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Selected Intermediate-Level Solo Piano Music Of
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Selected intermediate-level solo piano music of Enrique Granados: a pedagogical analysis Harumi Kurihara 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 Kurihara, Harumi, "Selected intermediate-level solo piano music of Enrique Granados: a pedagogical analysis" (2005). LSU Doctoral Dissertations. 3242. https://digitalcommons.lsu.edu/gradschool_dissertations/3242 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]. SELECTED INTERMEDIATE-LEVEL SOLO PIANO MUSIC OF ENRIQUE GRANADOS: A PEDAGOGICAL ANALYSIS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Doctor of Musical Arts in The School of Music by Harumi Kurihara B.M., Loyola University, New Orleans, 1993 M.M.,University of New Orleans, 1997 August, 2005 ACKNOWLEDGMENTS I would like to express my sincere appreciation to my major professor, Professor Victoria Johnson for her expert advice, patience, and commitment to my monograph. Without her help, I would not have been able to complete this monograph. I am also grateful to my committee members, Professors Jennifer Hayghe, Michael Gurt, and Jeffrey Perry for their interest and professional guidance in making this monograph possible. I must also recognize the continued encouragement and support of Professor Constance Carroll who provided me with exceptional piano instruction throughout my doctoral studies. -
The BRAHMS PROJECT the Complete Piano Quartets Enrique Bagaría EN the Brahms Project Mònica Pagès
[SACD 1] Piano Quartet No. 1 in G minor op. 25 01 I. Allegro ................................................................................... 13:11 02 II. Intermezzo: Allegro, ma non troppo ........................ 07:40 03 III. Andante con moto ....................................................... 09:46 04 IV. Rondo alla Zingarese ................................................... 08:46 Piano Quartet No. 3 in C minor op. 60 05 I. Allegro non troppo ......................................................... 09:49 06 II. Scherzo: Allegro ............................................................. 04:04 07 III. Andante ......................................................................... 09:06 08 IV. Finale: Allegro comodo .............................................. 09:06 total time: 71:32 [SACD 2] Piano Quartet No. 2 in A major op. 26 01 I. Allegro non troppo .......................................................... 16:07 02 II. Poco Adagio ...................................................................... 11:58 03 III. Scherzo: Poco Allegro .................................................. 10:42 04 IV. Finale: Allegro .................................................................. 10:11 total time: 49:02 The BRAHMS PROJECT the complete piano quartets Enrique Bagaría EN The Brahms Project Mònica Pagès he idea of the Brahms Project came into being when four Spanish musicians, all born with- Tin a few years of one another, discovered they had a musical goal in common. Josep Colomé (b. 1979, Sabadell), Joaquín Riquelme -
La Academia Granados-Marshall Y Su Contribución a La Consolidación De La Técnico-Pedagogía Española: Actividad Y Rendimiento Entre 1945 Y 19551
