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Katalog 152 Ohne Bilder.Pdf
MUSIKDRUCKE 1 Absil, Jean (1893-1974): 3e Quatuor à Cordes. Op. 19. Brüssel, Centre Belge de Documentation Musicale (o.V.Nr.) (1962). Stimmen: 15, 15, 15, 15 lithogr. S. Umschlag. €40,– Umschlag mit Randausbesserungen. 2 Achron, Joseph (1886-1943): Liebeswidmung - Souvenir D'Amour - Love-Offering... Op. 51. Violino e Piano. Wien, UE (V.Nr. 7585) [1924]. Stimmen: 3, 1 S. 4°. Umschlag. €35,– Erstausgabe. - Gelegentlich leicht stockfleckig. 3 Alard, Delphin (1815-1888): École du Violon. Méthode complète et progressive à l'usage du Conservatoire... à Sa Majeste Victor-Emmanuel, Roi d'Italie. Edition augmentée. Paris, Schonen- berger (Pl.Nrn. 1132, 2732) [ca. 1855]. 150 gest. S. Hldr.d.Zt. €75,– Titelauflage der zweiten, erweiterten Fassung dieses äußerst erfolgreichen, in mehrere Sprachen übersetzten Lehrwerks. - Einband berieben und bestoßen, Seiten vereinzelt finger- und stockfleckig. 4 d'Albert, Eugen (1864-1932): Erstes Konzert (H moll) in einem Satz, für Klavier und Orchester... Meinem hochverehrten Meister Dr. Franz Liszt in Dankbarkeit zugeeignet. Für Klavier zu vier Händen (Partitur-Ausgabe). Berlin, B&B (V.Nr. 12964) [ca. 1910]. 75 S. €70,– Titelauflage der Erstausgabe von 1885. - Sammeltitel mit Fotoportrait des Komponisten. - Um- schlagrücken verstärkt, Titelblatt mit Stempel und Randausbesserungen. 5 Altmann, Hans (1904-1961): Klaviersonate, A-dur op. 25. Klavier zweihändig. München, Edi- tion Kasparek (V.Nr. EKM 0106) [1948]. 23 S. €45,– Erstausgabe. - Rücken verstärkt, etwas knapp beschnitten (Umschlagornament und Verlagsnum- mern etwas angeschnitten). Seiten leicht vergilbt. 6 d'Alvimare, Martin Pierre (1772-1839): "Déjà". Chanson Avec Accompagnement de Forte Piano ou Harpe, Paroles de C.L.C... Paris, Corbaux [o.Pl.Nr.] [vor 1816]. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
A Survey of Czech Piano Cycles: from Nationalism to Modernism (1877-1930)
ABSTRACT Title of Dissertation: A SURVEY OF CZECH PIANO CYCLES: FROM NATIONALISM TO MODERNISM (1877-1930) Florence Ahn, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Larissa Dedova Piano Department The piano music of the Bohemian lands from the Romantic era to post World War I has been largely neglected by pianists and is not frequently heard in public performances. However, given an opportunity, one gains insight into the unique sound of the Czech piano repertoire and its contributions to the Western tradition of piano music. Nationalist Czech composers were inspired by the Bohemian landscape, folklore and historical events, and brought their sentiments to life in their symphonies, operas and chamber works, but little is known about the history of Czech piano literature. The purpose of this project is to demonstrate the unique sentimentality, sensuality and expression in the piano literature of Czech composers whose style can be traced from the solo piano cycles of Bedřich Smetana (1824-1884), Antonín Dvořák (1841-1904), Leoš Janáček (1854-1928), Josef Suk (1874-1935), Bohuslav Martinů (1890-1935) to Erwin Schulhoff (1894-1942). A SURVEY OF CZECH PIANO CYCLES: FROM ROMANTICISM TO MODERNISM (1877-1930) by Florence Ahn Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2018 Advisory Committee: Professor Larissa Dedova, Chair Professor Bradford Gowen Professor Donald Manildi Professor -
Management, Competition and Artistic Policy in London, 1861-70
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Opera in 'the Donizettian Dark Ages' : management, competition and artistic policy in London, 1861-70. Ringel, Matthew Laurence The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 Opera in 'The Donizettian Dark Ages' Management, Competition and Artistic Policy in London, 186 1-70 Matthew L. Ringel Dissertation submitted for the Ph.D. -
