Moriz Rosenthal in Word and Music: a Legacy of the Nineteenth Century
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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 -
Complete Beethoven Piano Sonatas--Artur Schnabel (1932-1935) Added to the National Registry: 2017 Essay by James Irsay (Guest Post)*
The Complete Beethoven Piano Sonatas--Artur Schnabel (1932-1935) Added to the National Registry: 2017 Essay by James Irsay (guest post)* Artur Schnabel Austrian pianist Artur Schnabel has been called “the man who invented Beethoven”... a strange thing to say considering Schnabel was born more than half a century after Beethoven, universally recognized as the greatest composer in Europe, died in 1827. What, then, did Artur Schnabel invent? The 32 piano sonatas of Ludwig van Beethoven (1770-1827) represent one of the great artistic achievements in human history, and stand as the musical autobiography of the great composer's maturity, from his 25th until his 53rd year, four years before his death. The fruit of those years mark a staggering creative journey that began and ended in the composer's adopted home of Vienna, “Music Central” to the German-speaking world. Beethoven's musical path led from the domain of Haydn and Mozart to the world of his late period, when the agonizing progress of his deafness had become complete. By then, Beethoven's musical narrative had begun to speak a new language, proceeding according to a new logic that left many listeners behind. While the beauties of his music and his deep genius were generally recognized, at the same time, it was thought by some critics that Beethoven frequently smudged things up with his overly- bold, unfettered invention, even well before his final period: Beethoven, who is often bizarre and baroque, takes at times the majestic flight of an eagle, and then creeps in rocky pathways. He first fills the soul with sweet melancholy, and then shatters it by a mass of shattered chords. -
Rachmaninoff's Rhapsody on a Theme By
RACHMANINOFF’S RHAPSODY ON A THEME BY PAGANINI, OP. 43: ANALYSIS AND DISCOURSE Heejung Kang, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Pamela Mia Paul, Major Professor and Program Coordinator Stephen Slottow, Minor Professor Josef Banowetz, Committee Member Steven Harlos, Interim Chair of Piano Jessie Eschbach, Chair of Keyboard Studies James Scott, Dean of the College of Music Sandra L. Terrill, Interim Dean of the Robert B. Toulouse School of Graduate Studies Kang, Heejung, Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43: Analysis and Discourse. Doctor of Musical Arts (Performance), May 2004, 169 pp., 40 examples, 5 figures, bibliography, 39 titles. This dissertation on Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43 is divided into four parts: 1) historical background and the state of the sources, 2) analysis, 3) semantic issues related to analysis (discourse), and 4) performance and analysis. The analytical study, which constitutes the main body of this research, demonstrates how Rachmaninoff organically produces the variations in relation to the theme, designs the large-scale tonal and formal organization, and unifies the theme and variations as a whole. The selected analytical approach is linear in orientation - that is, Schenkerian. In the course of the analysis, close attention is paid to motivic detail; the analytical chapter carefully examines how the tonal structure and motivic elements in the theme are transformed, repeated, concealed, and expanded throughout the variations. As documented by a study of the manuscripts, the analysis also facilitates insight into the genesis and structure of the Rhapsody. -
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. -
2017-2018 Master Class-Leon Fleisher
Welcome to the 2017-2018 season. The talented students and extraordinary faculty of the Lynn LEON FLEISHER MASTER CLASS Conservatory of Music take this opportunity to share with you the beautiful world of music. Your Wednesday, January 24, 2018 at 7:00 pm ongoing support ensures our place among the premier conservatories Amarnick-Goldstein Concert Hall of the world and a staple of our community. - Jon Robertson, dean PROGRAM There are a number of ways by which you can help us fulfill our mission: Friends of the Conservatory of Music Sonata Op. 2 No. 2 in A Major Ludwig van Beethoven Lynn University’s Friends of the Conservatory of Music is a IV Rondo: Grazioso (1770-1827) volunteer organization that supports high-quality music education through fundraising and community outreach. Raising more than $2 million since 2003, the Friends support Lynn’s effort to provide Chance Israel, piano free tuition scholarships and room and board to all Conservatory of Music students. The group also raises money for the Dean’s Discretionary Fund, which supports the immediate needs of the university’s music performance students. This is accomplished through annual gifts and special events, such as outreach concerts and the annual Gingerbread Holiday Concert. To learn more about joining the Friends and its many benefits, Scherzo No. 4 in E Major Frederic Chopin such as complimentary concert admission, visit Give.lynn.edu/support-music. (1810-1849) The Leadership Society of Lynn University Meiyu Wu, piano The Leadership Society is the premier annual giving society for donors who are committed to ensuring a standard of excellence at Lynn for all students. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
