DOCSLIB.ORG

ABEL SÁNCHEZ-AGUILERA Pianist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ABEL SÁNCHEZ-AGUILERA Pianist Acclaimed for his “sophisticated handling of the sound” and “stupendous virtuosity”, Abel Sánchez-Aguilera has appeared as a soloist in ten countries (Spain, France, Austria, Germany, Italy, Hungary, Bulgaria, Russia, United States and Brazil). He has been heard, among others, on the stages of Théâtre du Châtelet (Paris), Mozarteum (Salzburg), Gasteig (Munich), Neue Schloss (Stuttgart), Scriabin Memorial Museum (Moscow), Sheremetev Palace (St. Petersburg), Bulgaria Hall (Sofia) and Steinert Hall (Boston), and in festivals such as Musikfest Stuttgart (2014, 2016), TransArt 2017, Musique au Palais (2016-17), Festival Romantique de Buc (2013-14) and “Les Amateurs virtuoses!” (2009-15). He has performed Rachmaninoff’s Piano Concerto no.3 with the New Philarmonia Orchestra (Massachusetts, USA, 2012) and the Orchestra di Padova e del Veneto (Padua, Italy, 2016). Born in Madrid, Abel Sánchez-Aguilera obtained his Higher Piano Diploma from the Royal Conservatory of Music in his native city under the guidance of Fernando Puchol and Juan Carlos Martínez. Subsequently he has continued his studies with Ya-Fei Chuang, both at the New England Conservatory in Boston and at the Salzburg Mozarteum Internationale Sommerakademie, which he has attended for six consecutive years. He has also received artistic advice from Robert Levin, Luiz de Moura Castro, Ilze Graubin and Marisa Montiel. A laureate of several international competitions, Abel Sánchez-Aguilera has been especially recognized for his advocacy of the modern and contemporary piano repertoire. He was awarded First Prize in the “Alexander Skrjabin” competition (Salzburg, 2015), First Prize and best contemporary interpretation award in the Open Piano Competition (2013), the Prize of the Mozarteum Sommerakademie (2013), First Prize “Musik der Extraklasse” (Salzburg, 2011), First Prize and audience award in the Boston International Piano Competition (2011), Third Prize (solo category) and Fourth Prize (concerto category) in the competition “Premio Città di Padova” (2016), among others. In commemoration of the centenary of the composer’s death in 2015, Abel Sánchez-Aguilera performed Alexander Scriabin’s complete piano sonatas at Théâtre du Châtelet (Paris), as well as the rarely heard sonata “to the memory of Scriabin” by Leonid Sabaneev. He has given the premieres of the works Brevedades by C. M. González-Portela (1999) and his own compositions Morella (2016) and Scriabiniana (2012). He is a member of the editorial team of the Sorabji Archive (UK), for which he has prepared first critical editions of two of Sorabji’s major works (Tāntrik Symphony for piano alone and Piano Symphony no.3), and is a coauthor of the new edition of Opus Clavicembalisticum (in preparation). Parallel to his musical activity, Abel Sanchez-Aguilera has contributed to an unrelated field – that of biomedicine. He has a PhD degree in Biochemistry and Molecular Biology, and between 2000 and 2016 he performed research on leukemia and lymphoma in Spain and the United States. His scientific work, represented by 28 articles and book chapters, led to the discovery of a potential application of the drug tamoxifen for the treatment of some blood cancers. “…sophisticated handling of the sound, such knowledge of the style, not getting lost in impressionistic sonorities but highlighting the structural thought. And besides a stupendous virtuosity.” (DrehPunktKultur, Salzburg, 2013) “[Scriabin’s] Fourth sonata (…) and the fantastic poem Vers la flamme, one of his last pieces, were skillfully defended by Abel Sanchez-Aguilera, who underlined with subtlety their mixture of sounds and colours.” (Classic Toulouse, 2016) ABEL SÁNCHEZ-AGUILERA Pianist Website (in English) https://abelsanchezaguilera.wordpress.com https://www.facebook.com/abelsanchezaguilera Website (in Spanish) https://abelsanchezaguileraes.wordpress.com https://www.facebook.com/sanchezaguileraabel Education 2010-2015 Mozarteum Internationale Sommerakademie Universität Mozarteum (Salzburg, Austria) Masterclass of Ya-Fei Chuang 2009-2011 Piano Interpretation and Performance Seminar New England Conservatory of Music (Boston, USA) Class of Ya-Fei Chuang 2006 Ph.D., Biochemistry and Molecular Biology Universidad Complutense (Madrid, Spain) 2000 Bachelor of Science, Biochemistry Universidad Complutense (Madrid, Spain) 1999 Higher Diploma in Piano, "Profesor Superior" (*) Real Conservatorio Superior de Música (Madrid, Spain) Class of Fernando Puchol (*) 10-year degree in Music, equivalent to a Bachelor degree Masterclasses Ya-Fei Chuang, Robert Levin, Luiz de Moura Castro, Ilze Graubin, Fernando Puchol, Marisa Montiel. Languages Spanish (native), English (C2), French, Italian, German (rudimentary) Awards and Honours 