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March 2021 Program Ponderings
Program Ponderings March Director of Programs - Brad Ray 2021 Well, top of the mornin’ to ya! It’s free to play, and like the posters For those of you, like myself, who say, “It Pays to Play!!” have a “wee bit of Irish” in them, you will be Dublin’ over with Did you know that Village laughter at this terrible St. Pat- Shores is the first senior living com- rick’s Day pun. But alas, perhaps munity that Summit Music began we should focus on the luck we playing on a regular basis? Well, are all experiencing, being that a now these intrepid troops bring their vast majority of the staff and resi- amazing music to parking lots all dents at Village Shores have had over the metro! We are blessed to BOTH vaccination shots! That have them scheduled for two con- puts us way ahead of the curve! certs in March, so make sure to mark However, as we enter March, we your calendar! are continuing with the safety pro- The Scenic Drives with Victor tocols already firmly in place: on Thursdays will continue, with us Now, more than ever, we must looking at adding more as the weath- remain diligent in our fight to pre- er warms up. We will still be limiting vent the spread of COVID-19, es- the number of riders, as social dis- pecially since it seems like the end tancing protocols remain in place. of the tunnel is in view! So let’s The medical runs on Tuesday will al- take a look at some of the things so stay the same. -
April 1911) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1911 Volume 29, Number 04 (April 1911) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 29, Number 04 (April 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/568 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]. TWO PIANOS THE ETUDE FOUR HANDS New Publications The following ensemble pieces in- S^s?^yssL*aa.‘Sffi- Anthems of Prayer and Life Stories of Great nai editions, and some of the latest UP-TO-DATE PREMIUMS Sacred Duets novelties are inueamong to addthe WOnumberrks of For All Voices &nd General Use Praise Composers OF STANDARD QUALITY A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. sis Edited by JAMES FRANCIS COOKE Subscription Price, $1.60 per jeer In United States Alaska, Cuba, Po Mexico, Hawaii, Pb’”—1— "-“-“* *k- "•* 5 In Canada, »1.7t STYLISH PARASOLS FOUR DISTINCT ADVANCE STYLES REMITTANCES should be made by post-offlee t No. -
Dissertation First Pages
Dissertation in Music Performance by Joachim C. Angster A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2020 Dissertation Committee: Assistant Professor Caroline Coade, Co-Chair Professor David Halen, Co-Chair Professor Colleen Conway Associate Professor Max Dimoff Professor Daniel Herwitz Joachim C. Angster [email protected] ORCID iD: 0000-0002-2563-2819 © Joachim C. Angster 2020 ACKNOWLEDGEMENTS I would like to express my gratitude to members of my Doctoral Committee and to my teacher Professor Caroline Coade in particular, for making me a better musician. I also would like to give special thanks to my collaborators Arianna Dotto, Meridian Prall, Ji-Hyang Gwak, Taylor Flowers, and Nathaniel Pierce. Finally, I am grateful for the continuous support of my parents, and for the invaluable help of Anna Herklotz and Gabriele Dotto. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT iv FIRST DISSERTATION RECITAL: Program 1 Program Notes 2 SECOND DISSERTATION RECITAL: Program 18 Program Notes 19 THIRD DISSERTATION RECITAL: Program 27 Program Notes 28 BIBLIOGRAPHY 40 iii ABSTRACT This dissertation pertains to three viola recitals, which were respectively performed on 2 October 2019, 20 January 2020, and 9 March 2020. Each recital program embraced a specific theme involving little-performed works as well as staples from the viola repertoire, and covered a wide range of different musical styles. The first recital, performed with violinist Arianna Dotto, focused on violin and viola duo repertoire. Two pieces in the Classical and early Romantic styles by W. A. Mozart and L. -
The Place of Piano and Clarinet in Wolfgang Amadeus Mozart's Solo
Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.56, 2017 The Place of Piano and Clarinet in Wolfgang Amadeus Mozart’s Solo and Chamber Music Pieces Ozge Guncan * Ilkay Ak State Conservatory, Department of Music, Anadolu University, PO box 26050, Eskisehir, Turkey Abstract This study aims to gather information about piano and clarinet in the Classical Period and to show the importance of Wolfgang Amadeus Mozart’s piano and clarinet music styles in solo and chamber music works. Classical Era takes place in the music history in the second half of the 18 th century as a period starting from 1750, which is accepted as J. S. Bach’s date of death to 1827, which was L. von Beethoven’s date of death. In this era, which lasted about 80 years, clarinet and piano played an important role in Mozart’s works. The study will explain clarinet and piano works of W. A. Mozart, who was a unique composer of the 18th century classical music and whose mastery has been unquestionable for ages, and discuss the style and characteristics of the era about the contributions he made both to that period and to the following periods. Mozart, who crammed more than 600 works into his short life, is a composer who has been an example for all generations and the music history. Starting from this point of view, the study will explain and exemplify the outlines related to solo and chamber musical repertoire of Mozart’s clarinet and piano music. Keywords: Mozart, Piano, Clarinet, Classical Period, Solo, Chamber Music. -
PROGRAM NOTES Scoring, the Piece Is Sometimes Adapted to Fit Other Types of Trios; E.G
Musica Viva! Jazzy—Marilyn Banner Saturday, November 4, 2017 7:30 PM Banner Arts 7502 Flower Avenue Takoma Park http://www.dcmusicaviva.org The Origin of the nickname Kegelstatt is interesting. It PROGRAM means "a place where skittles are played," akin to a duckpin Wolfgang Amadeus Mozart (Jan. 27, 1756 - Dec. 5, 1791) bowling alley. Mozart wrote that he composed the 12 duos Tr io i n E b for Clarinet, Viola & Piano, K. 498 (1786) for for French horns, K. 487: “Vienna, 27 July 1786 while playing skittles;" on the first page of its autograph I. Andante II. Menuetto manuscript. A week and a half later, Mozart composed and III. Rondeaux: Allegretto dated the trio Eb, K. 498. He entered this work into his list of compositions simply as "A trio for piano, clarinet and Robert Schumann (June 8, 1810 - July 29, 1856) viola". However, there is no evidence that Mozart gave any Märchenerzählungen (“Fairytales”), Op. 132 (1853) nickname to the K. 498 trio. The moniker Kegelstatt first 1. Lively, not too fast appears ascribed to the K. 498 in Ludwig von Köchel's 11. Lively, very accentuated 1862 thematic catalogue of Mozart's music. 111. Calm tempo with delicate expression This clarinet-viola-piano trio was first played in the von 1V. Lively, very accentuated Jacquin's house; Anton Stadler played clarinet, Mozart the Blair Goins (b. 1962) viola, and Franziska von Jacquin the piano. The clarinet Trio for Clarinet Viola & Piano (2008) was still a relatively new instrument in Mozart's time, and I. Intensley this trio, along with his Clarinet Quintet and Clarinet II. -
Franz Liszt Reproduction from the Original Oil Painting, 1837–39 Klassik Stiftung Weimar, Acc
CHECKLIST Liszt in Paris: Enduring Encounters August 29 through November 16, 2008 Ary Scheffer (1795–1858) Franz Liszt Reproduction from the original oil painting, 1837–39 Klassik Stiftung Weimar, acc. no. LGE/01351 Franz Liszt (1811–1886) Seven Brilliant Variations, for the Piano Forte, to a Theme of Rossini, op. 2 London: T. Boosey & Co., [1825?] First English edition PMC 2036; The Mary Flagler Cary Music Collection Variations on preexisting themes—particularly those taken from operas—were popular during the nineteenth century and frequently cultivated by virtuoso performer-composers. These instrumental works were conceived as a means of displaying a performer’s (rather than a composer’s) skill, brilliance, artistry, and technical prowess. The adolescent Liszt based these variations on the theme “Ah come nascondere la fiamma,” from Rossini’s 1819 opera Ermione. Years later Liszt would compose a virtuosic piece based on the overture to Rossini’s Guillaume Tell. [Playbill for a concert at the Theatre Royal, Covent Garden, England, 2 June 1827] [London: W. Rey, 1827] James Fuld Collection After arriving in Paris in 1823, Liszt and his father made three visits to England (1824, 1825, and 1827). This playbill documents Liszt’s appearance at Covent Garden on 2 June 1827. The featured artist at the end of the first part, Master Liszt performed a fantasia. Such works were of an improvisatory character, introducing familiar tunes that served as themes to be varied and embellished. In this case, Liszt chose the popular melody Rule Britannia. For many years the young virtuoso had already proven most adept at improvising on tunes suggested to him on the spot. -
February 1905) Winton J
