DOCSLIB.ORG

Performing (Inter-)Nationality on the Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Performing (Inter-)Nationality on the Piano IMS Conference TOKYO March 21, 2017 FP-5G Performing (Inter-)nationality on the Piano A Crisis of French Pianism in the Age of Competition Natsuko Jimbo (JSPS Research Fellow, The University of Tokyo) [email protected] 1 Martha Argerich 1st prizes at Busoni, Geneva, and Chopin international competitions “The era of the competition” Vladimir Ashkenazy 2nd prize at Chopin, (McCormick 2015) 1st prizes at Tchaikovsky and Queen Elisabeth international competitions Maurizio Pollini 2nd prize at Geneva, 1st prizes at Pozzoli and Chopin international competitions 2 Singing competition depicted on an ancient vase (late 6th century BC) http://ancientolympics.arts.kuleuven.be/picEN/slides/P0126.jpg.html A scene from Die Meistersinger von Nürnberg by Richard Wagner 3 Gustav Alink, International Piano Competitions Book 1: Gathering the Results, [Author]: 1990, p.40. WWII 4 5 Cultural and Historical Influences of International Competitions on “Western” Art Music 6 Today’s Focus Subject: International competitions and "national school" Case study: French piano school in postwar period Long-Thibaud International Competition (Paris, 1943+) 7 Sources and Methods Analysis of published interviews • Interviews of 85 French and French-trained pianists, 1981 ～(Timbrell 1999, Chiao 2007[2015, 2016], Gaussin 2010) Archival research Long-Thibaud Competition • Fondation Long-Thibaud-Crespin • Fonds Marguerite Long, Médiathèque musicale Mahler • Documents originally possessed by Nadia Boulanger (member of jury 1949-66), Bibliothèque Nationale de France Paris Conservatory • Centre des archives, CNSMDP • Paris Conservatory Archive (Séries AJ37, 2006063049), Archives Nationales 8 Purpose To clarify how international competitions have necessitated the internationalization to a national school taste in performance style education system 9 Outline 1. End of jeu perlé ? 2. Parisian Competition in “Russian Peril” 3. Musical Education in Age of International Competitions Conclusion 10 1. End of jeu perlé ? 11 From “Digital” to “Whole Body” • Evolution of piano technique in postwar Paris 12 Evolutions of Instrument and Repertoire 13 “End of jeu perlé” (R. Campos)? • Decline of “old French school” after WWII • Prevalent criticism against “digital” tradition / “jeu perlé ” 14 Russian Influence (Y-P. Chiao 2012)? • Many reference to “Russian pianism” as a factor of technical transformation 15 Russian Influence on (French) Pedagogues? • “(Pierre) Sancan's main technical ideas stemmed, I think, from his later visits to Russia.” (Jean-Philippe Collard, quoted in Timbrell 1999: 227) • “He (=Jacques Février) was definitely influenced by the Russian school.” (Gabriel Tacchino, quoted in Timbrell 1999:150) • (Yves) Nat's approach was similar to that of the Russian school. (Jean-Bernard Pommier, quoted in Timbrell 1999: 130) 16 How and why did French pianists learn the “Russian” pianism in France ? --International competitions ? 17 Russian Influence: From Contestants? • “It was when I heard performances of Soviet pianists who participated in the Long-Thibaud competition that I realized the greatness of playing with whole body. I was astonished to see they draw full sound from the piano, using their whole body, and win awards. I was highly impressed by their performances, which were unspeakably fascinating.” (Jacques Rouvier, quoted in Chiao 2007[2015]:330) 18 2. Parisian Competition in “Russian Peril” 19 Soviet’s First Participation in Long-Thibaud Competition (1953) Fondation Long-Thibaud-Crespin 20 “Russian Girl Crushed Westerners at Thibaud Violin Competition” (1953) Fondation Long-Thibaud-Crespin 21 No First Prize but Two