2016 Third Prize (overall) and First Prize (piano category) International competition “Premio Città di Padova” (Padua, Italy) 2016 Fourth Prize International competition “Premio Città di Padova” for soloists and orchestra (Padua, Italy) 2015 First Prize Piano competition "Alexander Skrjabin" (Salzburg, Austria) 2013 First Prize and best performance of a contemporary work Open Piano Competition (Torino, Italy) 2013 Prize of the Mozarteum Sommerakademie (Salzburg, Austria) 2011 First Prize Piano competition “Musik der Extraklasse” (Salzburg, Austria) 2011 First Prize and Audience Award Boston International Piano Competition (Boston, EEUU) 2009 Second Prize and best performance of a modern work Boston International Piano Competition (Boston, EEUU) Recitals . Solo recitals in Spain, France, Austria, Germany, Hungary, Bulgaria, Russia, the United States and Brazil. Performance of Scriabin’s complete piano sonatas at Théâtre du Châtelet (Paris, 2015). Three performances of Rachmaninoff’s Piano Concerto no.3 with the New Philarmonia Orchestra (Newton,MA,2012) and the Orchestra di Padova e del Veneto (Padua, 2016). World premiere of several works, such as Brevedades by C. M. González-Portela (1999) and the original compositions Morella (2016) and Scriabiniana (2012). Past recitals (selected) 2017 Conservatorio “Cesare Pollini” (Padua) - Rachmaninoff, Piano Concerto no.3 Maison de l’Asie du Sud-Est (Paris) Ateneo Theatre (Madrid) “Bulgaria” Chamber Hall (Sofia) 2016 Neue Schloss Stuttgart (Musikfest Stuttgart) Palais Niel (Toulouse) Salle André Ravache (Le Pouliguen, Francia) Centro Cultural Galileo (Madrid) 2015 Théâtre du Châtelet (Paris) - Scriabin, the complete piano sonatas Palais Niel (Toulouse) Mozarteum Grosses Studio (Salzburg) Gasteig (Munich) 2014 Neue Schloss Stuttgart (Musikfest Stuttgart) Alexander Scriabin Memorial Museum (Moscow) Festival Romantique de Buc (Buc, France) Music School no. 20 (Sestrorezk, Russia) 2013 Festival Romantique de Buc (Buc, Francia) 2012 New Philarmonia Orchestra (Newton, MA) - Rachmaninoff, Piano Concerto no.3 Théâtre du Châtelet (Paris) Steinert Hall (Boston) Sheremetev Palace (St. Petersburg) 2011 Institut Français (Budapest) 2010 Mozarteum Kleines Studio (Salzburg) - Boulez, sonata no.2 Conservatoire de Nice (France) 2009 Steinert Hall (Boston) - Chopin, the complete etudes (op.10 and op.25) Fort de Copacabana (Rio de Janeiro) Publications Sorabji, Kaikhosru Shapurji. Tāntrik Symphony for Piano alone. First edition. Abel Sánchez- Aguilera, editor. Hereford, England: The Sorabji Archive; 2015. 447 p. (score) + 41 p. (critical commentary). Sorabji, Kaikhosru Shapurji. Third Symphony for Piano solo. First edition. Abel Sánchez- Aguilera, editor. Hereford, England: The Sorabji Archive; 2016. 197 p. (score) + 24 p. (critical commentary). Repertoire (The following list is by no means exhaustive. Generally I will be able to perform most piano concertos in the standard repertoire with 2-3 months’ notice, but this time can be substantially shorter depending on the work in question. For most chamber works and song cycles, between a few days and two weeks notice will usually suffice). Isaac ALBENIZ Fryderyk CHOPIN Iberia (books I y IV) THE COMPLETE ETUDES (op.10, op.25, Trois Nouvelles Etudes) Johann Sebastian BACH Nocturne, op.9 no.1 The Well-Tempered Clavier, Book I Ballade no.1, op.23 15 Two-Part Inventions 2 Nocturnes, op.27 Concerto Italiano 24 Preludes, op.28 The Art of the Fugue, Contrapunctus 1-4, 9 Impromptu no.2, op.36 Waltz, op.64 no.2 Ludwig van BEETHOVEN Sonata no.2, op.35 Sonata op.2 no.3 Nocturne, op.37 no.1 Sonata op.10 no.2 Nocturne, op.55 no.2 Sonata op.13 Fantaisie-Impromptu, op. posth. 66 Sonata op.27 no.2 2 Waltzes, op. posth. 69 Sonata op.31 no.2 Waltzes, op. posth. 70, nos.2-3 Sonata op.49 no.2 Piano Concerto no.1, Op.11 Sonata op.53 Sonata op.78 Claude DEBUSSY Sonata op.90 Selected Preludes from Book I Sonata op.110 L’isle joyeuse Piano Concerto no.1 in C major, Op.15 Reflets dans l’eau (from Images, I) Piano Concerto no.3 in C minor, Op.37 Edison DENISOV Alban BERG Reflets Klavierstück in C minor Pour Daniel Variations on an original theme in C major Sonata, op.1 Manuel de FALLA Fantasia Baetica Pierre BOULEZ Ritual Dance of Fire (from "El Amor Brujo") Sonata no.2 Ivan FEDELE Johannes BRAHMS Etudes Australes, nos.3 and 5 Variations on a theme by Paganini, Op.35 Piano pieces, Op.76 (nos.1 ,2, 5, 8) Samuil FEINBERG Piano Concerto no.2 in B flat major, Op.83 Sonata no.6, op.13 Ferrucio BUSONI Franz LISZT Sonatina brevis Isoldes Liebestod Mosonyis Grabgeleit Alexander MOSOLOV Domenico SCARLATTI Sonata no.1, op.3 Sonatas (K.3, 24, 27, 96, 141, 159, 175) 2 Nocturnes, op.15 Arnold SCHOENBERG Wolfgang Amadeus MOZART 3 Klavierstücke, op.11 Sonata in B flat major, K.281 6 kleine Klavierstücke,
Recommended publications
  • Draft Schedule Revised

