DOCSLIB.ORG

Piano Diploma Repertoire List

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PIANO DIPLOMA REPERTOIRE LIST January 2021 edition (updated May 2021) • Candidates should compile and perform a programme displaying a range of moods, styles and tempi. • Programmes must consist of a minimum of two works. • All works should be performed complete, except where single movements are specified. • The music performed can: – be drawn entirely from the appropriate repertoire list below – combine pieces from the appropriate repertoire list with own-choice pieces* – contain only own-choice pieces* * Any programme which includes own-choice repertoire must be pre-approved. • Own-choice pieces must demonstrate a level of technical and musical demand comparable to the pieces listed in the relevant repertoire list. • Timings are as follows: Diploma Performance Exam level duration duration ATCL 32-38 minutes 40 minutes LTCL 37-43 minutes 45 minutes FTCL 42-48 minutes 50 minutes • Piano concertos may be proposed for FTCL only. The orchestral reduction must be played on a second piano. A second piano is available at selected centres only, and candidates should ensure that suitable facilities are available at their chosen centre before an entry is made. • Candidates must provide a written programme and copies of all pieces to be performed. • Face-to-face exams: the appointment form, written programme, copies of the pieces and approval letter (if applicable) should be given to the examiner at the start of the exam. • Digital exams: the submission information form, written programme, scans of the pieces and approval letter (if applicable) should be uploaded with the video. • For full details, including the process for submitting own-choice repertoire, please see the current syllabus at trinitycollege.com/performance-diplomas (face-to-face exams) or trinitycollege.com/digital-music-diplomas (digital exams). • Trinity’s A Recital Anthology – Piano Solo (TCL 024091) is a unique collection of 21 pieces selected from the ATCL repertoire list, showcasing repertoire spanning over four centuries to the present day in a wide range of genres and including detailed performance notes by Steven Osborne and John Paul Ekins. It is available in a printed version and as an ebook. ATCL Esquisses, op. 63, either book 1 nos. 1-6 1. Alkan or book 1 nos. 7-12 or book 2 nos. 13-18 Billaudot or book 2 nos. 19-24 2. Babajanian Elegy (in memory of Khachaturian) any reliable edition 3. Bacewicz Concert Krakowiak PWM 4. C P E Bach Sonata in A, Wq 55/4, H 186 any reliable edition J S Bach, 5. Die Seele ruht in Jesu Händen, BWV 127 Schirmer trans. Bauer J S Bach, 6. Nun komm’ der Heiden Heiland, BWV 659 Henle arr. Busoni 7. J S Bach French Suite no. 4 in E♭, BWV 815 (all 7 movts) any reliable edition 8. J S Bach French Suite no. 5 in G, BWV 816 (all 7 movts) any reliable edition Prelude & Gigue 9. J S Bach any reliable edition (from Partita no. 1 in B♭, BWV 825) Sinfonia, Allemande & Capriccio 10. J S Bach any reliable edition (from Partita no. 2 in C minor, BWV 826) 11. J S Bach Overture (from Partita no. 4 in D, BWV 828) any reliable edition 12. J S Bach Toccata (from Partita no. 6, BWV 830) any reliable edition from The Well-Tempered Clavier book 1: - Prelude & Fugue in D, BWV 850 - Prelude & Fugue in D minor, BWV 851 - Prelude & Fugue in F minor, BWV 857 13. J S Bach - Prelude & Fugue in F# minor, BWV 859 any reliable edition - Prelude & Fugue in G minor, BWV 861 - Prelude & Fugue in A♭, BWV 862 - Prelude & Fugue in A, BWV 864 - Prelude & Fugue in B, BWV 868 from The Well-Tempered Clavier book 2: - Prelude & Fugue in D, BWV 874 - Prelude & Fugue in D minor, BWV 875 14. J S Bach - Prelude & Fugue in E, BWV 878 any reliable edition - Prelude & Fugue in F, BWV 880 - Prelude & Fugue in F# minor, BWV 883 - Prelude & Fugue in G minor, BWV 885 15. J S Bach Fantasy and Fugue in A minor, BWV 904 any reliable edition 16. J S Bach Toccata no. 3 in D, BWV 912 any reliable edition Trinity 17. J S Bach Toccata no. 5 in E minor, BWV 914 A Recital Anthology Scherzo no. 2 or Toccata 18. Balakirev Peters (from Selected Piano Pieces vol. 1) Balakirev, 19. The Lark Chester trans. Glinka Trinity 20. Bartók Suite, op. 14 (all 4 movts) A Recital Anthology 21. Bax Lullaby Chappell 22. Beethoven Sonata in C minor, op. 10 no. 1 any reliable edition 23. Beethoven Sonata in F, op. 10 no. 2 any reliable edition Trinity 24. Beethoven Sonata in C minor, op. 13 ‘Pathétique’ A Recital Anthology 25. Beethoven Sonata in E, op. 