From Piano Girl to Professional: the Changing
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2014 FROM PIANO GIRL TO PROFESSIONAL: THE CHANGING FORM OF MUSIC INSTRUCTION AT THE NASHVILLE FEMALE ACADEMY, WARD’S SEMINARY FOR YOUNG LADIES, AND THE WARD- BELMONT SCHOOL, 1816-1920 Erica J. Rumbley University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Rumbley, Erica J., "FROM PIANO GIRL TO PROFESSIONAL: THE CHANGING FORM OF MUSIC INSTRUCTION AT THE NASHVILLE FEMALE ACADEMY, WARD’S SEMINARY FOR YOUNG LADIES, AND THE WARD-BELMONT SCHOOL, 1816-1920" (2014). Theses and Dissertations--Music. 24. https://uknowledge.uky.edu/music_etds/24 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
U.S. Sheet Music Collection
U.S. SHEET MUSIC COLLECTION SUB-GROUP I, SERIES 3, SUB-SERIES A (INSTRUMENTAL) Consists of instrumental sheet music published between 1826 and 1860. Titles are arranged in alphabetical order by surname of known composer or arranger; anonymous compositions are inserted in alphabetical order by title. ______________________________________________________________________________ Box 12 Abbot, John M. La Coralie polka schottisch. Composed for and respectfully dedicated to Miss Kate E. Stoutenburg. For solo piano. New York: J. E. Gould and Co., 1851. Abbot, John M. La reve d’amour. For solo piano. New York: William Hall & Son, 1858. 3 copies. L’Aboyar. La coquetterie polka facile. For solo piano. Boston: Oliver Ditson, 1853. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. New York: James L. Hewitt & Co., [s.d.]. Adam, Adolphe. Duke of Reichstadt’s waltz. For solo piano. Boston: C. Bradlee, [s.d.].. Adam, A. Hungarian flag dance. Danced by forty-eight Danseuses Viennoises at the principal theatres in Europe and the United States. For solo piano. Arranged by Edward L. White. Boston: Stephen W. Marsh, 1847. Adams, A.M. La petite surprise! For solo piano. New York: W. Dubois, [s.d.]. Adams, G. Molly put the kettle on. For solo piano. Boston: Oliver Ditson, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss. R. Brown on the harp at the Boston Concerts. For solo piano or harp. New York: William Hall & Son, [s.d.]. Adams, G. Scotch air. With variations as performed by Miss R. Brown on the harp at the Boston Concerts. For solo piano or harp. -
Cinq Études De Jazz
CINQ ÉTUDES DE JAZZ: A STUDY OF JAZZ AND MODERNISM by JEREMEY JAMES MCMILLAN KEVIN THOMAS CHANCE, COMMITTEE CHAIR EDISHER SAVITSKI THOMAS S. ROBINSON JOSEPH SARGENT JACOB W. ADAMS WILLIAM A. MARTIN A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Department of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2019 Copyright 2019 Jeremey McMillan ALL RIGHTS RESERVED ABSTRACT When Erwin Schulhoff’s Cinq Études de Jazz appeared in 1926, the major cities in the United States and Europe were witnessing a global jazz phenomenon. Paris was among the major cities and cultural centers where the spirit of jazz ventured beyond the dance hall. Although the French reception of jazz has been thoroughly documented, this study offers a unique vantage point through a close musical analysis of this work. Schulhoff was a Czech composer who used his vantage point as an outsider to witness the influence of jazz on French culture and modern art. Besides the musical analysis, this study treats Schulhoff’s Cinq Études as a documentary by examining the unfolding of developments in the arts during the seventy-year period that preceded the 1920s. By examining the concurrent emergence of the European avant-garde and jazz, along with their similar ethos as a reaction to the sociopolitical climate of the time, this document seeks to implore the reader to consider that jazz—not simply a mere influence to modernism—is itself a branch of modern art. ii DEDICATION This document is dedicated to the memory of my father, Jerry Charles McMillan (1947- 2010). -
