been an invaluable resource during this research project and I would like to thank Melanie Wood, Elaine Archbold and Alan Callender and all the staff at the Robinson Library, for all of their help and for granting me access to the vast Stanford collection. -
String Quartet in E Minor, Op 83
String Quartet in E minor, op 83 A quartet in three movements for two violins, viola and cello: 1 - Allegro moderato; 2 - Piacevole (poco andante); 3 - Allegro molto. Approximate Length: 30 minutes First Performance: Date: 21 May 1919 Venue: Wigmore Hall, London Performed by: Albert Sammons, W H Reed - violins; Raymond Jeremy - viola; Felix Salmond - cello Dedicated to: The Brodsky Quartet Elgar composed two part-quartets in 1878 and a complete one in 1887 but these were set aside and/or destroyed. Years later, the violinist Adolf Brodsky had been urging Elgar to compose a string quartet since 1900 when, as leader of the Hallé Orchestra, he performed several of Elgar's works. Consequently, Elgar first set about composing a String Quartet in 1907 after enjoying a concert in Malvern by the Brodsky Quartet. However, he put it aside when he embarked with determination on his long-delayed First Symphony. It appears that the composer subsequently used themes intended for this earlier quartet in other works, including the symphony. When he eventually returned to the genre, it was to compose an entirely fresh work. It was after enjoying an evening of chamber music in London with Billy Reed’s quartet, just before entering hospital for a tonsillitis operation, that Elgar decided on writing the quartet, and he began it whilst convalescing, completing the first movement by the end of March 1918. He composed that first movement at his home, Severn House, in Hampstead, depressed by the war news and debilitated from his operation. By May, he could move to the peaceful surroundings of Brinkwells, the country cottage that Lady Elgar had found for them in the depth of the Sussex countryside. -
Tertis's Viola Version of Elgar's Cello Concerto by Anthony Addison Special to Clevelandclassical
Preview Heights Chamber Orchestra conductor's notes: Tertis's viola version of Elgar's Cello Concerto by Anthony Addison Special to ClevelandClassical An old adage suggested that violists were merely vio- linists-in-decline. That was before Lionel Tertis! He was born in 1876 of musical parents who had come to England from Poland and Russia and, at three years old, he started playing the piano. At six he performed in public, but had to be locked in a room to make him practice, a procedure that has actually fostered many an international virtuoso. At thirteen, with the agree- ment of his parents, he left home to earn his living in music playing in pickup groups at summer resorts, accompanying a violinist, and acting as music attendant at a lunatic asylum. +41:J:-:/1?<1>95@@1041?@A0510-@(>5:5@E;88131;2!A?5/@-75:3B5;85:-?45? "second study," but concentrating on the piano and playing concertos with the school or- chestra. As sometime happens, his violin teacher showed little interest in a second study <A<58-:01B1:@;8045?2-@41>@4-@41C-?.1@@1>J@@102;>@413>;/1>E@>-01 +5@4?A/4 encouragement, Tertis decided he had to teach himself. Fate intervened when fellow stu- dents wanted to form a string quartet. Tertis volunteered to play viola, borrowed an in- strument, loved the rich quality of its lowest string and thereafter turned the old adage up- side down: a not very obviously gifted violinist becoming a world class violist. But, until the viola attained respectability in Tertis’s hands, composers were reluctant to write for the instrument. -
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Benjamin James Dale (1885–1943): The Romantic Viola majesty and grandeur and a melodic sweep such as some of his original intentions in his compositions. There none other of the present generation of string- are many instances, not only in the Phantasy but also in Suite for Viola and Piano in D major, Op. 2 writers seems able to approach”. the Suite, where although he keeps a long, legato Introduction and Andante for Six Violas, Op. 5 • Phantasy for Viola and Piano, Op. 4 melody in the piano part, the viola part for a similar or Dale promoted a number of techniques that were even identical melody is broken up, with tenuto markings Edwin Evans wrote of Dale in The Musical Times on 1st October 1906. This was followed by a performance of the not often used in English chamber music at the time, to separate the legato line. I personally feel that this may May 1919: “ʻHe has written fewer and better works than complete work in 1907. Tertis, who was particularly fond such as pizzicato, tremolos, ponticello and harmonics in have been Tertisʼs suggestion, in order to give the viola any English composer of his generation.ʼ That is the of the first two movements, asked Dale to orchestrate all six parts, also instructing the sixth violaʼs C string to part a better chance of being heard alongside the considered opinion of a well-known English musician.” them. The orchestrated versions were subsequently be tuned down to a G in order to reach the bass A flat in beautiful but nevertheless somewhat thick piano writing. -