Second Prizes (Piano 1953) Evgenii Malinin (1930-2001) Philippe Entremont (b. 1934) 22 “The Audience Boos the Jury of Piano” Fondation Long-Thibaud-Crespin 23 French Musicians Who Support Soviet Winner (Piano 1953) “A French musician furiously insulting the candidates of his own country and acclaiming the Soviet pianist with a burlesque ostentation; a young blond woman, already famous, asking the hall to testify the sentiments that Mr. Malinine inspired to her; the crowd following the winner to his car and slamming his French rival!” [U]n musicien français dénigrant furieusement les candidats de son pays et acclamant avec une ostentation burlesque le pianiste soviétique ; une jeune femme blonde, déjà célèbre, prenant le hall à témoin des sentiments que lui inspirait M. Malinine ; la foule portant le triomphateur jusqu’à sa voiture et conspuant son rival français ! Clarendon[Bernard Gavoty], « Pas de Grand Prix de piano au Concours Long-Thibaud...mais des émeutes ! » n.d. (Fonds Marguerite Long, Médiathèque Musicale Mahler) 24 “Russian Peril” « péril russe » Jacqueline Thuilleux, « Finale du concours Long-Thibaud, »25 June 1973 (Fonds Marguerite Long, Médiathèque Musicale Mahler) 25 Russian and French Shares of All Piano Laureates Long-Thibaud Competition (1943-2015) 40 35 30 USSR (Russia) 25 % 20 15 10 5 France 0 1943-51 1953-59 19611961-69-69 1971-79 1981-89 1992-98 2002-2009 2012-2015 26 Soviet Dominance Long-Thibaud Competition (1961-69) * Piano Division Prize/year 1961 1963 1965 1967 1969 1 USSR USSR (Not awarded) USA USSR 2 France USSR USSR USSR USSR 3 Argentine Bulgaria USSR USSR USSR Bulgaria 4 France Turkey USA France Japan 5 USSR USSR Czechoslovakia USSR France 6 USSR Italy Philippines Poland France Ecuador 7 Czechoslovakia Bulgaria Germany USA Czechoslovakia 8 Hungary France USSR Cuba 9 Japan 10 USA Why Were They So Strong ? 28 “Russians Prepare their Pianists Like Astronauts” (Samuel, 1963) Claude Samuel, “Les russes préparent leurs pianistes comme des cosmonautes ,“ 29 Paris-Presse-L’Intransigeant , n.d. (Fonds Marguerite Long, Médiathèque Musicale Mahler) …and Like Olympic Games (Samuel, 1963) “[Soviet] authorities (…) prepare a music competition in the same way as the Olympic Games, by pitilessly eliminating those who are not likely to collect a small medal, by lovingly indulging their solidest hopes.” « [Les] autoritéss (…) préparent un concours musical de la même manière que des Jeux Olympiques, en éliminant sans pitié ceux qui ne pourraient récolter une petite médaille, en choyant amoureusement leurs plus solides espoirs. » Claude Samuel, “Les russes préparent leurs pianistes comme des cosmonautes ,“ Paris-Presse-L’Intransigeant , n.d. (Fonds Marguerite Long, Médiathèque Musicale Mahler) 30 Soviet Defeats France Long-Thibaud Competition 1963 VIOLIN PIANO 1. Irina Bochkova USSR 1. Victor Eresko USSR 2. Nina Belina USSR 2. Oxana Yablonskaya USSR 3. Vladimir Landsman USSR 3. Anton Dikov Bulgaria 4. Roman Nodel USSR 4. Verda Erman Turkey 5. Liliane Caillon France 5. Valeri Kastelski USSR 6. Jean-Jacques France 6. Bruno Rigutto Italy Kantorow 7. Krassimir Gatev Bulgaria 8. Maryse Charpentier France 9. Yuko Fujimura Japan 10. Mayne Miller USA 31 3. Paris Conservatory in Age of International Competitions 32 French Candidates Reached “International Level” ? (1971) “The first observation at the end of a piano competition which was, in reality, a Franco-Russian match: thanks to the institution of the “3rd cycle” at the Conservatory, the whole French candidates rose on the international level which we have reached only exceptionally and individually up to now .” « Une première constatation à l'issue d'un concours de piano qui fut, en réalité, un match franco-russe: grâce à l'institution du "troisième cycle" au