Do 5. Dez 2019
DO 5. DEZ 2019 JERUSALEM QUARTET HILA BAGGIO 3. KAMMERKONZERT / BEGINN: 20.00 UHR HAUS DER MUSIK INNSBRUCK, GROSSER SAAL PROGRAMM MEISTER& KAMMERKONZERTE INNSBRUCK ERWIN SCHULHOFF (1894–1942) Fünf Stücke für Streichquartett (1923) I Alla Valse viennese. Allegro II Alla Serenata. Allegretto con moto III Alla Czeca. Molto allegro IV Alla Tango milonga. Andante V Alla Tarantella. Prestissimo con fuoco JERUSALEM QUARTET LEONID DESYATNIKOV (*1955) ALEXANDER PAVLOVSKY Jiddisch – 5 Lieder für Stimme VIOLINE und Streichquartett (2018) SERGEI BRESLER – Angeregt vom Jerusalem Quartet – VIOLINE I Varshe ORI KAM II In a hoyz vu men veynt un men lakht VIOLA III Ikh ganve in der nakht IV Yosl un Sore-Dvoshe KYRIL ZLOTNIKOV V Ikh vel shoyn mer nit ganvenen VIOLONCELLO – PAUSE – HILA BAGGIO ERICH WOLFGANG KORNGOLD (1897–1957 ) SOPRAN Streichquartett Nr. 2 Es-Dur op. 26 (1933) I Allegro II Intermezzo. Allegretto con moto – Molto più mosso – Tempo primo III Larghetto. Lento – Con molto sentimento IV Waltz (Finale). Tempo di Valse – Grandioso – Più mosso Einführungsgespräch: 19.00 Uhr im Großen Saal 2 3 NOTIZEN MEISTER& KAMMERKONZERTE INNSBRUCK TANZPHANTASIEN Musiker mit sozialistischen Ideen. Schulhoff sah sich nach der Okkupation der Tschechischen Republik und der Slowakei 1938/39 durch die Deutschen doppelt gefährdet: Erwin Schulhoff starb 1942 im als Jude und als Kommunist. Nach dem Hitler-Stalin-Pakt Nazi-Internierungslager Wülzburg beantragte er die russische Staatsbürgerschaft, da er sich an den Folgen einer Tuberkulose. als sowjetischer Staatsangehöriger vor der Verfolgung aus Die Musikwelt verlor mit ihm einen Rassengründen sicher wähnte. Doch nur einen Tag nach profilierten Komponisten und exzel- dem Angriff Deutschlands auf die Sowjet union wurde lenten Pianisten, der entscheidend Schulhoff mit seiner Familie von der „Ausländer polizei“ in an den Entwicklungen der musikali- Brünn aufgegriffen und deportiert. -
C K’NAY C (To Her) C (Poem by A
K ney C k’NAY C (To Her) C (poem by A. Belïy [(A.) BAY-lee] set to music by Sergei Rachmaninoff [sehr-GAYEE rahk-MAH-nyih-nuff]) Kaan C JindÍich z Albestç Kàan C YINND-rshihk z’AHL-bess-too KAHAHN C (known also as Heinrich Kàan-Albest [H¦N-rihh KAHAHN-AHL-besst]) Kabaivanska C Raina Kabaivanska C rah-EE-nah kah-bahih-WAHN-skuh C (known also as Raina Yakimova [yah-KEE-muh-vuh] Kabaivanska) Kabalevsky C Dmitri Kabalevsky C d’MEE-tree kah-bah-LYEFF-skee C (known also as Dmitri Borisovich Kabalevsky [d’MEE-tree bah-REE-suh-vihch kah-bah-LYEFF-skee]) C (the first name is also transliterated as Dmitry) Kabasta C Oswald Kabasta C AWSS-vahlt kah-BAHSS-tah Kabelac C Miloslav Kabelá C MIH-law-slahf KAH-beh-lahahsh Kabos C Ilona Kabós C IH-law-nuh KAH-bohohsh Kacinskas C Jerome Ka inskas C juh-ROHM kah-CHINN-skuss C (known also as Jeronimas Ka inskas [yeh-raw-NEE-mahss kah-CHEEN-skahss]) Kaddish for terezin C Kaddish for Terezin C kahd-DIHSH (for) TEH-reh-zinn C (a Holocaust Requiem [{REH-kôôee-umm} REH-kôôih-emm] by Ronald Senator [RAH-nulld SEH-nuh-tur]) C (Kaddish is a Jewish mourner’s prayer, and Terezin is a Czechoslovakian town converted to a concentration camp by the Nazis during World War II, where more than 15,000 Jewish children perished) Kade C Otto Kade C AWT-toh KAH-duh Kadesh urchatz C Kadesh Ur'chatz C kah-DEHSH o-HAHTSS C (Bless and Wash — a prayer song) Kadosa C Pál Kadosa C PAHAHL KAH-daw-shah Kadosh sanctus C Kadosh, Sanctus C kah-DAWSH, SAHNGK-tawss C (section of the Holocaust Reqiem — Kaddish for Terezin [kahd-DIHSH (for) TEH-reh-zinn] -