LA ACADEMIA GRANADOS-MARSHALL Y SU CONTRIBUCIÓN A LA CONSOLIDACIÓN DE LA TÉCNICO-PEDAGOGÍA ESPAÑOLA: ACTIVIDAD Y RENDIMIENTO ENTRE 1945 Y 19551. Por Aida Velert Hernández 1 La información que ofrezco en este artículo procede del Trabajo Fin de Grado Superior en la Especialidad de Piano inédito que realicé bajo la dirección de la dra. Victoria Alemany y presenté al Departamento de Instrumentos Polifónicos del Conservatorio Superior de Música “Joaquín Rodrigo” de Valencia en 2013 [Velert (2013)]. Descubrí la Academia Marshall el curso 2003-2004, cuando iba a cumplir catorce años y fui aceptada como alumna en dicho centro sin ser en absoluto consciente al principio de su prestigio, y poco a poco me fue fascinando lentamente. Una entidad que ha sido capaz de mantenerse firme e imperturbable durante más de una centuria, que ha sido testigo directo de los cambios/transformaciones sociopolíticas2 y económicas del país resistiendo embistes y contratiempos, y que ha logrado formar a algunos de los pianistas más relevantes del siglo XX en España, estimo que merece ser estudiada en profundidad. En definitiva, decidí abordar la investigación sobre un período de la existencia de esta academia en mi Trabajo Fin de Grado Superior por el respeto y la admiración que siento hacia esta institución, que se han ido acrecentando con el paso del tiempo. Facilitó mi tarea contar con abundante información aportada gentilmente por el Centro Documental de la Academia Marshall (CEDAM), por lo que quiero en primer lugar agradecer sinceramente al personal de administración de la Academia, y en especial a su directora de gestión doña Cintia Matamoros3, su confianza y la inestimable ayuda que me han brindado de forma desinteresada en todo momento. -
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito. -
Tido Janssen, Cello; Stacy Kwak, Piano; Hye-Jean Choi, Organ SELECTED SOLO and CHAMBER MUSIC PERFORMANCES
T I D O J A N S S E N ________________________________________________________________________ EDUCATION 2003 Doctor of Musical Arts in Cello Performance, University of North Texas Related field: Music Theory Major Professor: Eugene Osadchy 1994 Master of Music in Cello Performance, Boston University Major Professor: George Neikrug 1988-1991 Folkwang Hochschule für Musik Essen in Duisburg, Germany Major Professor: Jürgen Wolf TEACHING EXPERIENCE 2010-present Lecturer II, University of Texas Pan American/University of Texas Rio Grande Valley, Edinburg, TX. Full time faculty. Responsibilities included directing the UTPA Symphony Orchestra (2010-2013), maintaining and recruiting a cello studio, chamber music, classroom teaching (music appreciation, string methods, string pedagogy, string repertoire), and participation in faculty committees. 2006-2010 Academic Assistant of Cello, University of Lethbridge (UofL), Lethbridge, Alberta, Canada. Full time faculty. Responsibilities included maintaining and recruiting a cello and bass studio, classroom teaching, conductor of the UofL Music Conservatory Senior Youth Orchestra, and Conservatory Strings Coordinator (coordinating string recruitment and string instrument rental program; cello ensemble, and Conservatory Honours String Quartet) 1999-2006 Assistant Professor of Cello, Hardin-Simmons University (HSU), Abilene, TX. Full time tenured faculty. Responsibilities included maintaining and recruiting a cello and bass studio, classroom teaching (music appreciation, string methods, freshmen theory) and participation in faculty committees 1999-2006 Adjunct Instructor of Cello. Abilene Christian University, Abilene, TX. Responsibilities include maintaining and recruiting a cello and bass studio, and teaching a string methods class. 1996-1999 Teaching Fellow, University of North Texas, Denton, TX. Responsibilities included teaching private cello lessons to music majors and non-music majors, teaching Viola da Gamba. -
DILLUNS, 1 D'abril DEL 2019 Audició D'obres Senceres O Fragmentades Del Nostre Repertori Més Clàssic