Conservatoire, l'ensemble des candidats français s'est hissé au plan international auquel nous n'accédions jusqu'à présent qu'à titre exceptionnel et individuel. » Clarendon [=Bernard Gavoty], “Deux grands prix Marguerite Long: le soviétique Feltzmann et le Français Rogé,“ Le Figaro , 18 June 1971. (Fonds Marguerite Long, Médiathèque Musicale Mahler) 33 Creation of “ Third Cycle ”(1966) (officially: Cycle d’études du perfectionnement) • Target: “Exceptionally gifted” students (Gavoty [1966]) • Objective: Preparation for international competitions (Descaves 1990) «Organisation du cycle du perfectionnement ,» Archives Nationales (2006063049) 34 Special Curriculum for Competition • Intensive private lessons (professors and assistants, 4 H / week) • Masterclasses by international top artists • Practice of concertos with school orchestra “Especially centered on the preparation for national and international competitions” «Organisation du cycle du perfectionnement ,» Archives Nationales (2006063049) 35 State-funded Special Education for Elites --- Soviet-like Approach to International Competitions? …and Like Olympic Games (Samuel, 1963) “[Soviet] authorities (…) prepare a music competition in the same way as the Olympic Games, by pitilessly eliminating those who are not likely to collect a small medal, by lovingly indulging their solidest hopes.” « [Les] autoritéss (…) préparent un concours musical de la même manière que des Jeux Olympiques, en éliminant sans pitié ceux qui ne pourraient récolter une petite médaille, en choyant amoureusement leurs plus solides espoirs. » Claude Samuel, “Les russes préparent leurs pianistes comme des cosmonautes ,“ Paris-Presse-L’Intransigeant , n.d. (Fonds Marguerite Long, Médiathèque Musicale Mahler) 37 “It is also the Prestige of the Country that is at Stake” «Organisation du cycle du perfectionnement ,» Archives Nationales (2006063049) 38 Well-known Graduates of “ Perfecting Cycle” in 1960-70s Michel Béroff (b. 1950) Pascal Rogé (b. 1951) Pierre-Laurent Aimard (b. 1957) 39 Conclusion • French school’s adaptation to the age of international competitions: ① technical level ② institutional level •
Load more

Recommended publications
  • 18.7 Instrumental 78S, Pp 173-195
    78 rpm INSTRUMENTAL Sets do NOT have original albums unless indicated. If matrix numbers are needed for any of the items below in cases where they have been omitted, just let me know (preferably sooner rather than later). Albums require wider boxes than I use for records. If albums are available and are wanted, they will have to be shipped separately. U.S. postal charges for shipment within the U.S. are still reasonable (book rate) but out of country fees will probably be around $25.00 for an empty album. Capt. H. E. ADKINS dir. KNELLER HALL MUSICIANS 2107. 12” PW Plum HMV C.2445 [2B2922-IIA/2B2923-IIA]. FANFARES (Composed for the Musicians’ Benevolent Fund by Lord Berners, Sir. W. Davies, Dorothy Howell and Dame Edith Smyth). Two sides . Lt. rubs, cons . 2. $15.00. JOHN AMADIO [flutist] 2510. 12” Red Orth. Vla 9706 [Cc8936-II/Cc8937-II]. KONZERTSTÜCK, Op. 98: Finale (Heinrich Hofmann) / CONCERTINO, Op. 102 (Chaminade). Orch. dir. Lawrance Collingwood . Just about 1-2. $12.00. DANIELE AMFITHEATROF [composer, conductor] dir. PASDELOUP ORCH. 3311. 12” Green Italian Columbia GQX 10855, GQX 10866 [CPTX280-2/ CPTX281-2, CPTX282-3/ CPTX283- 1]. PANORAMA AMERICANO (Amfitheatrof). Four sides. Just about 1-2. $25.00. ENRIQUE FERDNANDEZ ARBOS [composer, conductor] dir. ORCH. 2222. 12” Blue Viva-Tonal Columbia 67607-D [WKX-62-2/WKX-63]. NOCHE DE ARABIA (Arbos). Two sides. Stkr. with Arbos’ autograph attached to lbl. side one. Just about 1-2. $20.00. LOUIS AUBERT [composer, con- ductor] dir. PARIS CONSERVA- TOIRE ORCH. 1570. 10” Purple Eng.