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557439bk Bax US 2/07/2004 11:02am Page 5 in mind some sort of water nymph of Greek vignette In a Vodka Shop, dated 22nd January 1915. It Ashley Wass mythological times.’ In a newspaper interview Bax illustrates, however, Bax’s problem trying to keep his himself described it as ‘nothing but tone colour – rival lady piano-champions happy, for Myra Hess gave The young British pianist, Ashley Wass, is recognised as one of the rising stars BAX changing effects of tone’. the first performance at London’s Grafton Galleries on of his generation. Only the second British pianist in twenty years to reach the In January 1915, at a tea party at the Corders, the 29th April 1915, and as a consequence the printed finals of the Leeds Piano Competition (in 2000), he was the first British pianist nineteen-year-old Harriet Cohen appeared wearing as a score bears a dedication to her. ever to win the top prize at the World Piano Competition in 1997. He appeared Piano Sonatas Nos. 1 and 2 decoration a single daffodil, and Bax wrote almost in the ‘Rising Stars’ series at the 2001 Ravinia Festival and his promise has overnight the piano piece To a Maiden with a Daffodil; been further acknowledged by the BBC, who selected him to be a New he was smitten! Over the next week two more pieces Generations Artist over two seasons. Ashley Wass studied at Chethams Music Dream in Exile • Nereid for her followed, the last being the pastiche Russian Lewis Foreman © 2004 School and won a scholarship to the Royal Academy of Music to study with Christopher Elton and Hamish Milne. -
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557592 bk Bax UK/US 8/03/2005 02:22pm Page 5 Ashley Wass Also available: The young British pianist, Ashley Wass, is recognised as one of the rising stars of his generation. Only the second British pianist in twenty years to reach the finals of the Leeds Piano Competition (in 2000), he was the first British BAX pianist ever to win the top prize at the World Piano Competition in 1997. He appeared in the ‘Rising Stars’ series at the 2001 Ravinia Festival and his promise has been further acknowledged by the BBC, who selected him to be a New Generations Artist over two seasons. Ashley Wass studied at Chethams Music School and won a scholarship to the Royal Academy of Music to study with Christopher Elton and Hamish Milne. He was made an Associate of the Piano Sonatas Nos. 3 and 4 Royal Academy in 2002. In 2000/1 he was a participant at the Marlboro Music Festival, playing chamber music with musicians such as Mitsuko Uchida, Richard Goode and David Soyer. He has given recitals at most of the major British concert halls including the Wigmore Hall, Queen Elizabeth Hall, Purcell Room, Bridgewater Hall and St Water Music • Winter Waters David’s Hall. His concerto performances have included Beethoven and Brahms with the Philharmonia, Mendelssohn with the Orchestre National de Lille and Mozart with the Vienna Chamber Orchestra at the Vienna Konzerthaus and the Brucknerhaus in Linz. He has also worked with Sir Simon Rattle and the City of Birmingham Symphony Orchestra, the London Mozart Players, the BBC Scottish Symphony Orchestra and the BBC Ashley Wass Philharmonic. -
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours. -
The Delius Society Journal Autumn 1999, Number 126
Delius Journal 126.qxd 15-Nov-99 17:44 Page 1 The Delius Society Journal Autumn 1999, Number 126 The Delius Society (Registered Charity No. 298662) Full Membership and Institutions £15 per year (£20 from 1 April 2000) UK students: £10 (unchanged after 1 April 2000) USA and Canada US$31 per year (US$38 from 1 April 2000) Africa, Australasia and Far East £18 per year (£23 from 1 April 2000) President Felix Aprahamian Vice Presidents Roland Gibson MSc, PhD (Founder Member) Lionel Carley BA, PhD Meredith Davies CBE Sir Andrew Davis CBE Vernon Handley MA, FRCM, D Univ (Surrey) Richard Hickox FRCO (CHM) Rodney Meadows Robert Threlfall Chairman Lyndon Jenkins Treasurer and Membership Secretary Derek