Dorcey Smith Louise Behrend

Total Page:16

File Type:pdf, Size:1020Kb

Dorcey Smith Louise Behrend BROOKLYN ACADEMY OF MUSIC DORCEY SMITH and LOUISE BEHREND Friday Evening, February 20, 1942 THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES COMPRISING THB BROOKLYN MUSBUM, THB BROOKLYN CHILDREN's MUSBUM, THB BROOKLYN BOTANIC CARDBN, AND THB INSTITUTB AT THB ACADEMY OP MUSIC EDWARD C. BLuM, Chairman of the Board ]AMBS G. McDoNALD, President PERMANENT MEMBERSHIP, $2500 LIFB MBMBBRSHIP1 $500 CONTRIBUTING MBMBBRSHIP, $100 PER YBAR SUSTAINING MBMBBRSHIP, $25 PBR YEAR THE INSTITUTE AT THE ACADEMY OF MUSIC 30 LAPAYBTTI!I AVBNUB-BROOKLYN-STERLINC 3 6700 ADRIAN VAN SINDBRIIN, Chairman, yovunin~ Committee Ju:..1us BLOOM, .Associate Director ANNUAL MEMBBRSHIP, $10. MBMBBRSIIIP PRIVILEGES INCLUDB FREB ADMISSION TO MORB THAN TWO HUNDRBD BVENTS: LBCTURES, RECITALS, PRO· CRAMS FOR YOUNG PBOPLB, MOTION PICTURBS1 FIBLD TRIPS, BTC. MBMBBRSHIP MAY BB TAKEN OUT ANY TIMB DURING THB YBAR. THE BROOKLYN ACADEMY OF MUSIC 30 LAPAYBTTB AVBNUB-BROOKLYN-SfBRLING 3-6700 WILLIAM T. HuNTBR, Chairman, Buildin~ Committee HBRBBRT T. SwiN, ~Managing Superirrterrtferrt THB OPBRA HOUSB1 MUSIC HALL, AND BALLROOM OP THB ACADBMY OP MUSIC ARB AVAILABLB FOR CONCBRTS, PLAYS, LBCTURBS, DANCB$1 AND OTHBR BVBNTS. INQUIRB: MANAGING SUPBRINTBNDBNT PUBLICATION AND ADVERTISING OfFICES CONCERT PROGRAM MAGAZINES SIGMUND GoTTLOBBR, Publisher 30 Lafayette Ave., Brooklyn, STerling 3-6700 258 Fifth Ave., Manhattan, CAledonia 5 6690 WALTIIR H. MoRIN, Production J"rlana~er FRBDA Roves, .Advertisin~ Director PUBLISH llRS OP STADIUM CONCERTS REVIEW f BERKSHIRE SYMPHONIC FESTIVAL PROGRAM ESSEX COUNTY SYMPHONY SOCIETY MAGAZINE WESTCHESTER COUNTY MUSIC CENTER CONCERT NEWS THE PROGRAM AND MAGAZINE OF BROOKLYN ACADEMY OF MUSIC 3 J\MJJRICA~ PIIOTOCRAPIIY AT TilE BROOKLYN MLISl:UM "Puppy Love," by F. J. Jordan ,. I THE STORY OF MARIAN ANDERSON choir and quartet of the Union Baptist Church, she frequently su bstituted for absentees, sing ing anything from soprano to baritone with easy equanimity. It is to these early demands upr>n her versatility that she attributes the range and timber of her voice. Inevitably she attracted wider notice. Devol eel friends laboriously collected a Marian An derson fund, later augmented hy wealthier pa trons, which enabled her to study with the noted Italian, Giuseppe Boghetti. She won, among three hundred entrants, the chance to sing with ti-e New York Philharmonic-Symphony Orches tra. Although an avalanche of applause hailed her performance, she grew despondent over racial discrimination and went to try her luck in Europe. Successes on the Continent, no less than Toscanini's plaudits, helped to break dov,n the barriers of prejudice. After her recital at Town Jlall in December, 1935, her fame was assured. , Critics everywhere ha\e unreservedly praised Miss Anderson's remarkable voice. " It is a con K ING A"\0 COM.\\ONLR IIA\'1 _IOINLD IN I ETING tralto of stunning range and volume," wrote Marian Anderson, who appears on Wednes­ Olin Downes," ... a voice that lends itself to day evening, March II, in the ninth program of the entire emotional gamut, responsive to deli the Institute's Major Concert Series. f-or al­ cate nuance and able to swell out with opulence most a decade she has been acknowledged a and sonority." Others have called it "clear and leading singer, perhaps the most popular of our silvery in the soft upper tones"; "full and warm time. Awards and honors have been showered in the lower register." All have agreed that it upon her. Universities have conferred honor­ is vibrant, profound, and strikingly beautiful in ary doctorate degrees upon her; she is the re­ any range. Equally admired are her e\cellent cipient of the Spingarn Medal; last year she was musiciansh ip and the eloquence of her interpre granted the Bok Award of ten thousand dollars lations. !