    [Show full text]
  • A Study of Ravel's Le Tombeau De Couperin
    SYNTHESIS OF TRADITION AND INNOVATION: A STUDY OF RAVEL’S LE TOMBEAU DE COUPERIN BY CHIH-YI CHEN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University MAY, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music ______________________________________________ Luba-Edlina Dubinsky, Research Director and Chair ____________________________________________ Jean-Louis Haguenauer ____________________________________________ Karen Shaw ii ACKNOWLEDGEMENTS I would like to express my tremendous gratitude to several individuals without whose support I would not have been able to complete this essay and conclude my long pursuit of the Doctor of Music degree. Firstly, I would like to thank my committee chair, Professor Luba Edlina-Dubinsky, for her musical inspirations, artistry, and devotion in teaching. Her passion for music and her belief in me are what motivated me to begin this journey. I would like to thank my committee members, Professor Jean-Louis Haguenauer and Dr. Karen Shaw, for their continuous supervision and never-ending encouragement that helped me along the way. I also would like to thank Professor Evelyne Brancart, who was on my committee in the earlier part of my study, for her unceasing support and wisdom. I have learned so much from each one of you. Additionally, I would like to thank Professor Mimi Zweig and the entire Indiana University String Academy, for their unconditional friendship and love. They have become my family and home away from home, and without them I would not have been where I am today.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 6-4-2018 Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons Recommended Citation Buchanan, Vivian, "Evolving Performance Practice of Debussy's Piano Preludes" (2018). LSU Master's Theses. 4744. https://digitalcommons.lsu.edu/gradschool_theses/4744 This Thesis 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 Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EVOLVING PERFORMANCE PRACTICE OF DEBUSSY’S PIANO PRELUDES A Thesis 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 Master of Music in The Department of Music and Dramatic Arts by Vivian Buchanan B.M., New England Conservatory of Music, 2016 August 2018 Table of Contents Abstract……………………………………………………………………………..iii Chapter 1. Introduction………………………………………………………………… 1 2. The Welte-Mignon…………………………………………………………. 7 3. The French Harpsichord Tradition………………………………………….18 4. Debussy’s Piano Rolls……………………………………………………....35 5. The Early Debussystes……………………………………………………...52 Bibliography………………………………………………………………………...63 Selected Discography………………………………………………………………..66 Vita…………………………………………………………………………………..67 ii Abstract Between 1910 and 1912 Claude Debussy recorded twelve of his solo piano works for the player piano company Welte-Mignon. Although Debussy frequently instructed his students to play his music exactly as written, his own recordings are rife with artistic liberties and interpretive freedom.
    [Show full text]
  • City Research Online
    Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/7937/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. EARLY RECORDED VIOLINISTS CIHAT AS KIN 1996 EARLY RECORDED VIOLINISTS Cihat Askin Thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Musical Arts City University Music Department April 1996 2 CONTENTS Acknowledgements 25 Abstract 26 Preface 27 Introduction 29 Abbreviations & Symbols 32 1. Joseph Joachim 33 1.1 A Short Biography 34 1.2 Joachim: Beethoven and Brahms Concertos 35 1.3 Joachim as Performer 39 1.4 Joachim as Teacher 40 1.5 Analysis of Joachim's Recordings 43 1.5.1 Bach Adagio and Tempo di Borea 44 1.5.2 Vibrato 60 1.5.3 Chords 61 1.5.4 Perfect Rubato 62 1.5.5 Agogic Accents 62 1.5.6 Intonation 63 1.6 Conclusion 66 2.
    [Show full text]
  • Carmel Music Society
    Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna
    [Show full text]
  • Sonatas for Solo Violin, Op. 27
    Eugène YSAY¨E Sonatas for Solo Violin, Op. 27 Tianwa Yang Eugène Ysaÿe (1858–1931) an apt description of what follows. The last movement has triplet figuration and a brief relaxation, before the dotted Sonatas for Solo Violin, Op. 27 the direction Allegro fermo. It is in the compound rhythm rhythms return, leading to the excitement of the ending. once conventioanl for such conclusions. Ysaÿe dedicated Sonata No. 4 in E minor to Fritz Kreisler, The Belgian violinist Eugène-Auguste Ysaÿe was among the did not prevent him from conducting his last concert in Sonata No. 2 in A minor is dedicated to the French a violinist whom he held in particularly high regard. There is leading virtuosi of his day, inspiring admiration rather than Brussels in 1930 and in March the following year his opera violinist Jacques Thibaud, who died in a plane crash in 1953. inevitably something of Bach about the opening Allemanda. jealous rivalry from other great contemporary performers. Pière li houïeu (Peter the Miner) was staged in Liège and A pupil of Marsick at the Paris Conservatoire, he established The Sarabande opens with plucked notes, moulded round Born in Liège in 1858, he was taught by his father, Nicolas- then in Brussels. His health allowed him to attend the second a leading position for himself among French violinists and is an inner four-note descending motif that is heard in the Joseph Isaye, a violinist and opera conductor, and entered of these, three weeks before his death on 12th May 1931. still remembered for his chamber music performances with bowed section that follows, leading eventually to more the Liège Conservatoire in 1865, studying there with D.