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 2-1-1905 Volume 23, Number 02 (February 1905) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 23, Number 02 (February 1905)." , (1905). https://digitalcommons.gardner-webb.edu/etude/500 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]. T H H ETl) OH THE ETUDE 47 SCRIBNER’S LATEST BOOR'S f PIANISTS' A DRAMATIC CANTATA OF MODERATE DIFFICULTY A Whole Library THE MUSIC STORY SERlES-(New Volume) JUST PUBLISHED Send 87 cents for the PIANISTS’ Of Technical Exercises THR VIOLIN, bv Paul Stoevlng. Professor of the Violin at th£ Guildhall School^ofMushrin London, F PARLOR ALBUM, a thoroughly Two Magnificent Collections THE COMING OF RUTH high-grade Album, printed from en¬ Condensed Into Less Than One Hundred Pages graved plates upon the finest finished of Vocal Music BV WILLIAM T. NOSS paper, and undoubtedly the finest Price $1.00 each $9.00 per dozen making Album of its kind ever published. -
University of Oklahoma Graduate College Pianistic Analysis of Bedřich Smetana's Piano Cycle Dreams, Six Characteristic Pieces
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PIANISTIC ANALYSIS OF BEDŘICH SMETANA’S PIANO CYCLE DREAMS, SIX CHARACTERISTIC PIECES FOR PIANO A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By KRISTINA HENCKEL Norman, Oklahoma 2016 PIANISTIC ANALYSIS OF BEDŘICH SMETANA’S PIANO CYCLE DREAMS, SIX CHARACTERISTIC PIECES FOR PIANO A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jane Magrath, Chair ______________________________ Dr. Barbara Fast ______________________________ Dr. Marvin Lamb ______________________________ Dr. Michael Lee ______________________________ Dr. Joseph Havlicek © Copyright by KRISTINA HENCKEL 2016 All Rights Reserved. ACKNOWLEDGMENTS My many thanks go out to every member (past and present) who served on my doctoral committee: The chair Dr. Jane Magrath, Dr. Michael Lee, Dr. Marvin Lamb, Dr. Barbara Fast, Dr. Joseph Havlicek, Dr. Jeongwon Ham, and Dr. Stephen Beus. Your guidance and commitment were absolutely vital for my growth as a writer of this document. A special thanks goes to Dr. Magrath who guided me through the most challenging part of my degree, this document, and who supported my desire to showcase the value and beauty of the piano works of Smetana and the contributions of other Czech composers and scholars. I am absolutely certain that it is only through the dedication and tireless work of my editor, Mark Worcester, that I have been able to complete a document of such depth and scope. He went beyond proofing my writing and made me feel like I had a collaborator and partner in this process. Enormous thanks go to my mom Krista Pelechová, my husband Terrel, and my children, Elishka and Maksim, for their tireless support, patience and love. -
Journal of the American Viola Society Volume 32 Online, Summer 2016
Features: In Review: Tertis Festival and Competition Alessandro Rolla’s Viola Duets An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part II Volume 32 Summer 2016 Online Issue 2016 Online Summer 32 Volume Journal of the American ViolaSociety American the of Journal Journal of the American Viola Society A publication of the American Viola Society Summer 2016: Volume 32, Online Issue p. 3 From the Editor p. 5 From the President News & Notes p. 6 Announcements Feature Articles p. 7 In Review: The 12th Lionel Tertis International Viola Festival & Competition: Louise Lansdown and two of her students take us to the Isle of Man, and give a special look at their experience at this famous festival and competition through their studio’s Facebook page. p. 13 Alessandro Rolla’s Viola Duets: Kenneth Martinson examines a very interesting set of viola duets by a composer whose music is not widely known. p. 31 An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part II: Analyzing and Performing Musical Play: In this part II article, Edward Klorman explores an analysis of the Mozart “Kegelstatt” Trio. Part I can be found in the previous JAVS Issue (Vol. 32, No. 1). Departments p. 43 The Eclectic Violist: Emilie Catlett takes readers through her personal musical journey, from her background in Texas-style fiddle music to her present music performance studies at the University of Houston. p. 49 Chamber Music: Les Jacobson’s interview with Claudia Lasareff-Mironoff yields some great tips for forming and maintaining your own chamber group. p. 53 Music Reviews: Andrew Braddock reviews two exciting new works for viola. -
Kegelstatt 4