    Draft Schedule Revised

    ICMSN/SurreyMAC 2017 Provisional Schedule at 16 June 2017 Monday 11 September 1330–1500 Session 1A Post-tonal form Robert Baker, ‘Progressive Forms: Pitch, Notation, and Time in Two Works by Henri Dutilleux’. Anabel Maler, ‘Hearing Function in Post-Tonal Context’. Cecilia Taher, ‘J.C. Paz’s Concreción: A three-dimensional dynamic form’. Session 1B Following Wagner Charlotte Armstrong, ‘Max Nordau and the diagnosis of musical degeneracy: “unhealthy” music in the operas of Richard Wagner and Franz Schreker’. Peter Atkinson, ‘Dancing Wagnerism: Rutland Boughton’s “Dancing Scenery” and the English Reinvention of the Gesamtkunstwerk’. Malcolm Miller, ‘Wood’s “Wagner – Dreams”: New light on Henry Wood’s orchestration of Träume for violin and orchestra’. 1500–1630 Session 2A China David Ho-Yi Chan, ‘Lingustic Parameters in Contemporary Choral Music’. Cheong Wai-Ling and Hong Ding, ‘Reception of twelve-note music in China — foes turned friends?’ Na Li, ‘Masculinity without men? The multiple gendered images presented by female performers of Northwest Wind’. Session 2B Electronics Nino Auricchio and Paul Borg, ‘New modular instruments and approaches to music generation’. Jo Langton, ‘Musical Analysis of Glass Art Sculptures: The Baschet Brothers’ Sculptures Sonores in the electroacoustic composition of Beatriz Ferreyra’. Laurence Willis, ‘Approaches to Electronics in Haas’s String Quartets No. 4 and No. 7’. 1630–1700 Tea/coffee 1700–1800 Session 3A Schubert Mark Hutchinson, ‘Wandering through history: distorted temporalities in Zender’s Schubert’. Anne Hyland, ‘Rehabilitating Schubert’s Early Sonata Forms: the Overture for String Quintet in C minor, D. 8 and Romantic Form’. Session 3B Feminist perspectives Anna Terzaroli, ‘Teresa Rampazzi, a woman in the Electronic Music’.
  • Fernando Laires

