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Chopin: Visual Contexts
Interdisciplinary Studies in Musicology g, 2011 © Department of Musicology, Adam Mickiewicz University, Poznań, Poland JACEK SZERSZENOWICZ (Łódź) Chopin: Visual Contexts ABSTRACT: The drawings, portraits and effigies of Chopin that were produced during his lifetime later became the basis for artists’ fantasies on the subject of his work. Just after the composer’s death, Teofil Kwiatkowski began to paint Bal w Hotel Lambert w Paryżu [Ball at the Hotel Lambert in Paris], symbolising the unfulfilled hopes of the Polish Great Emi gration that Chopin would join the mission to raise the spirit of the nation. Henryk Siemiradzki recalled the young musician’s visit to the Radziwiłł Palace in Poznań. The composer’s likeness appeared in symbolic representations of a psychological, ethnological and historical character. Traditional roots are referred to in the paintings of Feliks Wygrzywalski, Mazurek - grający Chopin [Mazurka - Chopin at the piano], with a couple of dancers in folk costume, and Stanisław Zawadzki, depicting the com poser with a roll of paper in his hand against the background of a forest, into the wall of which silhouettes of country children are merged, personifying folk music. Pictorial tales about music were also popularised by postcards. On one anonymous postcard, a ghost hovers over the playing musician, and the title Marsz żałobny Szopena [Chopin’s funeral march] suggests the connection with real apparitions that the composer occasional had when performing that work. In the visualisation of music, artists were often assisted by poets, who suggested associations and symbols. Correlations of content and style can be discerned, for ex ample, between Władysław Podkowinski’s painting Marsz żałobny Szopena and Kor nel Ujejski’s earlier poem Marsz pogrzebowy [Funeral march]. -
London's Symphony Orchestra
London Symphony Orchestra Living Music London’s Symphony Orchestra Celebrating LSO Members with 20+ years’ service. Visit lso.co.uk/1617photos for a full list. LSO Season 2016/17 Free concert programme London Symphony Orchestra LSO ST LUKE’S BBC RADIO 3 LUNCHTIME CONCERTS – AUTUMN 2016 MOZART & TCHAIKOVSKY LAWRENCE POWER & FRIENDS Ten musicians explore Tchaikovsky and his The violist is joined by some of his closest musical love of Mozart, through songs, piano trios, collaborators for a series that celebrates the string quartets and solo piano music. instrument as chamber music star, with works by with Pavel Kolesnikov, Sitkovetsky Piano Trio, Brahms, Schubert, Bach, Beethoven and others. Robin Tritschler, Iain Burnside & with Simon Crawford-Phillips, Paul Watkins, Ehnes String Quartet Vilde Frang, Nicolas Altstaedt & Vertavo Quartet For full listings visit lso.co.uk/lunchtimeconcerts London Symphony Orchestra Living Music Monday 19 September 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT Leif Ove Andsnes Beethoven Piano Sonata No 18 (‘The Hunt’) Sibelius Impromptus Op 5 Nos 5 and 6; Rondino Op 68 No 2; Elegiaco Op 76 No 10; Commodo from ‘Kyllikki‘ Op 41; Romance Op 24 No 9 INTERVAL Debussy Estampes Chopin Ballade No 2 in F major; Nocturne in F major; Ballade No 4 in F minor Leif Ove Andsnes piano Concert finishes at approximately 9.25pm 4 Welcome 19 September 2016 Welcome Kathryn McDowell Welcome to this evening’s concert at the Barbican Centre, where the LSO is delighted to welcome back Leif Ove Andsnes to perform a solo recital, and conclude the critically acclaimed LSO Artist Portrait series that he began with us last season. -
Ambiguity in the Themes of Chopin's First, Second, and Fourth Ballades
Ambiguity in the Themes of Chopin's First, Second, and Fourth Ballades William Rothstein There is a style of music which may be called natural, because it is not the offspring of science or reflection, but of an inspiration which sets at defiance all the strictness of rules and convention. I mean popular music, and especially that of the peasantry. How many exquisite compositions are born, live and die, among the peasantry, without ever having been dignified by a correct notation, without ever having deigned to be confined within the absolute limits of a distinct and definite theme. The unknown artist who improvises his rustic ballad while watching his flocks, or guiding his ploughshare, and there are such even in countries which would seem the least poetical, will experience great difficulty in retaining and fixing his fugitive fancies. He communicates his ballad to other musicians, children like himself of nature, and these circulate it from hamlet to hamlet, from