14 no. 1 any reliable edition 26. Beethoven Sonata in G, op. 14 no. 2 any reliable edition 27. Beethoven Sonata in A♭, op. 26 any reliable edition 28. Beethoven Sonata in E♭, op. 27 no. 1 ‘Quasi una fantasia’ any reliable edition 29. Beethoven Sonata in G, op. 79 any reliable edition 30. Beethoven Sonata in E minor, op. 90 any reliable edition 31. Beethoven 32 Variations in C minor, WoO 80 any reliable edition 32. Beethoven Bagatelles, op. 126 any reliable edition Rondo a capriccio, op. 129 ‘Rage over a 33. Beethoven any reliable edition Lost Penny’ 34. L Berkeley Concert Study in E♭, op. 48 no. 2 Chester 35. L Berkeley Preludes, nos. 1, 2 and 3 Chester Troubled Water (from Black Women Composers: 36. Bonds Hildegard A Century of Piano Music) 37. Bonis Carillon mystique, op. 31 any reliable edition Lamentation no. 1 in D minor and Trinity 38. Bortkiewicz Consolation no. 2 in D A Recital Anthology (from Lamentations and Consolations book 1) 39. Bowen Impromptu, op. 91 no. 2 Schott 40. Bowen Toccata Weinberger 41. Brahms Capriccio in F# minor, op. 76 no. 1 any reliable edition 42. Brahms Rhapsody in G minor, op. 79 no. 2 any reliable edition 43. Brahms Intermezzo in B♭ minor, op. 117 no. 2 any reliable edition 44. Brahms Intermezzo in A minor, op. 118 no. 1 any reliable edition Trinity 45. Brahms Intermezzo in A, op. 118 no. 2 A Recital Anthology 46. Brahms Intermezzo in F minor, op. 118 no. 4 any reliable edition 47. Brahms Romance in F, op. 118 no. 5 any reliable edition 48. Brahms Intermezzo in E minor, op. 119 no. 2 any reliable edition 49. Chabrier Aubade Dover 50. Chabrier Scherzo-Valse (from Pièces pittoresques) Dover 51. Chaminade Automne, op. 35 no. 2 Dover 52. Chaminade Toccata, op. 39 Schirmer 53. Chapple Bagatelles diverses, nos. 6 and 7 Chester 54. Chopin Fantaisie impromptu, op. 66 any reliable edition 55. Chopin Impromptu no. 3 in G♭, op. 51 any reliable edition Mazurka in C# minor, op. 50 no. 3 and 56. Chopin any reliable edition Mazurka in D, op. 33 no. 2 Trinity 57. Chopin Nocturne in B♭ minor, op. 9 no. 1 A Recital Anthology 58. Chopin Nocturne in B, op. 9 no. 3 any reliable edition 59. Chopin Nocturne in F#, op. 15 no. 2 any reliable edition 60. Chopin Nocturne in A♭, op. 32 no. 2 any reliable edition 61. Chopin Nocturne in G, op. 37 no. 2 any reliable edition 62. Chopin Nocturne in F# minor, op. 48 no. 2 any reliable edition 63. Chopin Nocturne in B, op. 62 no. 1 any reliable edition 64. Chopin Nocturne in E, op. 62 no. 2 any reliable edition 65. Chopin Polonaise in C# minor, op. 26 no. 1 any reliable edition 66. Chopin Polonaise in E♭ minor, op. 26 no. 2 any reliable edition 67. Chopin Polonaise in C minor, op. 40 no. 2 any reliable edition 68. Chopin Valse in E♭, op. 18 any reliable edition The Sea, Cycle of Small Landscapes, 69. Čiurlionis Jonas Petronis nos. 1, 2 and 3 70. Clementi Sonata in B♭, op. 12 no. 1 (from Sonatas vol. 1) Peters Sonata in B minor, op. 40 no. 2 71. Clementi Peters (from Sonatas vol. 2) 72. Clementi Sonata in D, op. 40 no. 3 (from Sonatas vol. 2) Peters Coleridge- Deep River (no. 10 from Twenty-four Negro Trinity 73. Taylor Melodies, op. 59) A Recital Anthology 74. Copland The Cat and the Mouse, scherzo humoristique Durand Trinity 75. Debussy La plus que lente A Recital Anthology 76. Debussy Minuet (from Suite bergamasque) any reliable edition 77. Debussy Prelude and/or Sarabande (from Pour le piano) any reliable edition from Preludes for Piano book 1: any one or more of the following: - Voiles (no. 2) 78. Debussy any reliable edition - Les sons et les parfums tournent dans l’air du soir (no. 4) - La cathédrale engloutie (no. 10) from Preludes for Piano book 2: any one or more of the following: - Feuilles mortes (no. 2) 79. Debussy any reliable edition - La puerta del Vino (no. 3) - Général Lavine-eccentric (no. 6) - Homage à S. Pickwick Esq. PPMPC (no. 9) 80. de Falla Serenata Andaluza any reliable edition 81. Dello Joio Suite for Piano (all 4 movts) Schirmer 82. Fauré Barcarolle no. 1 in A minor, op. 26 any reliable edition 83. Fauré Barcarolle no. 6 in E♭, op. 70 any reliable edition 84. Fauré Impromptu in F minor, op. 31 no. 2 any reliable edition 85. Fauré Nocturne no. 4 in E♭, op. 36 any reliable edition 86. Gambe Three Poems, op. 9 Mother Earth 87. Ginastera Malambo (from Estancia Dances, op. 8) Ricordi Molly on the Shore 88. Grainger Schott (from British Folk Music Settings) 89. Granados Paisaje, op. 35 Salabert 90. Grieg Sonata in E minor, op. 7 Peters Guang, 91.
Recommended publications
  • Download Booklet