\\iss Anderson's repertory encompasses -the Philadelphian who had contributed most a world of vocal music : more than two hundred to the honor of that city. Royalty entertained so ngs in nine languages. Whether she sing<. her in Denmark and Sweden. Crowds of en­ Brahms, llandel, or the simple spi rituals she so thusiastic admirers followed her wherever she deeply loves, each is treated with intelligence went in S->viet Russia. Mrs. Roosevelt invited and artistry. her to sing for the King and Queen of England Despite this universal acclaim Miss Anderson 1,, at the White I louse. became a CCIIL\t' cdeln c in 1939 when she was re­ But the path to fame was a long, winding fused the use of Constitution 1 lall in \o/ashing one. Born, some thirty years ago, in the poor ton, D. C. A veritable 11 1/w\ Who of every "I Negro section of South Philadelphia, Miss An ­ profession vigorously protested the action. M1. derson struggled with her widowed mother and Ickes, wrathful in his denunciation, arranged an two sisters against the inroads of blighting pov­ outdoor recital, free to the public and pointed erty. Religion and music were their only es- in its locale. On :~ bright [aster afternoon, cape from drudgery. Little larian began to against the background of the Lincoln Me sing when she was tlut>~ . By the timl' slw moria!, J\bri:tn Ander~on sang to more than •~ached eight, "the baby contralto" was ~:1111111g seventy-five thousand, while her radio audience her first fee, fifty cents. As a favorite in the numbered millions. 5 Hands Across· the Keys Akxandcr K1ailow~ky D ARK IIAIRrD AND OLLIE rvro, WITII A WIDE was himself a musician and who early recognized humorous mouth and a boyish expression, his son's exceptional talent. Determined to give Alexander Brailowsky manages at once to re­ the boy the best available instruction, he moved semble both Noel Coward and Fred Astaire. his family to Vienna. There Leschetizky, famous t>.lost arresting are his hands which are unusual­ teacher of an already famous Paderewski, ly flexible, with long tapering fingers. They are acknowledged Alexander as his star pupil. But what are known as "pianist's hands," but few the outbreak of war in 1914 forced the family pianists actually possess them Brailowsky is to flee to Switzerland. It was only after the curiously indifferent to the attention his hands Armistice that the young artist made his debut, invariably excite. I Ie thinks it more important in Paris. Even in that war-weary capital he for a pianist to have a broad mind than slim created a sensation. lingers, and he likes to point out that josef Hof­ Brailowsky, like many good musicians, is an mann has unusually short, stubby fingers. excellent mathematician. Indeed, he insists that There is little beyond the reach of this gifted his Chopin cycle was more of a mathematical pianist, who first astounded the musical world than a musical problem. He is also a brilliant with his remarkable performance of all the works linguist who speaks half a dozen languages with of Chopin in a cycle of six recitals. Chopin's equal fluency. Among his minor passions is an genius is so varied that he demands an inex­ exact knowledge of international train schedules haustible understanding and technique from his that was, in those halcyon days of travel, the interpreters. Brailowsky has proved him­ envy of his harassed managers. Another is his self equal to that demand. I Ie has the pro­ delight in detective stories and gangster films. digious memory, physical stamina, and heroic I lis more serious interests include the reading technical assurance. I lis reception at the Salle of musical history and biography, and the rais­ Pleyel, eighteen years ago in Paris, when he ing of animals. I le has a notable array of dogs performed this gigantic feat, was so resounding and cats in his Lausanne home, and here in the that Pleyel turned over to him the very piano United States rarely travels without some pet. which he had had built for the great composer Although he is known most widely for his himself. Brailowsky has since repeated this virile interpretation of Chopin, Brailowsky's .. memorable lour de force in Paris, New York, formidable repertory embraces the entire field and elsewhere. For years now he has been on of classic and modern piano composition. !lis an almost perpetual and triumphal Cook's tour musicianship and technical mastery are apparent through every country of Curope, the Near East, in all his playing, nowhere more so than in his the Americas, and the Far East. presentation of the romanticist composers of the Like Simon Barere, Alexander Brailowsky nineteenth century J lis Institute program, was born in southern Russia some forty years eighth in the Major Concert Series, will be given ago. I Ie was fortunate in having a father who on Wednesday evening, February 25. 