    [Show full text]
  • ABSTRACT the Influence of Poetry on the Piano Music of Early Twentieth-Century France and England Meredith K. Rigby, M.M. Mentor
    ABSTRACT The Influence of Poetry on the Piano Music of Early Twentieth-Century France and England Meredith K. Rigby, M.M. Mentor: Laurel E. Zeiss, Ph.D. The turn of the century in France saw an increased intensity of interest in equating the arts of poetry and music. England experienced a similar trend. Debussy and Ravel were influenced by the Symbolist poets and their aesthetic of abstract musical expression of ideas and outright rejection of Romanticism. John Ireland in England sought to express the sense of loss and longing in Victorian poetry through his music, while Joseph Holbrooke based his musical forms on direct representation of dramatic and mysterious Romantic poetry, especially that of Edgar Allan Poe, through text painting and similar techniques. Each of these composers’ music reflects formal aspects, emotional values, and rhythmic qualities of the poetry in which they were immersed, as analyses of Debussy’s Preludes, Ravel’s Jeux d’eau, Ireland’s Green Ways, and Holbrooke’s Nocturnes demonstrate. The Influence of Poetry on the Piano Music of Early Twentieth-Century France and England by Meredith K. Rigby, B.A. A Thesis Approved by the School of Music Gary C. Mortenson, D.M.A., Dean Laurel E. Zeiss, Ph.D., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee Laurel E. Zeiss, Ph.D., Chairperson Alfredo Colman, Ph.D. Terry Lynn Hudson, D.M.A. Accepted by the Graduate School May 2017 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School.
    [Show full text]
  • French Performance Practices in the Piano Works of Maurice Ravel
    Studies in Pianistic Sonority, Nuance and Expression: French Performance Practices in the Piano Works of Maurice Ravel Iwan Llewelyn-Jones Submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy School of Music Cardiff University 2016 Abstract This thesis traces the development of Maurice Ravel’s pianism in relation to sonority, nuance and expression by addressing four main areas of research that have remained largely unexplored within Ravel scholarship: the origins of Ravel’s pianism and influences to which he was exposed during his formative training; his exploration of innovative pianistic techniques with particular reference to thumb deployment; his activities as performer and teacher, and role in defining a performance tradition for his piano works; his place in the French pianistic canon. Identifying the main research questions addressed in this study, an Introduction outlines the dissertation content, explains the criteria and objectives for the performance component (Public Recital) and concludes with a literature review. Chapter 1 explores the pianistic techniques Ravel acquired during his formative training, and considers how his study of specific works from the nineteenth-century piano repertory shaped and influenced his compositional style and pianism. Chapter 2 discusses Ravel’s implementation of his idiosyncratic ‘strangler’ thumbs as articulators of melodic, harmonic, rhythmic and textural material in selected piano works. Ravel’s role in defining a performance tradition for his piano works as disseminated to succeeding generations of pianists is addressed in Chapter 3, while Chapters 4 and 5 evaluate Ravel’s impact upon twentieth-century French pianism through considering how leading French piano pedagogues and performers responded to his trailblazing piano techniques.
    [Show full text]
  • French Violin Performance from Franck to Ravel A
    UNIVERSITY OF CALIFORNIA Los Angeles In Search of a Style: French Violin Performance from Franck to Ravel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Ji Young An 2013 © Copyright by Ji Young An 2013 ABSTRACT OF THE DISSERTATION In Search of a Style: French Violin Performance from Franck to Ravel by Ji Young An Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert Winter, Chair My dissertation focuses on issues of French sound and style in late nineteenth and early twentieth-century French violin repertoire. As a violinist who studied at the Paris Conservatory, I have long been puzzled as to why so little had been written about something that everyone seems to take for granted—so called French style. I attacked this elusive issue from three perspectives: 1) a detailed look at performance directions; 2) comparisons among recordings by artists close to this period (Jacques Thibaud, Zino Francescatti, as well as contemporary French artists such as Philippe Graffin and Guillaume Sutre); and 3) interviews with three living French violinists (Olivier Charlier, Régis Pasquier, and Gérard Poulet) with strong ties to this tradition. After listening to countless historical recordings, I settled on three pivotal works that illustrate the emergence and full flowering of the French style: César Franck’s Violin Sonata (1886), Claude Debussy’s Violin Sonata (1917), and ii Maurice Ravel’s Tzigane: Rapsodie de Concert pour Violon et Piano (1924). Each of them presents specific challenges: notational and stylistic issues in Franck’s Violin Sonata, Debussy’s performance directions in his Violin Sonata, and notational and interpretive issues in Ravel’s Tzigane that led to a separate, orally-transmitted French tradition.