    Fernando Laires

    Founded in 1964 Volume 32, Number 2 Founded in 1964 Volume 32, Number 2 Founded in 1964 Volume 32, Number 2 An officiIn AMemoriam:l publicAtion of the AmericFernandoAn liszt society, Laires inc. TABLE OF CONTENTS 3 January 1925 – 9 September 2016 1 In Memoriam: Fernando Laires In Memoriam: Fernando Laires TABLE OF CONTENTS 3 January 1925 – 9 September 2016 2 President's Message In Memoriam: Fernando Laires TABLE OF CONTENTS 3 January 1925 – 9 September 2016 31 LetterIn Memoriam: from the FernandoEditor Laires 1 42In Memoriam:"APresident's Tribute toMessage Fernando Fernando Laires Laires," by Nancy Lee Harper 2 3President's Letter from Message the Editor 5 More Tributes to Fernando Laires 3 4Letter "A fromTribute the to Editor Fernando Laires," 7 Membershipby Nancy Lee Updates, Harper Etc. 4 "A Tribute to Fernando Laires," 85by NancyInvitationMore TributesLee to Harper the to 2017 Fernando ALS FestivalLaires in Evanston/Chicago 5 7More Membership Tributes to Updates, Fernando Etc. Laires 10 "Los Angeles International Liszt Competition Overview" 7 8Membership byInvitation Éva Polgár Updates, to the 2017 Etc. ALS Festival in Evanston/Chicago 8 InvitationIn Memoriam to the 2017 ALS Festival in Evanston/Chicago 10 JALS"Los AngelesUpdate International Liszt Competition Overview" 10 "Losby Angeles Éva Polgár International Liszt 11 Competition Chapter News Overview" In Memoriam by Éva Polgár 12 Member News In MemoriamJALS Update 1511JALS FacsimileChapter Update News Frontispiece of Liszt's "Dante" Symphony Fernando Laires with his wife and fellow pianist, Nelita True, in 2005. Photo: Rochester NY Democrat & Chronicle Staff Photographer Carlos Ortiz: http://www. 11 12Chapter Member News News democratandchronicle.com/story/lifestyle/music/2016/10/02/fernando-laires-eastman-liszt- 16 Picture Page obituary/91266512, accessed on November 12, 2016.
  • AMERICAN ACADEMY in ROME PRESENTS the SCHAROUN ENSEMBLE CONCERT SERIES 14-16 JANUARY 2011 at VILLA AURELIA Exclusive Concert

    AMERICAN ACADEMY in ROME PRESENTS the SCHAROUN ENSEMBLE CONCERT SERIES 14-16 JANUARY 2011 at VILLA AURELIA Exclusive Concert