6 FAIRY OPERA FOR YOUNG PEOPLE E NGI.Lilllll I IU,\IPLIWINCh. \VAS ALII! i\UY AN children in the forest srnce there is too little eminent composer and critic when his sister food for all. I lungry and forlorn the children asked him to write the incident:-~! music to a wander until they suddenly espy a little house Christmas play for her children. Delving into made of gingerbread. The odors that emanate th:11 storehouse of folk t:-~les , the Crimms' 'Ki11tlcr arc ravishing and, succumbing to the blandish 11111/ J ldll!>lllill c!JC?II, l'r:-~u Wettc decided 011 the ments of the witch-hostess, they enter. Onu~ story of I bnsel and Crete!. Neither the affable they are inside, the malevolent creature decoys uncle nor the fond mother realized they were !lanse! into a cage, there to fatten him for her on the verge of fame. But once the play w:-~s own sinister feast. But Gretel discovers that presented I lumperdinck quickly sensed its oper­ the gingerbread cookies are little boys and girls :-~tic possibilities.
Recommended publications
  • Grieg Piano Concerto in a Minor Shee
    Grieg piano concerto in a minor shee Continue Piano Concerto in the minor is directing here. See the piano concerto (Schumann) for the Robert Schumann concert. Music scores are temporarily disabled. Famously a flourishing introduction to concerts. Piano Concerto in Underage Op. 16, composed by Edvard Grieg in 1868, was the only concert Grieg finished. It is one of his most popular works[1] and is one of the most popular piano concertoes. Structure Musical scores are temporarily disabled. The main topic of allegro molto moderato. The concert is in three movements:[2] Allegro molto moderato (minor) The first movement is in sonata form and is known as timpani roll in its first bar, which leads to a dramatic piano bloom, which leads to the main theme. Then the key becomes a C large, secondary theme. Later the secondary theme appears again recapitulation, but this time the key major. The movement ends with virtuosic cadenza and bloom similar to that at the beginning of the movement. Adagio (D♭) The second movement is the lyrical movement D♭ large, leading directly to the third movement. The movement is in three-set form (A-B-A). Part B is D♭ and E large, then returns to D♭ a large reprise piano. Allegro moderato molto e marcato - Quasi presto - Andante maestoso (minor → F large → minor → large) the third movement opens a minor 24 times energetic theme (Theme 1), followed by a lyrical theme F large (Theme 2). The move will return to the theme on 1 January 2017. After this total cepteption is 34 main Quasi presto section, consisting of a variation of theme 1.
    [Show full text]
  • 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
    [Show full text]
  • XV. Nikolai Kapustin
    XIV. Nikolai Kapustin Nikolai Girschevich Kapustin, born 1937 in the Ukraine during the era of the Soviet Un- ion, is in my opinion the very greatest composer of the 1970s and ‘80s to fuse classical music with jazz. His journey was a strange one and certainly did not spin out in a straight line. Among the more curious details is the fact that he studied piano with Avrelian Rubakh, a pupil of Felix Blumenfield who had taught Vladimir Horowitz and Simon Barere. His official biography also says that he studied piano with Alexander Goldenweiser, who had known Tchaikovsky, Scriabin, Medtner and Rachmaninov, but Kapustin is quoted as saying, “He was a very interesting per- son—he remembered Rachmaninov and Medtner, so it was very interesting to speak with him. But as a teacher he gave me nothing, because he was very old—he was already 81.”1 But this is only the first of several bits of conflicting information about Kapustin and his career. One story has it that, as a jazz-loving pianist, he had to keep his jazz bias secret due to official Soviet doctrine, yet Nikita Khruschev considerably loosened the restrictions on jazz dur- ing his tenure as Premier, encouraging jazz musicians like Benny Goodman to tour the Soviet Union. One online source claims that Kapustin developed into a fine a jazz-classical composer because of his exceptional ability to improvise, but Kapustin himself is quoted as saying, “I was never a jazz musician. I never tried to be a real jazz pianist, but I had to do it because of the composing.