cot to cot, each modifying it according to the bent of his own individual genius. It is hence that these pastoral songs and romances, so artlessly striking or so deeply touching, are for the most part lost, and rarely exist above a single century in the memory of their rustic composers. Musicians completely formed under the rules of art rarely trouble themselves to collect them. Many even disdain them from very lack of an intelligence sufficiently pure, and a taste sufficiently elevated to admit of their appreciating them. Others are dismayed by the difficulties which they encounter the moment they endeavor to discover that true and original version, which, perhaps, no longer retains its existence even in the mind of its author, and which certainly was never at any time recognised as a definite and invariable type by any one of his numerous interpreters... -
DUX 1270-1 / 2016 FRYDERYK CHOPIN Piano Concertos Works
DUX 1270-1 / 2016 ____________________________________________________________________ FRYDERYK CHOPIN Piano concertos Works for piano solo Fryderyk CHOPIN (1810-1849) CD 1 *Piano Concerto in E minor Op.11 *Piano Concerto in F minor Op.21 CD 2 *Polonaise in A flat major Op.53 *Fantasy-Impromptu in C sharp minor Op.66 *Nocturne in F sharp major Op.15 No.2 *Scherzo in B flat minor Op.31 *Rondo à la Krakowiak in F major Op.14 *** Piotr PALECZNY - piano Kwartet Prima Vista : Krzysztof BZOWKA - 1st violin, Józef KOLINEK - 2nd violin Dariusz KISIELINSKI – viola, Jerzy MURANTY - cello Janusz MARYNOWSKI - double bass _______________________________________________________________________________________________ DUX Małgorzata Polańska & Lech Tołwiński ul. Morskie Oko 2, 02-511 Warszawa tel./fax (48 22) 849-11-31, (48 22) 849-18-59 e-mail: [email protected], www.dux.pl Aleksandra Kitka-Coutellier – International Relations kitka@dux “Hats off gentlemen - a genius” - wrote Robert Schumann in his famous review entitled Ein Opus 2 , published in the Leipzig periodical ‘Allgemeine Musikalische Zeitung’ (No.49, 7 December 1831), having listened to Chopin’s Variations on a Theme from Mozart’s Don Giovanni. The genius was born on 1 March in Żelazowa Wola, west of Warsaw. The local parish register contains the following entry: “In the year one thousand eight hundred ten, on the twenty third day of the month of April, at three o’clock in the afternoon. Before me, parish priest of Brochów in the district of Sochaczew in the Department of Warsaw, appeared Mikołaj Chopin, the father, aged forty, domiciled in Żelazowa Wola, and showed me a male child which was born in his house on the twenty second day of February of this year at six o’clock in the evening, declaring that it was the child of himself and of Justyna born Krzyżanowska, aged twenty eight, his spouse, and that it was his wish to give him two names, Fryderyk Franciszek. -
The Baton: Vol. 8, No. 7
Published by THE INSTITUTE OF MUSICAL ART OF THE JUILLIARD SCHOOL OF MUSIC FRANK DAMROSCH, DEAN Vol. VIII, No. 7 15 CENTS A COPY THE BATON THE BATON endeavors to recommend the operas, concerts and recitals of especial worth and interest to music students. Appearances of faculty members, alumni and pupils arc featured FORTISSIMO in these columns. BEFORE THE PUBLIC EORGE A. WEDGE, who was in charge of music, so gloriously rendered. And if you are only the annual Alumni concert held this year on one-quarter part as glad to see me as I am to see e April 29th at the Institute, is to be hailed as you, I am fully content. the stage manager of a very enjoyable evening. The When I wrote to Dr. Damrosch a few days ago Musical Art Quartet played the Beethoven Quartet to inform him of my impending visit, I begged him in G major and the Debussy Quartet in G minor. to keep it a secret. I gave a number of humbug ex- Dr. Damrosch told of plans for a new building to cuses for this, but what I really meant was that if be begun soon in our block which will be the home it became generally known that I was to be here, of both the Juilliard Graduate School and the Insti- not a soul would come here—and that would not have tute of Musical Art. It will please all those who are suited me at all, for I wanted you to be here so that or have been students here to know that our Recital I could see you. -
New Sound 30 Jim Samson Exploring Chopin's Polish 'Ballade'