    FOR IMMEDIATE RELEASE January 11, 2011 AMERICAN ACADEMY IN ROME PRESENTS THE SCHAROUN ENSEMBLE CONCERT SERIES 14-16 JANUARY 2011 AT VILLA AURELIA Exclusive Concert Dates in Italy for the Scharoun Ensemble Berlin Courtesy of the Scharoun Ensemble Berlin Rome – The American Academy in Rome is pleased to present a series of three concerts by one of Germany’s most distinguished chamber music ensembles, the Scharoun Ensemble Berlin. Comprised of members of the Berlin Philharmonic Orchestra, the Scharoun Ensemble Berlin specializes in a repertoire of Classical, Romantic, 20th century Modernist, and contemporary music. 2011 marks the third year of collaboration between the Ensemble and the American Academy in Rome, which includes performances of work by current Academy Fellows in Musical Composition Huck Hodge and Paul Rudy, as well as 2009 Academy Fellow Keeril Makan. Featuring soprano Rinnat Moriah, the Ensemble will also perform music by Ludwig van Beethoven, John Dowland, Antonin Dvořák, Sofia Gubaidulina, Heinz Holliger, Luca Mosca, and Stefan Wolpe. The concerts are free to the public and will take place at the Academy’s Villa Aurelia from 14-16 January 2011. Event: Scharoun Ensemble Berlin (preliminary program*) 14 January at 9pm – Ludwig van Beethoven, John Dowland, Huck Hodge, and Stefan Wolpe 15 January at 9pm – Sofia Gubaidulina, Huck Hodge, Heinz Holliger and Keeril Makan 16 January at 11am – Antonin Dvořák, Luca Mosca, and Paul Rudy *subject to change Location: Villa Aurelia, American Academy in Rome Largo di Porta San Pancrazio, 1 Scharoun Ensemble Berlin The Scharoun Ensemble Berlin was founded in 1983 by members of the Berlin Philharmonic Orchestra.
  • UNIVERSITY of CALIFORNIA Los Angeles

    UNIVERSITY of CALIFORNIA Los Angeles

    UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism.
  • State Composers and the Red Courtiers: Music, Ideology, and Politics in the Soviet 1930S

    State Composers and the Red Courtiers: Music, Ideology, and Politics in the Soviet 1930S

    JYVÄSKYLÄ STUDIES IN HUMANITIES 78 Simo Mikkonen State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s JYVÄSKYLÄN YLIOPISTO JYVÄSKYLÄ STUDIES IN HUMANITIES 78 Simo Mikkonen State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s Esitetään Jyväskylän yliopiston humanistisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston Villa Ranan Blomstedtin salissa marraskuun 24. päivänä 2007 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities of the University of Jyväskylä, in the Building Villa Rana, Blomstedt Hall, on November 24, 2007 at 12 o'clock noon. UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2007 State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s JYVÄSKYLÄ STUDIES IN HUMANITIES 78 Simo Mikkonen State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2007 Editors Seppo Zetterberg Department of History and Ethnology, University of Jyväskylä Irene Ylönen, Marja-Leena Tynkkynen Publishing Unit, University Library of Jyväskylä Jyväskylä Studies in Humanities Editorial Board Editor in Chief Heikki Hanka, Department of Art and Culture Studies, University of Jyväskylä Petri Karonen, Department of History and Ethnology, University of Jyväskylä Matti Rahkonen, Department of Languages, University of Jyväskylä Petri Toiviainen, Department of Music, University of Jyväskylä Minna-Riitta Luukka, Centre for Applied Language Studies, University of Jyväskylä Raimo Salokangas, Department of Communication, University of Jyväskylä URN:ISBN:9789513930158 ISBN 978-951-39-3015-8 (PDF) ISBN 978-951-39-2990-9 (nid.) ISSN 1459-4331 Copyright ©2007 , by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä 2007 ABSTRACT Mikkonen, Simo State composers and the red courtiers.
  • City, University of London Institutional Repository

    City, University of London Institutional Repository

    City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008).
  • Academiccatalog 2017.Pdf

    Academiccatalog 2017.Pdf

    New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 Fax (617) 262-0500 New England Conservatory is accredited by the New England Association of Schools and Colleges. New England Conservatory does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, genetic make-up, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs or other Conservatory-sponsored activities. For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland, June 2016. #e information herein is subject to change and amendment without notice. Table of Contents 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-57 Academic Regulations and Information 59-61 Health Services and Residence Hall Information 63-69 Financial Information 71-85 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 87 Music-in-Education Concentration 89-105 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate Diploma Professional String Quartet Training Program Professional
  • Op. 68 Alexander Scriabin