    [Show full text]
  • Classical and Jazz Influences in the Music of Nikolai Kapustin: Piano Sonata No
    Graduate Theses, Dissertations, and Problem Reports 2015 Classical and Jazz Influences in the Music of Nikolai Kapustin: Piano Sonata No. 3, Op. 55 Yana Tyulkova Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Tyulkova, Yana, "Classical and Jazz Influences in the Music of Nikolai Kapustin: Piano Sonata No. 3, Op. 55" (2015). Graduate Theses, Dissertations, and Problem Reports. 6845. https://researchrepository.wvu.edu/etd/6845 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Classical and Jazz Influences in the Music of Nikolai Kapustin: Piano Sonata No. 3, Op. 55 Yana Tyulkova A Doctoral Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance Peter Amstutz, D.M.A. William Haller, D.M.A. Keith Jackson, D.M.A. James Miltenberger, D.M.A., Committee Chair, Research Advisor Bernie Schultz, Ph.D.
    [Show full text]
  • View Program Notes
    [ Notes About the Program \ Piano Trio in B-flat Major, Op. 97 “Archduke” Nevertheless it was decided that Vienna should be de- Ludwig van Beethoven (1770–1827) fended. As a result the city was bombarded by French howitzers throughout the night of 11 May and the fol- Something must be said here about Archduke Rudolph, lowing morning. Beethoven is said to have taken refuge the Emperor Franz’s youngest brother, and not only in the cellar of his brother Caspar Carl’s house, and to the highest born but the most devoted of Beethoven’s have covered his head with pillows. On the afternoon patrons. Born in 1788, he was destined for the church. of 12 May the city surrendered, and there was a second As a boy he showed an aptitude for music, and at some French occupation; it lasted for two months and proved time in his teens – perhaps in the winter of 1803-1804, a heavy drain on the inhabitants’ pockets. when he became 16 – he chose Beethoven as his piano teacher. Later he became Beethoven’s only pupil in Towards the end of the year a highly congenial com- composition. The relationship, which lasted without mission came Beethoven’s way, since it brought him in interruption until Beethoven’s death (Rudolph himself touch with the theatre once more, and since the play died four years later at the age of 43), was character- in question was by Goethe, whom he admired above ized by genuine respect on both sides. Rudolph treated all writers then living. It had been decided to furnish Beethoven with consideration and humorous under- Goethe’s Egmont with incidental music, and Beethoven standing; and Beethoven, though irked and sometimes was invited to supply it; he completed it by June 1810 provoked into ill-behaviour by the inevitable court and it was immediately performed.
    [Show full text]
  • FRÉDÉRIC CHOPIN the 1981 Baldwin Recordings
    Abbey Simon, Jorge Bolet and Earl Wild c.1979 FRÉDÉRIC CHOPIN The 1981= Baldwin Recordings With the exception of three pieces–the Fantasie, the Ballade, and the Andante Spianato and Grand Polonaise Brillante–this recording features rel- atively brief works, some of them remarkably so, demonstrating to a refined degree the extent to which Frédéric Chopin was a master of the small form. This may be a function of the fact that, though he performed in public con- cert halls, Chopin most often performed for friends in intimate salons. Fantasie in F minor, Op. 49 (1841) The heroic Fantasie in F minor is one of Chopin’s largest and most epic works for solo piano. If its scale and scope are unusual for him, so is its form, being loose, extended, and improvisatory, and having numerous melodies. Unlike many romantics, Chopin’s music is generally not narrative or programmatic, and while it is personal, it remains pure art. Nevertheless, a story has been associated with the Fantasie. The composer and pianist Franz Liszt relates: The year is 1841 and Chopin is seated at the Pleyel grand piano in Madame George Sand’s salon in Nohant, France, where they spent – 2 – their summers. A knock is heard at the door and Madame Sand enters. With her are Liszt, Camille Pleyel, the wife of the piano manufacturer, and one or two other friends, perhaps the cellist Franchomme and the singer Pauline Viardot-Garcia. Some quarreling ensues, and then reconciliation. If Liszt’s tale is correct, this scene led to Chopin’s composition of the Fantasie.