    Download Booklet

    552127-28bk VBO Debussy 10/2/06 8:40 PM Page 8 CD1 1 Nocturnes II. Fêtes . .. 6:56 2 String Quartet No. 1 in G minor, Op. 10 I. Animé et très décidé . 6:11 3 Prélude à l’après-midi d’un faune . 10:29 4 Estampes III. Jardins sous la pluie . 3:43 5 Cello Sonata in D minor I. Prologue . 4:25 6 Suite bergamasque III. Clair de lune . 4:26 7 Violin Sonata in G minor II. Intermède: fantastique et léger . 4:17 8 24 Préludes No. 8. La fille aux cheveux de lin . 2:14 9 La Mer II. Jeux de vagues . 7:29 0 Pelléas et Melisande Act III Scene 1 . 14:22 ! 24 Préludes No. 12. Minstrels . 2:05 @ Rapsodie arabe for Alto Saxophone and Orchestra . 10:50 Total Timing . 78:00 CD2 1 Images II. Iberia . 21:43 2 24 Préludes No. 10. La cathédrale engloutie . 5:47 3 Marche écossaise sur un thème populaire . 6:10 4 Images I I. Reflets dans l’eau . 5:15 5 Rêverie . 3:50 6 L’isle joyeuse . 5:29 7 La Mer I. De l’aube à midi sur la mer . 9:18 8 La plus que lente . 4:44 9 Danse sacrée et danse profane II. Danse profane . 5:16 0 Two Arabesques Arabesque No. 1 . 5:05 ! Children’s Corner VI. Golliwogg’s Cake-walk . 3:09 Total Timing . 76:17 FOR FULL LIST OF DEBUSSY RECORDINGS WITH ARTIST DETAILS AND FOR A GLOSSARY OF MUSICAL TERMS PLEASE GO TO WWW.NAXOS.COM 552127-28bk VBO Debussy 10/2/06 8:40 PM Page 2 CLAUDE DEBUSSY (1862-1918) Children’s Corner VI.
  • 1J131J Alexander Boggs Ryan,, Jr., B