Alberto Jonas' Master School and Its Role in Early
ALBERTO JONAS’ MASTER SCHOOL AND ITS ROLE IN EARLY TWENTIETH-CENTURY PIANO VIRTUOSITY by ROSS EDILLOR SALVOSA B.Mus., Conservatory of Music at Lynn University, 2002 M.Mus., Conservatory of Music at Lynn University, 2009 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in The Faculty of Graduate and Postdoctoral Studies (Piano) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2018 © Ross Edillor Salvosa, 2018 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Alberto Jonas’ Master School and Its Role in Early Twentieth-Century Piano Virtuosity submitted by Ross Edillor Salvosa in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance Examining Committee: Prof. L. Mark Anderson, Piano Performance Supervisor Dr. Alexander Fisher, Musicology Supervisory Committee Member Dr. Terence Dawson, Piano Performance Supervisory Committee Member Dr. Scott Goble, Music Education University Examiner Prof. Rena Sharon, Piano Performance University Examiner Additional Supervisory Committee Members: Supervisory Committee Member Supervisory Committee Member ii Abstract First published in 1922 by Carl Fischer Music in New York, Alberto Jonas’ monumental seven-volume Master School of Modern Piano Playing and Virtuosity is the most comprehensive early twentieth-century treatise on piano playing. The present study provides a survey of the rise of the piano’s popularity, evolution of piano construction, and development of piano playing technique during the nineteenth century, as well as comparative studies of preparatory exercises found in commonly used volumes during Jonas’ lifetime, namely Franz Liszt’s Technical Studies (1873), Carl Tausig’s Daily Studies (1873), and Rafael Joseffy’s School of Advanced Piano Playing (1910). -
Bach Ŕ 32 Mains
Understanding Bach, 8, 87–137 © Bach Network UK 2013 Bach à 32 mains: Joseph Proksch and his Role in Bohemian Bach Reception TANJA KOVAČEVIĆ Although the public concert is today regarded as very much a staple of the late eighteenth and early nineteenth centuries, in reality, orchestral and operatic performances at the time were still a luxury for most music lovers. On the other hand, the piano, that emblem of bourgeois status, was increasingly making its way into even the most modest of middle-class households. Consequently, before the invention of the phonograph and radio, nineteenth-century musicians found piano transcriptions and arrangements a convenient vehicle for the dissemination and iteration of the symphonic, chamber and choral repertoire. Already by 1822, the popularity of piano transcriptions and arrangements had become so great, and their number so staggering, that a critic for the Quarterly Musical Magazine felt that ‘the passion for arrangement is, we think, a little run mad’.1 The sources housed in the archive of the Prague Conservatoire include curious transcriptions of works by Bach, Handel, Beethoven and others, arranged for multiple pianos involving up to sixteen players. Of particular interest to this study is an arrangement of the Prelude and Fugue in B-flat major on the name of BACH (BWV 898), for eight pianos, each for four hands—thirty-two hands in total. What would have been the purpose of such an arrangement? Why was it written for what seems to be an extraordinarily impractical number of performers and instruments? Who was the arranger? Was it ever performed? If so, who were the performers and where did all the pianos come from? And why was this particular work chosen? These are just some of the enigmas posed by this peculiar find, which will be addressed in the following discussion.