    [Show full text]
  • G. Jean-Aubry (1882-1950)
    1/15 Data G. Jean-Aubry (1882-1950) Pays : France Langue : Français Sexe : Masculin Naissance : Paris, 13-08-1882 Mort : Paris, 01-04-1950 Note : Homme de lettres. - Musicologue. - Traducteur des oeuvres de Joseph Conrad. - A toujours signé G. Jean-Aubry, mais certaines de ses publications apparaissent sous le prénom de plume Georges, celui d'un oncle proche, et qu'il a adopté en 1902. - Les prénoms Gabriel et Gérard sont des développements erronés mais figurant dans la correspondance d'André Gide à G. Jean-Aubry État-civil complet : Jean Frédéric Émile Aubry Domaines : Musique Littératures Autres formes du nom : G. Jean- Aubry (1882-1950) Gabriel Jean-Aubry (1882-1950) Georges Jean-Aubry (1882-1950) Gérard Jean-Aubry (1882-1950) G. J.-A. (1882-1950) ISNI : ISNI 0000 0001 1589 3428 (Informations sur l'ISNI) G. Jean-Aubry (1882-1950) : œuvres (287 ressources dans data.bnf.fr) Œuvres textuelles (231) Valery Larbaud (1949) "Lettres à André Gide" (1948) de Valery Larbaud avec G. Jean-Aubry (1882-1950) comme Préfacier Vie de Conrad "Giro dell'oca" (1947) (1947) de Valery Larbaud avec G. Jean-Aubry (1882-1950) comme Postfacier data.bnf.fr 2/15 Data Au tombeau de Julie Le Nain vert (1946) (1946) Le centenaire de Gabriel Fauré André Gide et la musique (1945) (1945) Versailles, songes et regrets "Cambridge et la tradition anglaise, des splendeurs d'un (1944) grand passé aux promesses d'un grand avenir" (1945) de Alfred Leroy avec G. Jean-Aubry (1882-1950) comme Préfacier Paris, âges et visages La Savoie (1943) (1943) Une amitié exemplaire.
    [Show full text]
  • Rachel Barton Pine
    To the memory of Harry Edlund, Capricho Latino unaccompanied violin music's greatest champion. 1 Isaac Albéniz (1860–1909) 8 Luis Jorge González (b. 1936) arr. Rachel Barton Pine Epitalamio Tanguero (a Rachel y Greg)* Producer Judith Sherman Engineer Bill Maylone Asturias (Leyenda)* (6:02) (5:48) Recorded July 13–15 and 17–18, 2009, and January 6, 2011, in the Fay and Daniel 2 Levin Performance Studio, WFMT, Chicago, IL Roque Cordero (1917–2008) 9 José White (1835–1918) Violin “ex-Soldat” Guarneri del Gesu, Cremona, 1742 Rapsodia Panameña* (9:14) Etude No. 6 (a Secundino Arango)* Strings Vision Titanium Solo by Thomastik-Infeld Bow Dominique Peccatte 3 Traditional arr. Jesús Florido (5:11) Style Director Jesús Florido Balada Española (Romance)* (2:10) bu Francisco Tárrega (1852–1909) Narration Recorded December 8, 2010, at DG Entertainment, Los Angeles, CA 4 César Espejo (1892–1988) arr. Ruggiero Ricci Narration Director Marice Tobias Narration Engineer Peter Cutler Recuerdos de la Alhambra (3:47) Narration Editing James Ginsburg Prélude Ibérique (a Henryk Szeryng)* bl Front Cover Photo Andrew Eccles (4:44) Joaquín Rodrigo (1901–1999) Art Direction Booklet: Nancy Bieschke; Inlay Card: Adam Fleishman/www.adamfleishman.com 5 Manuel Quiroga (1892–1961) Capriccio (Offrande à Sarasate) (6:18) Emigrantes Celtas (3:09) bm José Serebrier (b. 1938) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted Aires de Tango (a Rachel Barton Pine)* to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s 6 Manuel Quiroga (8:18) activities are supported in part by contributions and grants from individuals, foundations, corporations, and Terra!! Á Nosa!! (2:10) government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, bn 7 Eugène Ysaÿe (1858–1931) Astor Piazzolla (1921–1992) NIB Foundation, Negaunee Foundation, Sage Foundation, and the Illinois Arts Council, a state agency.
    [Show full text]