    1J131J Alexander Boggs Ryan,, Jr., B

    omit THE PIANO STYLE OF CLAUDE DEBUSSY THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by 1J131J Alexander Boggs Ryan,, Jr., B. M. Longview, Texas June, 1951 19139 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . , . iv Chapter I. THE DEVELOPMENT OF THE PIANO AS AN INFLUENCE ON STYLE . , . , . , . , . , . ., , , 1 II. DEBUSSY'S GENERAL MUSICAL STYLE . IS Melody Harmony Non--Harmonic Tones Rhythm III. INFLUENCES ON DEBUSSY'S PIANO WORKS . 56 APPENDIX (CHRONOLOGICAL LIST 0F DEBUSSY'S COMPLETE WORKS FOR PIANO) . , , 9 9 0 , 0 , 9 , , 9 ,9 71 BIBLIOGRAPHY *0 * * 0* '. * 9 9 9 9 9 9 9 9 9 9 .9 76 111 LIST OF ILLUSTRATIONS Figure Page 1. Range of the piano . 2 2. Range of Beethoven Sonata 10, No.*. 3 . 9 3. Range of Beethoven Sonata .2. 111 . , . 9 4. Beethoven PR. 110, first movement, mm, 25-27 . 10 5. Chopin Nocturne in D Flat,._. 27,, No. 2 . 11 6. Field Nocturne No. 5 in B FlatMjodr . #.. 12 7. Chopin Nocturne,-Pp. 32, No. 2 . 13 8. Chopin Andante Spianato,,O . 22, mm. 41-42 . 13 9. An example of "thick technique" as found in the Chopin Fantaisie in F minor, 2. 49, mm. 99-101 -0 --9 -- 0 - 0 - .0 .. 0 . 15 10. Debussy Clair de lune, mm. 1-4. 23 11. Chopin Berceuse, OR. 51, mm. 1-4 . 24 12., Debussy La terrasse des audiences du clair de lune, mm. 32-34 . 25 13, Wagner Tristan und Isolde, Prelude to Act I, .
  • Liner Notes (PDF)

    Liner Notes (PDF)

    Debussy’s Traces Gaillard • Horszowski • Debussy Marik • Fourneau 1904 – 1983 Debussy’s Traces: Marius François Gaillard, CD II: Marik, Ranck, Horszowski, Garden, Debussy, Fourneau 1. Preludes, Book I: La Cathédrale engloutie 4:55 2. Preludes, Book I: Minstrels 1:57 CD I: 3. Preludes, Book II: La puerta del Vino 3:10 Marius-François Gaillard: 4. Preludes, Book II: Général Lavine 2:13 1. Valse Romantique 3:30 5. Preludes, Book II: Ondine 3:03 2. Arabesque no. 1 3:00 6. Preludes, Book II Homage à S. Pickwick, Esq. 2:39 3. Arabesque no. 2 2:34 7. Estampes: Pagodes 3:56 4. Ballade 5:20 8. Estampes: La soirée dans Grenade 4:49 5. Mazurka 2:52 Irén Marik: 6. Suite Bergamasque: Prélude 3:31 9. Preludes, Book I: Des pas sur la neige 3:10 7. Suite Bergamasque: Menuet 4:53 10. Preludes, Book II: Les fées sont d’exquises danseuses 8. Suite Bergamasque: Clair de lune 4:07 3:03 9. Pour le Piano: Prélude 3:47 Mieczysław Horszowski: Childrens Corner Suite: 10. Pour le Piano: Sarabande 5:08 11. Doctor Gradus ad Parnassum 2:48 11. Pour le Piano: Toccata 3:53 12. Jimbo’s lullaby 3:16 12. Masques 5:15 13 Serenade of the Doll 2:52 13. Estampes: Pagodes 3:49 14. The snow is dancing 3:01 14. Estampes: La soirée dans Grenade 3:53 15. The little Shepherd 2:16 15. Estampes: Jardins sous la pluie 3:27 16. Golliwog’s Cake walk 3:07 16. Images, Book I: Reflets dans l’eau 4:01 Mary Garden & Claude Debussy: Ariettes oubliées: 17.
  • 1) Aspects of the Musical Careers of Grieg, Debussy and Ravel