New Sound 30 Jim Samson Exploring Chopin’s Polish ’Ballade’ Article received on February 27, 2007 UDC 78.071.1 Chopin F. Jim Samson EXPLORING CHOPIN’S ‘POLISH BALLADE’ Abstract: Each stage of the source chain of Chopin’s Op. 38 is described. Theories of genre are discussed. Late nineteenth-century descriptions are related to intertextual associations to produce a hermeneutical reading of the work. Key words: Source chain; genre; topos; narrative; intertext; extramusical Preamble It was in Majorca - on 14 December 1839 - that Chopin wrote to Julian Fontana, 'I expect to send you my Preludes and Ballade shortly', referring here to the Second Ballade.1 He had already composed the main outlines of the ballade prior to Majorca (Félicien Mallefille referred to it, interestingly enough, as the 'Polish ballade' in a letter that pre-dated the excursion), but he refined it and completed it during the Majorcan adventure. Indeed it is entirely possible that it was on Majorca that he wrote what Schumann called the 'impassioned episodes', referring of course to the figurations, since he had already performed the opening section by itself on several occasions. My intention here is to comment briefly on salient aspects of the text of the ballade with reference to its extant sources. Following that, I will say something of an interpretative nature about the work, focusing on questions of intertextuality. Texts Unusually for Chopin, virtually every stage of an archetypal source chain is represented for this work. The manuscript and early printed sources are as follows: A1 There is an autograph fragment (bars 11-12) in the Album of Ivar Hallstrom (currently held in the Music History Museum in Stockholm). -
Performance Commentary
PERFORMANCE COMMENTARY Notes on the musical text the first and third beat. The pedal depressed at the beginning of bar 31 can be lifted after the figuration ends on the first note of bar 32. p. 15 The variants marked as ossia were given this label by Chopin or were Bars 8, 10, 18 & 24 R.H. The lower note of the arpeggiated chord added in his hand to pupils' copies; variants without this designation should be struck together with the first semiquaver played by the are the result of discrepancies in the texts of authentic versions or an L.H. inability to establish an unambiguous reading of the text. p. 16 Minor authentic alternatives (single notes, ornaments, slurs, accents, pedal Bars 32-33 It is better to play the arpeggios in a continuous indications, etc.) that can be regarded as variants are enclosed in round fashion, i.e. b with the R.H. after g with the L.H. brackets ( ), whilst editorial additions are written in square brackets [ ]. Pianists who are not interested in editorial questions, and want to base their performance on a single text, unhampered by variants, are recom- mended to use the music printed in the principal staves, including all 4. Prelude in E minor, Op. 28 no. 4 the markings in brackets. p. 17 Chopin's original fingering is indicated in large bold-type numerals, Bars 11 & 19 R.H. The signs written most probably by Chopin on 1 2 3 4 5, in contrast to the editors' fingering which is written in small one of his pupils’ copies indicate that the grace-note should be italic numerals, 1 2 3 4 5. -
Music – Our Passion
2011 recent releases and highlights for piano Music – Our Passion. Hal Leonard is proud to be exclusive U.S. distributor for the distinguished Munich-based music publisher G. Henle Verlag. Henle Urtext editions are highly regarded for impeccable research of composers’ manuscripts, proofs, first editions and other relevant sources. Henle editions are universally praised for: • authoritative musical accuracy • the world’s highest quality music engraving • insightful critical commentary • helpful fingerings • premium, custom made paper • long-lasting binding for a lifetime of use Among the world’s leading classical pianists who have endorsed, performed and recorded Henle Urtext editions are: Leif Ove Andsnes • Vladimir Ashkenazy • Paul Badura-Skoda • Daniel Barenboim • Alfred Brendel • Rudolf Buchbinder • Philippe Entremont • Marc-André Hamelin • Vladimir Horowitz • Evgeny Kissin • Lang Lang • Elisabeth Leonskaja • Yundi Li • Gerhard Oppitz • Murray Perahia • András Schiff • Grigory Sokolov • Mitsuko Uchida • Lars Vogt REcent Urtext Editions for Piano Urtext editions FRÉDÉRIC CHOPIN: PIANO ROBERT SCHUMANN: SEVEN are softcover SONATA IN C MINOR, OP. 4 PIANO PIECES IN FUGHETTA unless clothbound is indicated. 51480942 ..................................................... $17.95 FORM, OP. 126 FRÉDÉRIC CHOPIN: POLONAISE 51480907 ..................................................... $13.95 Search description, IN A-FLAT MAJOR, OP. 53 ROBERT SCHUMANN: THREE contents, editors, REVISED EDITION PIANO SONATAS FOR THE and all available Henle publications -
MTO 22.4: Broesche, Glenn Gould, Spliced