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 -
Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca". Nam Yeung Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1997 Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca". Nam Yeung Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Yeung, Nam, "Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca"." (1997). LSU Historical Dissertations and Theses. 6648. https://digitalcommons.lsu.edu/gradschool_disstheses/6648 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 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 afreet 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. -
Thejoy That Comes with Music
(I Jnfernafionaf JlJRJ8Jl SEND IN YOUR SUGGESTIONS FOR RECUTTING BY NICK JARRETT Mieczyslaw Manz, 75, Is Dead; I know many of us have a pet roll or rolls we would A Concert Pianist and Teacher like to see recut. I took this matter up with . Mieczyslaw Munz, a fonner major, the Brahms concerto in Elwood Hansen, owner of the plant at Turlock. He concert pianist who appeared D minor and the Franck Sym assured me that there is no exclusive contract to ~ith many of the.world's lead- phonic Variations. prevent such a project, and suggested that I might 109 orchestras, di~ yesterday Mr Munz made his solo of a heart attack 10 an ambu-' . co-ordinate requests from the membership. Please lance as he was being taken to debut at Aeoli:an, Hall 10 New write and let me know what ~ would like. hospital from his home at the York on Oct. 20, 1922. The Ten Park Avenue Hotel. He New York Times review called was 75 years old. him "an absorbed artist, under It has been suggested that special attention be Mr. Munz, who taught at the whose hands mere tricks and given to the type of rolls that seldom appear on Juilliard School for 12 years, graces of piano playm'.. fall was scheduled to return to the . • lists of recuts: PIANO music played by the great Juilliard School next month, away as chips from the sculp- artists of the reproducing piano's heyday. This is after a sabbatical year of teach- tor's chisel, wbliIe he lays ~are iing at Giebel University in the larger curves of sustamed not an attempt to put AMR or Klavier out of business, Tokyo. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects -
Riccardo Muti Conductor Rudolf Buchbinder Piano Wagner Siegfried’S Rhine Journey and Funeral March from Götterdämmerung Beethoven Piano Concerto No
Please note that pianist Leif Ove Andsnes has withdrawn from these concerts. The CSO welcomes Rudolf Buchbinder, who has graciously agreed to perform. The program remains unchanged. PROGRAM ONE HUNDRED TWENTY-SECOND SEASON Chicago Symphony Orchestra Riccardo Muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, June 13, 2013, at 8:00 Friday, June 14, 2013, at 1:30 Saturday, June 15, 2013, at 8:00 Riccardo Muti Conductor Rudolf Buchbinder Piano Wagner Siegfried’s Rhine Journey and Funeral March FROM Götterdämmerung Beethoven Piano Concerto No. 4 in G Major, Op. 58 Allegro moderato Andante con moto— Rondo: Vivace RUDOLF BUCHBINDER INTERMISSION Bruckner Symphony No. 1 in C Minor Allegro Adagio—Andante Scherzo: Lively Finale: Agitated and fiery These performances have been enabled by the Juli Grainger Fund. Support of the music director and related programs is made possible in part by a generous gift from the Zell Family Foundation. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS BY PHILLIP HUSCHER Richard Wagner Born May 22, 1813, Leipzig, Germany. Died February 13, 1883, Venice, Italy. Siegfried’s Rhine Journey and Funeral March FROM Götterdämmerung iegfried’s Death was the original then e Young Siegfried, and finally Stitle of the prose sketch for an e Valkyrie each demanded yet opera that grew, over the span of another opera before it to provide twenty-eight years, into the most background and to set all the nec- monumental undertaking in the essary narrative strands in motion. -
RCA LHMV 1 His Master's Voice 10 Inch Series
RCA Discography Part 33 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA LHMV 1 His Master’s Voice 10 Inch Series Another early 1950’s series using the label called “His Master’s Voice” which was the famous Victor trademark of the dog “Nipper” listening to his master’s voice. The label was retired in the mid 50’s. LHMV 1 – Stravinsky The Rite of Spring – Igor Markevitch and the Philharmonia Orchestra [1954] LHMV 2 – Vivaldi Concerto for Oboe and String Orchestra F. VII in F Major/Corelli Concerto grosso Op. 6 No. 4 D Major/Clementi Symphony Op. 18 No. 2 – Renato Zanfini, Renato Fasano and Virtuosi di Roma [195?] LHMV 3 – Violin Concerto for Violin and Orchestra No. 2 (Bartok) – Yehudi Menuhin, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 4 – Beethoven Concerto No. 5 in E Flat Op. 73 Emperor – Edwin Fischer, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 5 – Brahms Concerto in D Op. 77 – Gioconda de Vito, Rudolf Schwarz and the Philharmonia Orchestra [1954] LHMV 6 - Schone Mullerin Op. 25 The Maid of the Mill (Schubert) – Dietrich Fischer-Dieskau, Gerald Moore [1/55] LHMV 7 – Elgar Enigma Variations Op. 36 Wand of Youth Suite No. 1 Op. 1a – Sir Adrian Boult and the London Philharmonic Orchestra [1955] LHMV 8 – Bach Brandenburg Concerto No. 2 in F/Brandenburg Concerto No. 5 in D – Harold Jackson, Gareth Morris, Herbert Sutcliffe, Manoug Panikan, Raymond Clark, Gerraint Jones, Edwin Fischer and the Philharmonia Orchestra [1955] LHMV 9 – Beethoven Symphony No. 5 in C Minor Op.