PROGRAMACIÓ DE CATALUNYA MÚSICA DILLUNS, 1 D'ABRIL DEL 2019 Audició d'obres senceres o fragmentades del nostre repertori més clàssic. 07:00 BUTLLETÍ DE NOTÍCIES BRITTEN, BENJAMIN: "Simfonia simple", op. 4. Orquestra de Cambra Anglesa. Titulars a la nostra mida. Posem l'accent a la informació cultural. Dir.: Benjamin Britten. (17m) 07:03 TOTS ELS MATINS DEL MÓN RAVEL, MAURICE: Quartet de corda en Fa. Quatuor Enesco. ...són camins sense retorn. Un paradís de músiques per començar el (31m) dia de la millor manera. Presentat per Joan Vives i Ester Pinart. PÄRT, ARVO: "Spiegel im Spiegel" (Mirall al mirall) per a violí i piano. Vadim Gluzman, violí. Angela Yoffe, piano. 08:00 BUTLLETÍ DE NOTÍCIES (8m) Titulars a la nostra mida. Posem l'accent a la informació cultural. FAURÉ, GABRIEL: Rèquiem en re m, op. 48. Arleen Augér, soprano. Benjamin Luxon, baríton. Cor de la Catedral de Winchester. 09:00 BUTLLETÍ I AGENDA Orquestra de Cambra Anglesa. Dir.: Philip Ledger. (33m) Titulars a la nostra mida. Informació cultural i agenda de Catalunya Música. BLANCAFORT, MANUEL: "Cinc nocturns" per a piano. Miquel Villalba, piano. (23m) 11:00 BUTLLETÍ DE NOTÍCIES Titulars a la nostra mida. Posem l'accent a la informació cultural. 16:00 AGENDA Informació cultural i agenda de Catalunya Música. 11:03 ELS CONCERTS Concerts d'intercanvi provinents de la Unió Europea de Radiodifusió 16:03 ELS CONCERTS UER-EBU. Presentació d’Olga Cardús. Una selecció dels millors concerts de la nostra fonoteca. Presentació TEMPORADA DE L’ORQUESTRA FILHARMÒNICA DE RÀDIO d’Olga Cardús. FRANÇA, 2018-2019 Gabriel Fauré: Suite orquestral de ''Pelléas et Mélisande'', op. -
V0. the PEDAGOGICAL METHODS of ENRIQUE GRANADOS and FRANK MARSHALL
£7? A/dU /v0. THE PEDAGOGICAL METHODS OF ENRIQUE GRANADOS AND FRANK MARSHALL: AN ILLUMINATION OF RELEVANCE TO PERFORMANCE PRACTICE AND INTERPRETATION IN GRANADOS' ESCENAS ROMANTICAS. A LECTURE RECITAL TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF SCHUBERT, PROKOFIEFF, CHOPIN, POULENC, AND RACHMANINOFF DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Mark R. Hansen, B.M., M.M. Denton, Texas December, 1988 Hansen, Mark R., The Pedagogical Methods of Enrique Granados and Frank Marshall: An Illumination of Relevance to Performance Practice and Interpretation in Granados' Escenas Romanticas, A Lecture Recital together with Three Recitals of Selected Works of Schubert. Prokofieff. Chooin. Poulenc, and Rachmaninoff. Doctor of Musical Arts (Piano Performance), December, 1988, 55 pp., 53 examples, bibliography, 28 titles. Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. -
Music Programme :Music
DM İSTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SOCIAL SCIENCES A STUDY ON THE AUTHENTICITY AND EVOLUTION OF PIANO TECHNIQUE FOR SPANISH PIANO MUSIC: WITH SELECTIONS FROM THE REPERTOIRE OF ALBÉNIZ, GRANADOS AND FALLA IF NECESSARY THIRDLINE Ph.D. Thesis by Beray SELEN Department :Music Programme :Music JUNE 2009 i ii FOREWORD This doctorate thesis, titled " A Study On The Authenticity and Evolution of Piano Technique for Spanish Piano Music: With Selections From the Repertoire of Albéniz, Granados and Falla," was prepared at the I.T.U. Social Sciences Institute, Dr. Erol Uçer Center for Advanced Studies in Music (MIAM). This thesis presents results from my concern on the specifics of performance issues regarding Spanish Piano repertoire as well as my lifelong aim in trying to find a synthesis between factors outside of piano performance. These factors come from the core of the music and the culture it is born out of, and may be used in a way to help improve the performance aspect. My personal interest in the difficult and rhythmically complex nature of Spanish music gave rise to a further elaboration of this ideal through the Spanish piano repertoire of Albéniz, Granados and Falla. Coinciding with the writing process of this thesis, I had the chance to discover more useful aspects of music that are beyond just technical aspects of keyboard playing. In retrospect, this study allowed me to arrive at a further instrumental “overarching” angle to help and guide people interested in Spanish Piano repertoire. The project aims at investigating whether it is possible to see aspects of the Spanish piano music from diverse perspectives. -