    [Show full text]
  • Rachmaninov (1873-1943)
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Sergei Rachmaninov (1873-1943) Born at Oneg, Novgorod Region. He had piano lessons from an early age but his serious training in composition began at the Moscow Conservatory where he studied counterpoint with Sergei Taneyev and harmony with Anton Arensky. He began to compose and for the rest of his life divided his musical time between composing, conducting and piano playing gaining great fame in all three. After leaving Russia permanently in 1917, the need to make a living made his role as a piano virtuoso predominant. His 4 Piano Concertos, Rhapsody on a Theme of Paganini and substantial solo piano works make him one of the world's most-performed composers. However, he also composed operas and liturgical choral works as well as other pieces for orchestra, chamber groups and voice. Piano Concerto No. 1 in F-sharp minor, Op. 1 (1892, rev. 1917) Leif Ove Andsnes (piano)/Antonio Pappano/Berlin Philharmonic Orchestra ( + Piano Concerto No. 2) EMI CLASSICS 74813-2 (2005) Agustin Anievas (piano)/Rafael Frühbeck de Burgos/New Philharmonia Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Prelude in C-sharp minor, 10 Preludes and 12 Preludes) EMI CLASSICS TRIPLE 5 00871-2 (2007) (original LP release: ANGEL SCB 3801 {3 LPs}) (1973) Vladimir Ashkenazy (piano)/Bernard Haitink/Royal Concertgebouw Orchestra (+ Rhapsody on a Theme of Paganini) DECCA 417613-2 (1987) Vladimir Ashkenazy (piano)/André Previn/London Symphony Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Variations on a Theme of Corelli and Piano Sonata No.
    [Show full text]
  • VAI 2005 Fall Catalog.Pmd
    2005 FALL CATALOGUE THE LEADER IN RECORDINGS OF HISTORIC PERFORMANCES AND RARE REPERTOIRE A-18 GEN TWO NEW DVDS IN ALICIA ALONSO ON VVVAI’sss BROADWAAAY SERIES Listing on page 2 Listings on page 3 New Compact Disc Releases on Page 22 These and other recent VAI DVD releases pp. 2-8! New Hardy & Kicco Classics DVDs on Page 21 A Tribute to the “Voice of an Angel” Listing on page 3 Listing on page 3 February 1, 1922 ••• December 20, 2004 Details of this 2-DVD retrospective on page 3 Listing on page 7 Listing on page 6 From the President of VAI Recently Released Dance & Orchestral DVDs from VAI Dear Friends, Our current listings feature some of HARDY CLASSICS DVD Broadway’s brightest stars. Most of this material derives from the rich archives of the Bell Telephone Hour which has provided us with performances by some of the greatest artists from the worlds of opera, dance and the concert stage. The Broadway offerings were no less luminous with star turns from such legendary greats as Ethel Merman, Barbara Cook, Robert Goulet, Alfred Drake, Carol Lawrence, Larry Kert, Dolores Gray John Raitt, Howard Keel and Gretchen Wyler. Highlighting our new releases are TWO NEW DANCE DVDS FROM VAI DVDs devoted to the art of Barbara Cook and Carol Lawrence. Both ladies ALICIA ALONSO – PRIMA BALLERINA ASSOLUTA This GISELLE are still very much in the public eye. compilation from 1958 to 1985 includes extracts from many of Alicia Miss Cook, a cabaret favorite, is about NUREYEV • FRACCI Alonso’s most celebrated roles.
    [Show full text]
  • November 1946) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1946 Volume 64, Number 11 (November 1946) 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 64, Number 11 (November 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/189 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]. - {TIM, ELIZABETH Al Her Royal Hi$\mess/ rrincesjr«tif to flic lln one of Grea Britain, after receiving fh« De^PI ni versify of London \&4 summer. The Degree was preSM C han cellor ol the University. P it childhood. S i n ce her •JfRVICH DR. HENRY S. FRY, dis- the THE OPENING PERFORMANCE of tinguished organist and fall season at the City Center Theatre, choral conductor, for the New York, in September, saw New thirty-four years organ- York City Opera Company give a truly Numbers ist and choirmaster at outstanding performance of “Madama Piano St. Clements' Church, Butterfly.” Camilla Williams, sensational Philadelphia, died in young Negro soprano, headed a cast of Priority-Deserving that city on September inspired singers, and with Laszlo Halasz 6, at the age of seventy- Prelude conducting, the presentation, according Dr.