Medienlisten der Stadtbücherei Augsburg Kegelstatt 4. Kammerkonzert 14.3.2021 | Rokokosaal der Regierung von Schwaben Programm, Tickets, Infos (Staatstheater Augsburg) >> EG Kinderbücherei Besucherservice des Staatstheaters Augsburg 1. OG Erwachsenenabteilung in der Bürger- und Tourist-Information 2. OG Musikbücherei, relax am Rathausplatz 1 Ernst-Reuter-Platz 1 86150 Augsburg 86150 Augsburg Mo-Fr 9.00-17.30 Uhr / Sa 10.00-17.00 Uhr Mo-Fr 10.00-19.00 Uhr / Sa 10.00-15.00 Uhr (Nov. - März: Mo, Di, Mi, Fr nur bis 17.00 Uhr) Telefon 0821 324 2756 Telefon 0821 324 4900 stadtbuecherei.augsburg.de/ staatstheater-augsburg.de/karten [email protected] [email protected] Medienlisten der Stadtbücherei Augsburg – 4. Kammerkonzert Programm Max Bruch (1838 – 1920): 8 Stücke für Klarinette, Viola und Klavier op. 83 Wolfgang Amadeus Mozart (1756 – 1791): Kegelstatt-Trio Es-Dur KV 498 Mozart Streaming & Download W. A. Mozart, Trio für Klarinette Viola und Klavier „Kegelstatt-Trio“ KV 498 Zugänglich mit gültigem Bibliotheksausweis CDs Mozart, Wolfgang Amadeus: 2. OG, Musikbücherei Clarinet Quintet K. 581. Kegelstatt Trio = Trio Les CD-TF3-3/Moz Quilles K. 498 / Mozart. - Paris : naïve, 2013 41502256 Interpr.: Wolfgang Meyer (Klar), Patrick Cohen (Kl), Quatuor Mosaïques https://opac-stadtbuecherei.augsburg.de/00/katkey/623404 Mozart, Wolfgang Amadeus: 2. OG, Musikbücherei Quintette avec clarinette. Trio Les Quilles / Mozart. - CD-TF3-3/Moz Paris : naïve, 2006 41502281 Enth.: Klarinettenquintett A-Dur KV 581 [Quintette, Klar Vl 1 2 Va Vc KV 581]. Trio für Klarinette, Viola (Bratsche) und Klavier "Kegelstatt-Trio" KV 498 [Trios, Klar Va Kl KV 498]. - Interpr.: Wolfgang Meyer (Klar), Patrick Cohen (Kl), Quatuor Mosaïques https://opac-stadtbuecherei.augsburg.de/00/katkey/623966 Mozart, Wolfgang Amadeus: 2. -
Journal of the American Viola Society Volume 32 No. 1, Spring 2016
Features: Bartolomeo Campagnoli and His 41 Capricci An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part I Volume 32 Number 1 Number 32 Volume Journal of the American ViolaSociety American the of Journal Viola V32 N1.indd 301 3/16/16 6:20 PM Viola V32 N1.indd 302 3/16/16 6:20 PM Journal of the American Viola Society A publication of the American Viola Society Spring 2016: Volume 32, Number 1 p. 3 From the Editor p. 5 From the President News & Notes p. 7 Announcements Feature Articles p. 9 Bartolomeo Campagnoli and His 41 Capricci: The Ever-Changing Role of the Virtuosic Viola and Its Technique: Dalton Competition prize-winner Alicia Marie Valoti explores a history of the Campagnoli 41 Capricci and its impact on the progression of the viola’s reputation as a virtuosic instrument. p. 19 An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part I: A Trio for Signora Dinimininimi, Nàtschibinìtschibi, and Pùnkitititi: Edward Klorman gives readers an interesting look into background on the Mozart “Kegelstatt” Trio. Departments p. 29 New Music: Michael Hall presents a number of exciting new works for viola. p. 35 Outreach: Janet Anthony and Carolyn Desroisers give an account of the positive impact that BLUME is having on music education in Haiti. p. 39 Retrospective: JAVS Associate Editor David M. Bynog writes about the earliest established viola ensemble in the United States. p. 45 Student Life: Zhangyi Chen describes how one of his choral compositions became the basis of a new viola concerto. p. -
(2019) Disc 2. Define the Classical Idiom
Incredible Decades (2019) Disc 2. define the Classical idiom. At the time of his first trios, the 1–3 Piano Trio in d minor, Hob. XV: 23 (1795) combination of piano, violin, and cello had not yet become JOSEPH HAYDN (1732–1809) established as a standard chamber ensemble; some of the Molto andante earliest piano trios have been accurately described as Adagio ma non troppo keyboard sonatas with violin and cello accompaniment. (In Finale: Vivace 1775, Carl Philipp Emanuel Bach designated a set of his own trios “Sonatas for Piano, which may equally well be GILBERT KALISH, piano; ADAM BARNETT-HART, violin; played solo, or accompanied by violin and violoncello.”) BROOK SPELTZ, cello But Haydn developed the piano trio into a sophisticated conversation among three voices. Consequently, the 4–6 Trio in B-flat Major for Clarinet, Cello, and Piano, medium’s popularity grew rapidly, with piano trio music op. 11 (1797) becoming an essential part of any amateur musician’s LUDWIG VAN BEETHOVEN (1770–1827) library by the end of the eighteenth century. Allegro con brio The Trio in d minor, Hob. XV: 23, dates from the Adagio mid-1790s, the late period of Haydn’s career, by which time Tema con variazione: Allegretto he had thoroughly transformed Western music and (on “Pria ch’io l’impegno”) achieved international celebrity. Yet the immensity of his accomplishments notwithstanding, he continued, tirelessly, TOMMASO LONQUICH, clarinet; DAVID FINCKEL, cello; to innovate. Having already redefined the symphonic genre WU HAN, piano over the course of ninety-three symphonies, he composed his final twelve (the celebrated London symphonies) 7–10 String Quintet in E-flat Major, K.