Complete Guitar Music
Asencio COMPLETE GUITAR MUSIC ALBERTO MESIRCA GUITAR Vicente Asencio 1908-1979 Vicente Asencio is one of those 20th century composers whose works for the guitar Complete Guitar Music met with widespread acclaim, although he didn’t actually play the instrument himself. Indeed, he was essentially an excellent pianist who had studied at the Collectici Íntim (1965) Suite Valenciana (1970) Marshall Academy in Barcelona, where the influence of the great Enrique Granados 1. La Serenor 4’22 10. Preludi 2’05 was still tangible. As a composer, he deliberately and passionately chose to adhere 2. La Joia 2’41 11. Cançoneta 4’33 to the musical tradition of his native Valencia, which might appear to be a cultural 3. La Calma 2’56 12. Dansa 2’42 limitation, given the nature of the events that marked musical life during the first 4. La Gaubança 1’54 half of the 1900s. Far from being provincial, however, Asencio was an artist of 5. La Frisança 2’54 13. Danza Valenciana (1963) 4’00 considerable learning who was open-minded, unprejudiced and interested in all aspects of new music. In 1934, along with other Valencian musicians, he founded the 6. Cançó d’hivern (1935) 4’31 Suite Mistica (1971) Grupo de los Jovenes, declaring that «We aim to achieve a form of Valencian music 14. Getsémani 3’06 that is vigorous and rich, to promote a Valencian school that is fruitful and varied, Suite de Homenajes (1950) 15. Dipsô 8’06 that incorporates in universal music the psychological traits and emotions of our 7. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________May 21, 2008 I, _________________________________________________________,Soyoung Cho hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano Performance It is entitled: Interpretive Issues in Performing the Piano Suite "Goyescas" by Enrique Granados This work and its defense approved by: Chair: _______________________________Miguel A. Roig-Francoli, Ph. D _______________________________Frank Weinstock, Professor _______________________________Elisabeth Pridonoff, Professor _______________________________ _______________________________ Interpretive Issues in Performing the Piano Suite “Goyescas” by Enrique Granados A doctoral document submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Division of Keyboard Studies of the College-Conservatory of Music 2008 by Soyoung Cho M. M., Ewha Womans University, 1997 B. M., Kyung-Won University, 1992 Committee Chair: Miguel A. Roig-Francoli, Ph.D. Abstract Goyescas is a very challenging work full of Granados’s artistic devotion for searching the authentic Spanish character in a variety of ways. Numerous Spanish elements – references to Goya’s works, tonadillas, Spanish dances and songs, sound of guitars and castanets, etc. – are incorporated into this work. It is, indeed, a complex art work that interrelates visual arts, poetry, and music, all with a Spanish subject. Any pianists planning to study Granados’s Goyescas should first acquire the necessary background based on a thorough study of the music and its history. Knowledge of Granados’s inspiration from Goya’s works, the piece’s narrative elements related with the opera Goyescas, Spanish idioms, and the improvisatory nature of Granados’s piano style, is indispensable for fully understanding, interpreting, and performing this work. -