Volume 22, Number 4, December 2016 Copyright © 2016 Society for Music Theory Garreth P. Broesche NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.16.22.4/mto.16.22.4.broesche.php KEYWORDS: Glenn Gould, music and technology, recording, filmmaking, ontology, Walter Benjamin, aura, Sergei Eisenstein, Johannes Brahms ABSTRACT: Glenn Gould often drew an analogy: live theater is to film as concert performance is to studio recording. In his writings, Gould cites one finished “performance” created by splicing together two contrasting interpretations of a piece; through editing, the finished version somehow becomes more than the sum of its parts. Here Gould’s use of editing appears to invoke montage technique in a manner similar to one of its uses in film: contrasting images (interpretations) are juxtaposed, bequeathing responsibility to the viewer (listener) to infer meaning not explicitly present in either. To paraphrase Walter Benjamin, the use of montage technique separates filmmaking from live theater, altering the ontological status of the former and elevating it to an independent art form. Do the ways in which Gould employs technology support the claim that there is a similar relationship between live and studio music? For all the extant literature on Gould, there is little that discusses—in detail—his actual studio process. Scholars have tended to take Gould at his word. However, I believe that only by placing the focus squarely on the historical truth may we evaluate his recording/filmmaking analogy. This paper centers on a detailed audio analysis of one Gould performance: his 1981 recording of a Brahms Ballade. -
The Ballades of Frederic Chopin
University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects 12-1-1981 The alB lades of Frederic Chopin Janell E. Brakel Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Brakel, Janell E., "The alB lades of Frederic Chopin" (1981). Theses and Dissertations. 451. https://commons.und.edu/theses/451 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. ' 1 f. 1 'c' ,.!'l)~r,T(' ,.,H.,L l, ]3"11 .... J_.;/\ D' ••• ; 'J''1' · ...:'"· 1"i'_ ·, l·,r\ _ . Li1· Janl"ll E. Brakel Bachelor af Science, Mayville State Coll~ge, 1978 A Thesis Submitted to the Graduate Faculty of the University of North Dakota in partial fulfillnl\'!nt of the requirements for the degree of Master of Arts Grand Forks, North Dakota December 1981 I ' ' ,........I 'J-·liis 'l'he:;i.s su:Omitted by Janell E. Brakel in partir1l fulfillment of tl1e requirements for the Degree of !>laster nf Art:s from the University of North Dakota is h~reby ap proved Ly the Faculty Advisory Conunittee under whom the work has been done. ' / I' -'' , ~ _/ ,. ' , ,'I / - ,' ' I ./ , I' -~ v (Chairman) c - ' ' ' - ' This Thesis meets the standards for appearance and confor~s to the style and format requirements of the Graduate School of the University of i'Jorth Dakota, and is hereby approved . -
The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more. -
Download Booklet
Producer’s Note ADD Among the 53 published 78rpm sides of Mischa Levitzki, there are no rarities. Yet, 61 years after his death, his records are still sought by collectors world-wide and his artistry is held in high esteem. Admittedly, Mischa Levitzki does not Great Pianists • Levitzki • 2 8.110769 rank among the twentieth century’s greatest pianists, for that distinguished honor belongs to only a handful. His records, however, are distinguished for their directness of approach without ever being the least bit dull. They demonstrate a formidable technique, always under control, as well as a lovely sound guided by an unerring ear for subtlety and nuance. Mischa Levitzki: Piano Recordings Vol. 2 - Gramophone Recordings 1927-1933 LISZT SCHUMANN: ! Hungarian Rhapsody No. 13 Piano Concerto No. 1 Sonata No. 2 in G minor, Op. 22 16:43 in A minor, S.244 9:03 1 I. So rasch wie möglich 4:43 Recorded 16th March 1933 2 II. Andantino: Getragen 4:39 Matrices 2B 6340-3, and 2B 6347-2; Hungarian Rhapsodies 3 III. Scherzo: Sehr rasch und markiert 1:43 Cat. DB 1905 4 IV. Rondo: Presto 5:35 Recorded 10th March 1933 @ Etude de Concert No. 3 La Campanella Matrices 2B 6335-2, 6336-3, 6337-1, and in D flat major, ‘Un sospiro’, S.144 4:56 6338-2; Cat. DB 1906/7 Recorded 21st November 1928 Matrix Cc 14780-3; Cat. D 1721 LISZT: # Etude d’exécution transcendante d’après Piano Concerto No. 1 Paganini No. 3 in G sharp minor, in E flat major, S.124 18:06 ‘La Campanella’, S.140 4:57 SCHUMANN With the London Symphony Orchestra Recorded 16th December 1927 conducted by Sir Landon Ronald Matrix Cc 12152-1; Cat.