    1) Aspects of the Musical Careers of Grieg, Debussy and Ravel

    Edvard Grieg, Claude Debussy and Maurice Ravel. Biographical issues and a comparison of their string quartets Juliette L. Appold I. Grieg, Debussy and Ravel – Biographical aspects II. Connections between Grieg, Debussy and Ravel III. Observations on their string quartets I. Grieg, Debussy and Ravel – Biographical aspects Looking at the biographies of Grieg, Debussy and Ravel makes us realise, that there are few, yet some similarities in the way their career as composers were shaped. In my introductory paragraph I will point out some of these aspects. The three composers received their first musical training in their childhood, between the age of six (Grieg) and nine (Debussy) (Ravel was seven). They all entered the conservatory in their early teenage years (Debussy was 10, Ravel 14, Grieg 15 years old) and they all had more or less difficult experiences when they seriously thought about a musical career. In Grieg’s case it happened twice in his life. Once, when a school teacher ridiculed one of his first compositions in front of his class-mates.i The second time was less drastic but more subtle during his studies at the Leipzig Conservatory until 1862.ii Grieg had despised the pedagogical methods of some teachers and felt that he did not improve in his composition studies or even learn anything.iii On the other hand he was successful in his piano-classes with Carl Ferdinand Wenzel and Ignaz Moscheles, who had put a strong emphasis on the expression in his playing.iv Debussy and Ravel both were also very good piano players and originally wanted to become professional pianists.
  • Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence

    Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence

    Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School 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 by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years.
  • Claude Debussy in 2018: a Centenary Celebration Abstracts and Biographies

    Claude Debussy in 2018: a Centenary Celebration Abstracts and Biographies

    19-23/03/18 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION ABSTRACTS AND BIOGRAPHIES Claude Debussy in 2018: A Centenary Celebration Abstracts and Biographies I. Debussy Perspectives, 1918-2018 RNCM, Manchester Monday, 19 March Paper session A: Debussy’s Style in History, Conference Room, 2.00-5.00 Chair: Marianne Wheeldon 2.00-2.30 – Mark DeVoto (Tufts University), ‘Debussy’s Evolving Style and Technique in Rodrigue et Chimène’ Claude Debussy’s Rodrigue et Chimène, on which he worked for two years in 1891-92 before abandoning it, is the most extensive of more than a dozen unfinished operatic projects that occupied him during his lifetime. It can also be regarded as a Franco-Wagnerian opera in the same tradition as Lalo’s Le Roi d’Ys (1888), Chabrier’s Gwendoline (1886), d’Indy’s Fervaal (1895), and Chausson’s Le Roi Arthus (1895), representing part of the absorption of the younger generation of French composers in Wagner’s operatic ideals, harmonic idiom, and quasi-medieval myth; yet this kinship, more than the weaknesses of Catulle Mendès’s libretto, may be the real reason that Debussy cast Rodrigue aside, recognising it as a necessary exercise to be discarded before he could find his own operatic voice (as he soon did in Pelléas et Mélisande, beginning in 1893). The sketches for Rodrigue et Chimène shed considerable light on the evolution of Debussy’s technique in dramatic construction as well as his idiosyncratic approach to tonal form. Even in its unfinished state — comprising three out of a projected four acts — the opera represents an impressive transitional stage between the Fantaisie for piano and orchestra (1890) and the full emergence of his genius, beginning with the String Quartet (1893) and the Prélude à l’Après-midi d’un faune (1894).
  • Analysis of the Application of Pedal Technology in Debussy's Piano Music

    Analysis of the Application of Pedal Technology in Debussy's Piano Music

    University of Denver Digital Commons @ DU Musicology and Ethnomusicology: Student Scholarship Musicology and Ethnomusicology 11-2019 Analysis of the Application of Pedal Technology in Debussy`s Piano Music University of Denver Follow this and additional works at: https://digitalcommons.du.edu/musicology_student Part of the Musicology Commons Recommended Citation University of Denver, "Analysis of the Application of Pedal Technology in Debussy`s Piano Music" (2019). Musicology and Ethnomusicology: Student Scholarship. 27. https://digitalcommons.du.edu/musicology_student/27 This work is licensed under a Creative Commons Attribution 4.0 License. This Bibliography is brought to you for free and open access by the Musicology and Ethnomusicology at Digital Commons @ DU. It has been accepted for inclusion in Musicology and Ethnomusicology: Student Scholarship by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Analysis of the Application of Pedal Technology in Debussy`s Piano Music This bibliography is available at Digital Commons @ DU: https://digitalcommons.du.edu/musicology_student/27 Title: Analysis of the Application of Pedal Technology in Debussy `s Piano Music Guo, shulin. “A Study of Claude Debussy's Suite Bergamasque: Prelude, Menuet, "Clair De Lune" and Passepied.” DMA diss. University of Kansas, 2019. https://search-proquest- com.du.idm.oclc.org/docview/1707355434/?pq-origsite=primo. In this essay, the author, Guo Shulin, mentioned Debussy’s music often incorporates whole-tone scales and Debussy `s music focus on free conversion between chords, does not follow the traditional tonality of the dominant function, from the old things to create new music.
  • An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover

    An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC AN ANNOTATED CATALOGUE OF THE MAJOR PIANO WORKS OF SERGEI RACHMANINOFF By ANGELA GLOVER A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 The members of the Committee approve the treatise of Angela Glover defended on April 8, 2003. ___________________________________ Professor James Streem Professor Directing Treatise ___________________________________ Professor Janice Harsanyi Outside Committee Member ___________________________________ Professor Carolyn Bridger Committee Member ___________________________________ Professor Thomas Wright Committee Member The Office of Graduate Studies has verified and approved the above named committee members. TABLE OF CONTENTS Abstract………………………………………………….............................................. iv INTRODUCTION……………………………………………………………………. 1 1. MORCEAUX DE FANTAISIE, OP.3…………………………………………….. 3 2. MOMENTS MUSICAUX, OP.16……………………………………………….... 10 3. PRELUDES……………………………………………………………………….. 17 4. ETUDES-TABLEAUX…………………………………………………………… 36 5. SONATAS………………………………………………………………………… 51 6. VARIATIONS…………………………………………………………………….. 58 BIBLIOGRAPHY………………………………………………………………….
  • Stylistic Influences and Musical Quotations in Claude Debussy's Children's Corner and La Boîte A

    Stylistic Influences and Musical Quotations in Claude Debussy's Children's Corner and La Boîte A

    EVOCATIONS FROM CHILDHOOD: STYLISTIC INFLUENCES AND MUSICAL QUOTATIONS IN CLAUDE DEBUSSY’S CHILDREN’S CORNER AND LA BOÎTE À JOUJOUX Hsing-Yin Ko, M.B., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2011 APPROVED: Vladimir Viardo, Major Professor Elvia Puccinelli, Minor Professor Frank Heidlberger, Committee Member Jesse Eschbach, Chair of the Division of Keyboard Studies Lynn Eustis, Director of Graduate Studies in the College of Music James Scott, Dean of College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Ko, Hsing-Yin, Evocations from Childhood: Stylistic Influences and Musical Quotations in Claude Debussy’s Children’s Corner and La Boîte à Joujoux. Doctor of Musical Arts (Performance), May 2011, 44 pp., 33 musical examples, bibliographies, 43 titles. Claude Debussy is considered one of the most influential figures of the late 19th century and early 20th centuries. Among the various works that he wrote for the piano, Children’s Corner and La Boîte à joujoux distinguish themselves as being evocative of childhood. However, compared to more substantial works like Pelléas et Mélisande or La Mer, his children’s piano music has been underrated and seldom performed. Children’s Corner and La Boîte à joujoux were influenced by a series of eclectic sources, including jazz, novel “views” from Russian composers, and traditional musical elements such as folk songs and Eastern music. The study examines several stylistic parallels found in these two pieces and is followed by a discussion of Debussy’s use of musical quotations and allusions, important elements used by the composer to achieve what could be dubbed as a unique “children’s wonderland.” Copyright 2011 by Hsing-Yin Ko ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES ...............................................................................................
  • Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, Vbucha1@Lsu.Edu

    Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected]

    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 6-4-2018 Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons Recommended Citation Buchanan, Vivian, "Evolving Performance Practice of Debussy's Piano Preludes" (2018). LSU Master's Theses. 4744. https://digitalcommons.lsu.edu/gradschool_theses/4744 This Thesis 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 Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EVOLVING PERFORMANCE PRACTICE OF DEBUSSY’S PIANO PRELUDES A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The Department of Music and Dramatic Arts by Vivian Buchanan B.M., New England Conservatory of Music, 2016 August 2018 Table of Contents Abstract……………………………………………………………………………..iii Chapter 1. Introduction………………………………………………………………… 1 2. The Welte-Mignon…………………………………………………………. 7 3. The French Harpsichord Tradition………………………………………….18 4. Debussy’s Piano Rolls……………………………………………………....35 5. The Early Debussystes……………………………………………………...52 Bibliography………………………………………………………………………...63 Selected Discography………………………………………………………………..66 Vita…………………………………………………………………………………..67 ii Abstract Between 1910 and 1912 Claude Debussy recorded twelve of his solo piano works for the player piano company Welte-Mignon. Although Debussy frequently instructed his students to play his music exactly as written, his own recordings are rife with artistic liberties and interpretive freedom.
  • Download Booklet