    Op. 68 Alexander Scriabin

    Analysis of Scriabin’s Sonata No. 9 (“Black Mass”), Op. 68 Alexander Scriabin (1872-1915) was a Russian composer and pianist. An early modern composer, Scriabin’s inventiveness and controversial techniques, inspired by mysticism, synesthesia, and theology, contributed greatly to redefining Russian piano music and the modern musical era as a whole. Scriabin studied at the Moscow Conservatory with peers Anton Arensky, Sergei Taneyev, and Vasily Safonov. His ten piano sonatas are considered some of his greatest masterpieces; the first, Piano Sonata No. 1 In F Minor, was composed during his conservatory years. His Sonata No. 9 (“Black Mass”), Op. 68 was composed in 1912-13 and, more than any other sonata, encapsulates Scriabin’s philosophical and mystical related influences. Sonata No. 9 (“Black Mass”), Op. 68 is a single movement and lasts about 8-10 minutes. Despite the one movement structure, there are eight large tempo markings throughout the piece that imply a sense of slight division. They are: Moderato Quasi Andante (pg. 1), Molto Meno Vivo (pg. 7), Allegro (pg. 10), Allegro Molto (pg. 13), Alla Marcia (pg. 14), Allegro (p. 15), Presto (pg. 16), and Tempo I (pg. 16). As was common in Scriabin’s later works, the piece is extremely chromatic and atonal. Many of its recurring themes center around the extremely dissonant interval of a minor ninth1, and features several transformations of its opening theme, usually increasing in complexity in each of its restatements. Further, a common Scriabin quality involves his use of 1 Wise, H. Harold, “The relationship of pitch sets to formal structure in the last six piano sonatas of Scriabin," UR Research 1987, p.
  • 5. Calling for International Solidarity: Hanns Eisler’S Mass Songs in the Soviet Union

    5. Calling for International Solidarity: Hanns Eisler’S Mass Songs in the Soviet Union

    From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 i v ABSTRACT From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Yana Alexandrovna Lowry 2014 Abstract Group songs with direct political messages rose to enormous popularity during the interwar period (1918-1939), particularly in recently-defeated Germany and in the newly- established Soviet Union. This dissertation explores the musical relationship between these two troubled countries and aims to explain the similarities and differences in their approaches to collective singing. The discussion of the very complex and problematic relationship between the German left and the Soviet government sets the framework for the analysis of music. Beginning in late 1920s, as a result of Stalin’s abandonment of the international revolutionary cause, the divergences between the policies of the Soviet government and utopian aims of the German communist party can be traced in the musical propaganda of both countries.
  • Hie-Yon Choi Piano ______

    Hie-Yon Choi Piano ______

    Indiana University Summer Music 2014 EDWARD AUER PIANO WORKSHOP FACULTY RECITAL Hie-Yon Choi Piano _______________________ Sonata in C Minor, Op. 10 No. 1 ......................... Ludwig van Beethoven Allegro molto e con brio (1770-1827) Adagio molto Finale: Prestissimo From Monogramme (1998-2003) ..................................... York Höller Entrée (for Bernd Alois Zimmermann) (born 1944) Artikulation (for György Ligeti) Elegia giocosa (for Hans Werner Henze) Fluktation (for Elena Bashikirova) Intermission Sonata No. 3 (2010-11) ............................................... York Höller Sonata in C Minor, Op. 111 .............................. Ludwig van Beethoven Maestoso – Allegro con brio ed appassionato Arietta: Adagio molto semplice e cantabile _________________ Auer Concert Hall Friday Evening June Thirteenth Eight O’Clock IU Jacobs School of Music Fifth Program of the 2014-15 Season Indiana University Summer Music 2014 Hie-Yon Choi is established as one of the most sought-after pianists in Korea and is a rising presence in many of the world’s music festivals and concert houses. Since her first public appearance at the age of six with the Incheon Symphony, her solo and concerto performances have encompassed all the major halls and orchestras in Korea, as well as appearances with the National Symphony Orchestra in the Kennedy Center in Washington, D.C., and halls throughout the United States and the world. She has been a regular guest at the Seoul Spring Chamber Music Festival since 2010, as well as at the Musik Sommer in Ost Friesland (Germany) since 2007. She was the inaugural artist-in-residence at the Tong-Yeong International Music Festival in 2009. She participated as faculty in 2011 and 2012 at the CCM Prague International Piano Institute.
  • ANATOLY ALEXANDROV Piano Music, Volume One