DIMECRES, 1 DE MAIG DEL 2019 BOCCHERINI, LUIGI: Trio De Corda En Fa, Op
PROGRAMACIÓ DE CATALUNYA MÚSICA DIMECRES, 1 DE MAIG DEL 2019 BOCCHERINI, LUIGI: Trio de corda en Fa, op. 34 n. 1, G 101. La Ritirata. (20m) 07:00 SELECCIÓ CATALUNYA MÚSICA VIVALDI, ANTONIO: Concert per a violí, corda i continu en sol m Selecció musical variada i contrastada amb les millors obres de la "L'estiu", op. 8 n. 2, RV 315 ("Les quatre estacions"). discoteca de Catalunya Música. Rodolfo Richter, violí. B'Rock (Orquestra Barroca Belga de Gant). STEFFANI, AGOSTINO: "Hai finito di lusigarmi", cantata. Dir.: Frank Agsteribbe. Claire Lefilliâtre, soprano. (10m) Les Corsaires du Roy. Dir.: Elsa Frank. ALBÉNIZ, ISAAC: "Espanya: sis fulls d'àlbum", op. 165 (transcripció (9m) per a guitarra d'Stephen Marchionda). Stephen Marchionda, guitarra. LOCATELLI, PIETRO ANTONIO: "Introduzione teatrale" per a conjunt (21m) instrumental en Re, op. 4 n. 1. Raglan Baroque Players. GINASTERA, ALBERTO: Suite del ballet "Estancia", op. 8a. Dir.: Elisabeth Wallfisch. Orquestra Simfònica de Castella i Lleó. (5m) Dir.: Miguel Harth-Bedoya. (12m) SAARIAHO, KAIJA: "Notes on light" (Notes sobre la llum) per a violoncel i orquestra. Anssi Karttunen, violoncel. 11:03 ELS CONCERTS Orquestra de París. Dir.: Christoph Eschenbach. Concerts d'intercanvi provinents de la Unió Europea de Radiodifusió (27m) UER-EBU. Presentació d’Olga Cardús. RAKHMÀNINOV, SERGUEI: "Vocalise", cançó, op. 34 n. 14 CONCERT DE SANT SILVESTRE DE L'ORQUESTRA DE LA (arranjament per a violoncel i orquestra). SUÏSSA ITALIANA Ophélie Gaillard, violoncel. Maurice Ravel: ''Ma mère l'oye'' (La meva mare l'oca), recull de peces Royal Philharmonic Orchestra. infantils (versió per a orquestra). Franz Liszt: Concert per a piano i Dir.: Timothy Redmond. -
DILLUNS, 1 DE GENER DEL 2018 Charles Strausse, Kander & Ebb O Passek I Paul Per Repassar Què Necessitem Si Volem Muntar-Nos a Casa Un Bon Espectacle
PROGRAMACIÓ DE CATALUNYA MÚSICA DILLUNS, 1 DE GENER DEL 2018 Charles Strausse, Kander & Ebb o Passek i Paul per repassar què necessitem si volem muntar-nos a casa un bon espectacle. Bon humor, ritme a dojo i talent de sobres per triomfar a Broadway, al 07:00 SELECCIÓ CATALUNYA MÚSICA West End o al Paral.lel. I amb actuacions en directe i alguns dels records sobre els musicals dels col·laboradors de l’emissora. Selecció musical variada i contrastada amb les millors obres de la discoteca de Catalunya Música. 11:00 ELS CONCERTS BACH, JOHANN SEBASTIAN: "Pastoral" per a orgue en Fa, BWV 590. Bernard Foccroulle, orgue. Concerts d'intercanvi provinents de la Unió Europea de Radiodifusió (13m) UER-EBU. Presentació d'Olga Cardús. RAUTAVAARA, EINOJUHANI: Concert per a percussió i orquestra TEMPORADA DE L’ORQUESTRA SIMFÒNICA DE LA RÀDIO DE "Conjurs". L’OEST D’ALEMANYA, 2016-2017 Colin Currie, percussió. Obres de Carl Maria von Weber, Friedrich von Flotow, Otto Nicolai, Orquestra Filharmònica d'Hèlsinki. Albert Lortzing, Adolphe Adam, Karl Goldmark, François-Adrien Dir.: John Storgards. Boieldieu, Daniel Behle, Franz Lehár, Robert Stolz, Emmerich (24m) Kalman, Gerhard Winkler i Hans May. Daniel Behle, tenor. BACH, CARL PHILIPP EMANUEL: Sonata per a teclat en do m, Wq Cor de la Ràdio de l’Oest d’Alemanya. 48 n. 4 ("Sonates prussianes"). Orquestra Simfònica de la Ràdio de l’Oest d’Alemanya. Susan Alexander-Max, piano. Dir.: Helmuth Froschauer. (13m) Enregistrat per la Ràdio de l’Oest d’Alemanya el dissabte 26 de novembre del 2016. ANÒNIM: "Pastors i pastores", nadala (harmonització de Josep Lluís Auditori de la Ràdio de l’Oest d’Alemanya.