    Download Booklet

    ADD Great Pianists • Rachmaninov • 5 8.111408 FINAL EDISON AND FIRST VICTOR RECORDINGS Daquin Mendelssohn Chopin Tchaikovsky Debussy Rachmaninov Sergey Rachmaninov Recorded 1919–1923 Sergey Rachmaninov (1873–1943) Fryderyk Chopin Sergey Rachmaninov Solo Piano Recordings · 5 & Waltz in G flat major, Morceaux de fantaisie, Op. 3 (1892) Op. posth. 70, No. 1 (1832) 1:51 ¡ No. 2, Prelude in C sharp minor 3:38 Thomas A. Edison, Inc. Felix Mendelssohn (1809–1847) rec. 2 April 1921 rec. 14 October 1921 Recorded in New York, 24 April 1919 Lieder ohne Worte, Op. 67 (1843–45) mat. B-24904-3; cat. Victor 66007 mat. B-25650-3; cat. Victor 66016 ! No. 4, Spinnerlied (‘Spinning Song’) Sergey Rachmaninov (1873–1943) in C major: Presto 1:53 * Waltz in D flat, Op. 64, Fritz Kreisler (1875–1962) Morceaux de salon, Op. 10 (1893–94) rec. 3 November 1920 No. 1, ‘Minute’ (1847) 2:17 ™ Liebesleid (1921) (arr. Rachmaninov) 4:23 No. 3, Barcarolle in G minor mat. B-24646-2; cat. Victor 64921 rec. 5 April 1923 rec. 25 October 1921 1 mat. 6743A; cat. Edison 82202-L 3:52 mat. B-24192-5; cat. Victor 815 mat. C-25653-5; cat. Victor 74723 2 mat. 6743B; cat. Edison 82202-L 3:51 3 mat. 6743C; cat. Edison 82202-L 3:55 Fryderyk Chopin (1810–1849) @ Franz Behr Ernő Dohnányi (1877–1960) Waltz No. 1 in E flat, Op. 18, ( Lachtäubchen, ‘Polka de W.R.’, Op. 303 Six Concert Etudes Op. 28 (1916) ‘Grande valse brillante’ (1831–32) Franz Behr (1837–1898) 4:33 (arr.
  • The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat

    The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat

    Fri, May 07, 2021 - 00 The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 30:47 Haydn Symphony No. 042 in D Apollo Ensemble/Hsu 02698 Dorian 90191 053479019127 00:33:1710:38 Vivaldi Cello Concerto in B minor, RV Brown/Scottish 03080 Virgo 7873 724356110328 424 Ensemble/Rees 00:44:5514:31 Vaughan The Lark Ascending Meyers/Philharmonia/L 03876 RCA Victor 23041 743212304121 Williams itton 01:00:5621:29 Nielsen Suite from Aladdin Gothenburg 06392 BIS 247 731859000247 Symphony/Chung 6 01:23:2501:14 Schubert The Youth at the Spring, D. Otter/Forsberg 05373 DG 453 481 028945348124 300 01:25:3933:03 Brahms Double Concerto for Violin & Bell/Isserlis/Academy 13113 Sony 88985321 889853217922 Cello in A minor, Op. 102 of St. Classical 792 Martin-in-the-Fields 02:00:1209:50 Respighi Three Dances from Ancient L.A. Chamber 00561 EMI 47116 07777471162 Airs & Dances, Suite No. 1 Orch/Marriner 02:11:02 14:30 Haydn, M. Symphony No. 12 in G Slovak Chamber 02578 CPO 999 154 761203915422 Orchestra/Warchal 02:26:3232:29 Tchaikovsky Piano Concerto No. 1 in B flat Gavrilov/Berlin 02074 EMI 49632 077774963220 minor, Op. 23 Philharmonic/Ashkena zy 03:00:3111:46 Ravel Daphnis et Chloe: Suite No. 1 Vienna 04578 RCA 68600 090266860029 Philharmonic/Maazel 03:13:1720:37 Mozart Divertimento for Trio in B flat, Beaux Arts Trio 12824 Philips 422 700 028942251427 K. 254 03:34:5424:03 Gade Symphony No. 6 in G minor, Stockholm 01002 BIS 355 731859000356 Op.