    ANATOLY ALEXANDROV Piano Music, Volume One

    ANATOLY ALEXANDROV Piano Music, Volume One 1 Ballade, Op. 49 (1939, rev. 1958)* 9:40 Romantic Episodes, Op. 88 (1962) 19:39 15 No. 1 Moderato 1:38 Four Narratives, Op. 48 (1939)* 11:25 16 No. 2 Allegro molto 1:15 2 No. 1 Andante 3:12 17 No. 3 Sostenuto, severo 3:35 3 No. 2 ‘What the sea spoke about 18 No. 4 Andantino, molto grazioso during the storm’: e rubato 0:57 Allegro impetuoso 2:00 19 No. 5 Allegro 0:49 4 No. 3 ‘What the sea spoke of on the 20 No. 6 Adagio, cantabile 3:19 morning after the storm’: 21 No. 7 Andante 1:48 Andantino, un poco con moto 3:48 22 No. 8 Allegro giocoso 2:47 5 No. 4 ‘In memory of A. M. Dianov’: 23 No. 9 Sostenuto, lugubre 1:35 Andante, molto cantabile 2:25 24 No. 10 Tempestoso e maestoso 1:56 Piano Sonata No. 8 in B flat, Op. 50 TT 71:01 (1939–44)** 15:00 6 I Allegretto giocoso 4:21 Kyung-Ah Noh, piano 7 II Andante cantabile e pensieroso 3:24 8 III Energico. Con moto assai 7:15 *FIRST RECORDING; **FIRST RECORDING ON CD Echoes of the Theatre, Op. 60 (mid-1940s)* 14:59 9 No. 1 Aria: Adagio molto cantabile 2:27 10 No. 2 Galliarde and Pavana: Vivo 3:20 11 No. 3 Chorale and Polka: Andante 2:57 12 No. 4 Waltz: Tempo di valse tranquillo 1:32 13 No. 5 Dances in the Square and Siciliana: Quasi improvisata – Allegretto 2:24 14 No.
  • The War to End War — the Great War

    The War to End War — the Great War

    GO TO MASTER INDEX OF WARFARE GIVING WAR A CHANCE, THE NEXT PHASE: THE WAR TO END WAR — THE GREAT WAR “They fight and fight and fight; they are fighting now, they fought before, and they’ll fight in the future.... So you see, you can say anything about world history.... Except one thing, that is. It cannot be said that world history is reasonable.” — Fyodor Mikhaylovich Dostoevski NOTES FROM UNDERGROUND “Fiddle-dee-dee, war, war, war, I get so bored I could scream!” —Scarlet O’Hara “Killing to end war, that’s like fucking to restore virginity.” — Vietnam-era protest poster HDT WHAT? INDEX THE WAR TO END WAR THE GREAT WAR GO TO MASTER INDEX OF WARFARE 1851 October 2, Thursday: Ferdinand Foch, believed to be the leader responsible for the Allies winning World War I, was born. October 2, Thursday: PM. Some of the white Pines on Fair Haven Hill have just reached the acme of their fall;–others have almost entirely shed their leaves, and they are scattered over the ground and the walls. The same is the state of the Pitch pines. At the Cliffs I find the wasps prolonging their short lives on the sunny rocks just as they endeavored to do at my house in the woods. It is a little hazy as I look into the west today. The shrub oaks on the terraced plain are now almost uniformly of a deep red. HDT WHAT? INDEX THE WAR TO END WAR THE GREAT WAR GO TO MASTER INDEX OF WARFARE 1914 World War I broke out in the Balkans, pitting Britain, France, Italy, Russia, Serbia, the USA, and Japan against Austria, Germany, and Turkey, because Serbians had killed the heir to the Austrian throne in Bosnia.