    [Show full text]
  • A Pedagogical Guide to Kapustin's Eight Concert Etudes, Op. 40
    Graduate Theses, Dissertations, and Problem Reports 2019 A Pedagogical Guide to Kapustin’s Eight Concert Etudes, Op. 40 Yanjing Gu West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Gu, Yanjing, "A Pedagogical Guide to Kapustin’s Eight Concert Etudes, Op. 40" (2019). Graduate Theses, Dissertations, and Problem Reports. 3819. https://researchrepository.wvu.edu/etd/3819 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A Pedagogical Guide to Kapustin’s Eight Concert Etudes, Op. 40 Yanjing Gu A Doctoral Research Project Submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance Peter Amstutz, D.M.A, Committee Chair and Research Advisor James Miltenberger, D.M.A William Haller, D.M.A Andrea Houde, M.M., G.P.D. Bruce Kang, Ph.D.
    [Show full text]
  • RACHMANINOFF Earl Wild
    RACHMANINOFF Earl Wild Chopin Variations, Op. 22 Corelli Variations, Op. 42 Preludes, Opp. 23 & 32 Sonata No. 2, Op. 36 Piano Transcriptions 2-CD Set RACHMANINOFF Earl Wild DISC I 1 Variations on a Theme of Chopin Op. 22 ..........................26:38 2 Variations on a Theme of Corelli Op. 42 ...........................17:40 3 Rimsky-Korsakov/Rachmaninoff The Flight of the Bumble-Bee ...........................................1:31 4 Mendelssohn/Rachmaninoff Scherzo from ‘A Midsummer Night’s Dream’ ...........4:38 5 Kreisler/Rachmaninoff Liebesleid .....................................................................................5:21 TO T AL TIME : 55:14 - 2 - DISC II Sonata No. 2 in B-flat minor, Op. 36 Nine Preludes, Op. 32 1 Allegro agitato ................... 7:39 14 No. 1 in C Major .............. 1:13 2 Non allegro ........................ 6:18 15 No. 2 in D-flat Major ....... 2:56 3 Allegro molto..................... 5:55 16 No. 3 in E Major ............... 2:19 17 No. 4 in E minor............... 5:08 Ten Preludes, Op. 23 18 No. 5 in G Major .............. 2:49 4 No. 1 in F-sharp minor ... 3:24 19 No. 6 in F minor ............... 1:28 5 No. 2 in B-flat Major ....... 3:37 20 No. 7 in F Major ............... 2:16 6 No. 3 in D minor .............. 2:40 21 No. 8 in A minor .............. 1:41 7 No. 4 in D Major .............. 4:13 22 No. 10 in B minor ............ 2:40 8 No. 5 in G minor .............. 3:35 9 No. 6 in E-flat Major ....... 2:35 10 No. 7 in C minor .............. 2:22 11 No. 8 in A-flat Major ......
    [Show full text]
  • Overlooked but Not Forgotten a Study of Felix
    OVERLOOKED BUT NOT FORGOTTEN: A STUDY OF FELIX BLUMENFELD (1863– 1931) AND HIS TWENTY-FOUR PRELUDES, OP. 17 (1892) FOR PIANO A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Amy Kay Mercer In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music April 2017 Fargo, North Dakota North Dakota State University Graduate School Title Overlooked but Not Forgotten: A Study of Felix Blumenfeld (1861–1931) and His Twenty-Four Preludes, Op. 17 (1892) for Piano By Amy Kay Mercer The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Robert Groves Chair Dr. Tyler Wottrich Dr. Virginia Sublett Dr. John Cox Approved: 7/7/2017 Dr. John Miller Date Department Chair ii ABSTRACT Although the name of Felix Blumenfeld (1863–1931) is rarely mentioned in musical circles today, there was a time when this was not the case. During his lifetime, Blumenfeld commanded a great deal of respect within the world of music and was in great demand as a piano teacher, pianist, and conductor. As a composer, he wrote many works for solo piano. Despite Blumenfeld’s enormous popularity during his lifetime, theses pieces were quickly forgotten after his death. In this thesis, I will establish the importance of Blumenfeld’s piano compositions as artistic works of quality and present these overlooked pieces as valid repertoire for both teaching and performing.
    [Show full text]