Cox Mercers, 6 Mount Pleasant, Blockley, Glos GL56 9BU Tel: (01386) 700175 Secretary Anthony Lindsey 1 The Pound, Aldwick Village, West Sussex PO21 3SR Tel: (01243) 824964 Delius Journal 126.qxd 15-Nov-99 17:44 Page 2 Editor Roger Buckley 57A Wimpole Street, London W1M 7DF (Mail should be marked ‘The Delius Society’) Tel: (0171) 935 4241 Fax: (0171) 935 5429 email: [email protected] Assistant Editor Jane Armour-Chélu 17 Forest Close, Shawbirch, Telford, Shropshire TF5 0LA Tel: (01952) 408726 email: [email protected] Website: http://www.delius.org.uk email: [email protected] ISSN-0306-0373 Delius Journal 126.qxd 15-Nov-99 17:44 Page 3 CONTENTS Chairman’s Message........................................................................................... 5 Editorial............................................................................................................... -
Proceedings of the 44Th International Viola Congress
Proceedings of the 44th International Viola Congress Editorial Panel Andrew Filmer, Editor-in-Chief Donald Maurice Gillian Ansell Carlos María Solare Contents Luca Altdorfer, “‘Composed to the Soul’: Viola da Gamba Music of Carl Friedrich Abel on the Viola and Violone” 1 Valerie Dart, “The Contribution of British Composers in Raising the Profile of the Viola as a Solo Instrument, 1885-1960” 5 Marcin Murawski, “Passacaglias in Viola Literature” 19 Andrew Filmer, “No Museum Pieces: A Practical Take to the Grande Sestetto Concertante” 23 A publication of the International Viola Society, all rights reserved, 2018 Proceedings of the 44th International Viola Congress, Wellington 2018 “Composed to the Soul”: Viola da Gamba Music of Carl Friedrich Abel on the Viola and Violone Luca Altdorfer “There was a time, and it is not very long past, in which Abel set the tone for the musical world; – in which everything was Abelish.”1 Since the viola became a solo instrument in the early to mid-20th century, much of the solo repertoire was written at this time. Transcriptions, arrangements were made to fill in the literature of the Baroque, Classical and Romantic styles, but the bridge to the Classical era – the late Baroque pre-Classical style – is lacking. A viola player also has to face the fact that most of the arranged mu- sic is from violin or cello. This makes us face great difficulties: We have to “compete” with the virtu- osity of the violin, and the sonority of the cello. What if we turn to an instrument and a composer that are not as famous in the modern concert halls? The viola da gamba, being the favorite string instrument of the baroque period, offers a possibility to broaden the viola music with late baroque, pre-classical repertoire. -
Charles Villiers Stanford's Experiences with and Contributions
Charles Villiers Stanford’s Experiences with and contributions to the solo piano repertoire Adèle Commins Charles Villiers Stanford (1852-1924) has long been considered as one of the leaders of the English Musical Renaissance on account of his work as composer, conductor and pedagogue. In his earlier years he rose to fame as a piano soloist, having been introduced to the instrument at a very young age. It is no surprise then that his first attempts at composition included a march for piano in i860.1 The piano continued to play an important role in Stanford’s compositional career and his last piano work, Three Fancies, is dated 1923. With over thirty works for the instrument, not counting his piano duets, Stanford’s piano pieces can be broadly placed in three categories: (i) piano miniatures or character pieces which are in the tradition of salon or domestic music; (ii) works which have a pedagogical function; and (iii) works which are written in a more virtuosic vein. In each of these categories many of the works remain unpublished. In most cases the piano scores are not available for purchase and this has hindered performances after his death.2 The repertoire of pianists should not be limited to the music of European composers and publishers, like performers, are responsible for the exposure a composer’s works receives. New editions of Stanford’s piano music need to be created and published in order to raise awareness of the richness of Stanford’s contribution to piano literature. While there has been renewed interest in the composer’s life and music by musicologists and performers — primarily initiated by the recent Stanford biographies in 2002 by Dibble and Rodmell — the 1 Originally termed Opus 1 in Stanford’s sketch book it was reproduced in Anon., ‘Charles Villiers Stanford’, The Musical Times and Singing Class Circular, 39 670 (1898), 785-793 (p.