LIVES of the PIANO Lisa Yui (DMA ’05), Director
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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 -
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. -
Jazz Concert
Artist Series Andrew Cooperstock, piano Friday, February 15, 2019 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents Artist Series Andrew Cooperstock, piano Music of Leonard Bernstein (1918-1990) A Centennial Tribute Friday, February 15, 2019 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM El Salón Mexico ........................................................................................................ (1936, orig. pub. 1939/arr. pub. 1941) Sonata for the Piano ................................................................................................................................... (1938, pub. 1979) I. Presto. Molto moderato. Presto. Scherzando II. Largo. Moderato. Molto moderato Selections from Anniversaries ................................................................................................................................ (1942-88) For Aaron Copland For Sergei Koussevitzky In Memoriam: Nathalie Koussevitzky For Felicia Montealgre For Susanna Kyle For Stephen Sondheim In Memoriam: William Kapell In Memoriam: Helen Coates Four Sabras ............................................................................................................................................. -
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 -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism. -
A União Entre Técnica E Musicalidade Na Metodologia De Ensino Do Piano Da Professora Isabelle Vengerova
A união entre técnica e musicalidade na metodologia de ensino do piano da professora Isabelle Vengerova Tarcísio Gomes Filho Universidade do Estado do Rio Grande do Norte (UERN) [email protected] Resumo: Este artigo consiste em um recorte da pesquisa sobre técnica pianística, orientada pelo Prof. Dr. Maurícy Martin, durante o curso de mestrado em música na Universidade Estadual de Campinas – UNICAMP. A abordagem metodológica, em relação aos movimentos utilizados na execução, tem como fundamentação os conceitos originados da escola pianística da professora Isabelle Afanasievna Vengerova (1877-1956), complementados pelo estudo de outros autores e da mecânica das mãos. Em um segundo estágio, a aplicação da técnica ocorreu em peças do repertório tradicional, com o objetivo de criar um modelo de estudo aplicável a outros repertórios. Uma dos principais resultados alcançados com a pesquisa foi a criação de um material de cunho didático e informativo voltado a alunos e professores de piano. A conclusão aponta os benefícios adquiridos por esta prática de execução e sugere aplicação em outras peças. Introdução O objetivo desta pesquisa foi gerar um material de cunho didático e informativo, sobre técnica pianística, voltado a alunos e professores de piano, além de divulgar as concepções sobre técnica pensadas pela professora Isabelle Afanasievna Vengerova (1877- 1956)1. Desenvolvemos um trabalho alicerçado na maior gama possível de conhecimentos dos meios físicos e anatômicos diretamente ligados à execução do instrumento e por conseqüência deste processo, a busca da sonoridade que implica no gesto em função do som a ser adquirido e do fraseado desejado. As idéias aqui apontadas foram fundamentadas na escola pianística da pedagoga russa Isabelle Vengerova2 e complementados pelo levantamento bibliográfico de outros autores e pelo estudo da mecânica das mãos por meio da anatomia e fisiologia3. -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
Balys DVARIONAS (1904-1972) Complete Works for Violin and Piano Sonata-Ballade • Pezzo Elegiaco • Three Pieces
Balys DVARIONAS (1904-1972) Complete Works for Violin and Piano Sonata-Ballade • Pezzo elegiaco • Three Pieces Justina Auškelytė, Violin • Cesare Pezzi, Piano Balys Dvarionas (1904-1972) Complete Works for Violin and Piano Balys Dvarionas was one of the most prominent figures in Igor Stravinsky and Sergey Prokofiev, among others. The pianist, and his son, the violinist. There can be little doubt Sonata was meant to be a one-movement composition the field of Lithuanian (and indeed Baltic) musical culture. last time Dvarionas appeared on stage was on May 12, as to why Dvarionas’ instrumental chamber works are with the main theme reprised in the recapitulation. During A polymath, he excelled as a pianist, conductor, 1972 at the Lithuanian National Philharmonic in Vilnius, said to possess an especially personal quality. In the creative process each musical idea inspired the next, composer and pedagogue. Dvarionas was born in the where together with the Lithuanian Chamber Orchestra composing music for his children, the composer and so the work can be viewed as one constantly evolving Latvian harbour city of Liepaja. His father was a Roman he played Mozart’s Piano Concerto No. 1 in D major, inadvertently developed a particularly original chamber beautiful episodic sequence. A colleague of the composer Catholic church organist, and as a result the young K.107 and conducted Schubert’s Mass No. 2 in G major music idiom, where the interplay between parts relies on once described the work in the following terms: “…when Dvarionas received his first music lessons at home. He D.167. an uninhibited bond between performers. -
THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk
THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW In 1949, to mark the centennial of the death of Fryderyk Chopin, the Kosciuszko Foundation’s Board of Trustees authorized a National Committee to encourage observance of the anniversary through concerts and programs throughout the United States. Howard Hansen, then Director of the Eastman School of Music, headed this Committee, which included, among others, Claudio Arrau, Vladimir Horowitz, Serge Koussevitzky, Claire Booth Luce, Eugene Ormandy, Artur Rodzinski, George Szell, and Bruno Walter. The Chopin Centennial was inaugurated by Witold Malcuzynski at Carnegie Hall on February 14, 1949. A repeat performance was presented by Malcuzynski eight days later, on Chopin’s birthday, in the Kosciuszko Foundation Gallery. Abram Chasins, composer, pianist, and music director of the New York Times radio stations WQXR and WQWQ, presided at the evening and opened it with the following remarks: In seeking to do justice to the memory of a musical genius, nothing is so eloquent as a presentation of the works through which he enriched our musical heritage. … In his greatest work, Chopin stands alone … Throughout the chaos, the dissonance of the world, Chopin’s music has been for many of us a sanctuary … It is entirely fitting that this event should take place at the Kosciuszko Foundation House. This Foundation is the only institution which we have in America which promotes cultural relations between Poland and America on a non-political basis. It has helped to understand the debt which mankind owes to Poland’s men of genius. At the Chopin evening at the Foundation, two contributions were made. -
The AMICA News Bulletin of the Automatic Musical Instrument Collectors' Association
The AMICA News Bulletin of the Automatic Musical Instrument Collectors' Association . " . _: .. ' .;".: August/September 1983 Volume 20 Number 7 AMICA International Continuing Members: $20 Annual Dues AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Overseas Members: $26 Dues New Members, add $5 processing fee NEWS BULLETIN (Write to Membership Secretary, PUBLISHER see address below) Dorothy Bromage Single back issues of the News Bulletin are P.O. Box 387 available from the Publisher for $2.00 each. La Habra, CA 90633-0387 Change of Address: If you move, send the USA new address and phone number to the Membership Secretary, Will Wild and Published by the Automatic Musical Instrument Collectors' Valerie Anderson Association, a non-profit club devoted to the restoration, distribution and enjoyment of musical instruments using INTERNATIONAL OfFICERS perforated paper music rolls. AMICA was founded in San Francisco in 1963. PRESIDENT Terry Smythe (204) 452-2180 Contributions: All subjects of interest to readers of the 547 Waterloo St., Winnipeg, Manitoba Bulletin are encouraged and invited by the publisher. All Canada R3N on articles must be received by the 10th of the preceding PAST PRESIDENT Robert M. Taylor month. Every attempt will be made to publish all articles of (215) 735-2662 general interest to AMICA members at the earliest possible 1326 Spruce St. #3004, Phildelphia, PA 19107 time and at the discretion of the publisher. VICE PRESIDENT Molly Yeckley (419) 684-5742 Original Bulletin articles, or material for reprint that is of 612 Main St., Castalia, OH 44824 significant historical quality and interest, are encouraged and will be rewarded in the form of AMICA membership SECRETARY Richard Reutlinger (415) 346-8669 dues discounts. -
Volume 65, Number 08 (August 1947) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1947 Volume 65, Number 08 (August 1947) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 65, Number 08 (August 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/181 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. XUQfr JNftr o 10 I s vation Army Band, has retired, after an AARON COPLAND’S Third Symphony unbroken record of sixty-four years’ serv- and Ernest Bloch’s Second Quartet have ice as Bandmaster in the Salvation Army. won the Award of the Music Critics Cir- cle of New York as the outstanding music American orchestral and chamber THE SALZBURG FESTI- BEGINNERS heard for the first time in New York VAL, which opened on PIANO during the past season. YOUNG July 31, witnessed an im- FOB portant break with tra- JOHN ALDEN CARPEN- dition when on August TER, widely known con- 6 the world premiere of KEYBOARD TOWN temporary American Gottfried von Einem’s composer, has been opera, “Danton’s Tod,” By Louise Robyn awarded the 1947 Gold was produced.