The Language of Johannes Brahms’S Theme and Variation
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Doctor Atomic
What to Expect from doctor atomic Opera has alwayS dealt with larger-than-life Emotions and scenarios. But in recent decades, composers have used the power of THE WORK DOCTOR ATOMIC opera to investigate society and ethical responsibility on a grander scale. Music by John Adams With one of the first American operas of the 21st century, composer John Adams took up just such an investigation. His Doctor Atomic explores a Libretto by Peter Sellars, adapted from original sources momentous episode in modern history: the invention and detonation of First performed on October 1, 2005, the first atomic bomb. The opera centers on Dr. J. Robert Oppenheimer, in San Francisco the brilliant physicist who oversaw the Manhattan Project, the govern- ment project to develop atomic weaponry. Scientists and soldiers were New PRODUCTION secretly stationed in Los Alamos, New Mexico, for the duration of World Alan Gilbert, Conductor War II; Doctor Atomic focuses on the days and hours leading up to the first Penny Woolcock, Production test of the bomb on July 16, 1945. In his memoir Hallelujah Junction, the American composer writes, “The Julian Crouch, Set Designer manipulation of the atom, the unleashing of that formerly inaccessible Catherine Zuber, Costume Designer source of densely concentrated energy, was the great mythological tale Brian MacDevitt, Lighting Designer of our time.” As with all mythological tales, this one has a complex and Andrew Dawson, Choreographer fascinating hero at its center. Not just a scientist, Oppenheimer was a Leo Warner and Mark Grimmer for Fifty supremely cultured man of literature, music, and art. He was conflicted Nine Productions, Video Designers about his creation and exquisitely aware of the potential for devastation Mark Grey, Sound Designer he had a hand in designing. -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Brahms Reimagined by René Spencer Saller
CONCERT PROGRAM Friday, October 28, 2016 at 10:30AM Saturday, October 29, 2016 at 8:00PM Jun Märkl, conductor Jeremy Denk, piano LISZT Prometheus (1850) (1811–1886) MOZART Piano Concerto No. 23 in A major, K. 488 (1786) (1756–1791) Allegro Adagio Allegro assai Jeremy Denk, piano INTERMISSION BRAHMS/orch. Schoenberg Piano Quartet in G minor, op. 25 (1861/1937) (1833–1897)/(1874–1951) Allegro Intermezzo: Allegro, ma non troppo Andante con moto Rondo alla zingarese: Presto 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. Jun Märkl is the Ann and Lee Liberman Guest Artist. Jeremy Denk is the Ann and Paul Lux Guest Artist. The concert of Saturday, October 29, is underwritten in part by a generous gift from Lawrence and Cheryl Katzenstein. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of The Delmar Gardens Family, and are located at the Customer Service table in the foyer. 24 CONCERT CALENDAR For tickets call 314-534-1700, visit stlsymphony.org, or use the free STL Symphony mobile app available for iOS and Android. TCHAIKOVSKY 5: Fri, Nov 4, 8:00pm | Sat, Nov 5, 8:00pm Han-Na Chang, conductor; Jan Mráček, violin GLINKA Ruslan und Lyudmila Overture PROKOFIEV Violin Concerto No. 1 I M E TCHAIKOVSKY Symphony No. 5 AND OCK R HEILA S Han-Na Chang SLATKIN CONDUCTS PORGY & BESS: Fri, Nov 11, 10:30am | Sat, Nov 12, 8:00pm Sun, Nov 13, 3:00pm Leonard Slatkin, conductor; Olga Kern, piano SLATKIN Kinah BARBER Piano Concerto H S ODI C COPLAND Billy the Kid Suite YBELLE GERSHWIN/arr. -
Felix Mendelssohn's Career As a Composer
10-27 Sat Mat.qxp_Layout 1 10/18/18 2:07 PM Page 29 Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair String Quintet in B-flat major, Op. 87 Felix Mendelssohn elix Mendelssohn’s career as a composer was not strictly that of the mainstream. As a Fand conductor was flourishing in 1845. result, certain of his works — such as the first He was considering competing job offers and last movements of this quintet — can from two crowned heads (the Kings of Prus - sometimes sound less like classic chamber sia and of Saxony), he was deriving satisfac - music than like little string symphonies, re - tion from his pet project of elevating the flecting a hierarchy in which the first violin Leipzig Conservatory into a world-class in - spends more time in the spotlight than the stitution, and he enjoyed great happiness on lower-lying “accompanying” instruments. In the home front, the more so when he and his fact, his interest in those first and last move - wife greeted the arrival of their fifth child, ments seems fixed less on the themes them - Lili. There is no way that the composer, who selves than on the harmonic and structural was only 36 years old, could have known processes used in developing them. Wilhelm when he wrote the B-flat-major Quintet that Altman, writing in the classic Cobbett’s Cyclo - it would be among his last works. He died two pedic Survey of Chamber Music , perspica - years later after a series of strokes. -
JOHANNES BRAHMS: CLASSICAL INCLINATIONS in a ROMANTIC AGE a Series of Fourteen Recitals with Pianist Ian Hobson and Colleagues
JOHANNES BRAHMS: CLASSICAL INCLINATIONS IN A ROMANTIC AGE A series of fourteen recitals with pianist Ian Hobson and colleagues 1. Tuesday, September 10, 2013, 7:30 p.m., Benzaquen Hall Brahms: Scherzo in E flat minor, Op. 4 Ian Hobson, piano Variations on a Theme by Robert Schumann, Op. 23 for piano four hands Ian Hobson, piano, Claude Hobson, piano ----------- Brahms : Piano Sonata No. 1 in C major, Op. 1 Ian Hobson, piano 2. Thursday, September 12, 2013, 7:30 p.m., Benzaquen Hall Brahms: Piano Sonata No. 2 in F sharp minor, Op. 2 Ian Hobson, piano Hungarian Dances, Book 1: Nos. 1 – 5 arranged for solo piano Ian Hobson, piano ----------- Brahms: Hungarian Dances, Book 2: Nos. 6 – 10 arranged for solo piano Ian Hobson, piano Hungarian Dances, Book 3-4: Nos. 11 – 21 for piano four hands Ian Hobson, piano, Edward Rath, piano 3. Tuesday, September 24, 2013, 7:30 p.m.,Benzaquen Hall J.S.Bach/Brahms: Chaconne in D minor arranged for piano left hand Ian Hobson, piano Brahms: Zigeunerlieder, Op. 103, arranged by Theodor Kirchner for piano four hands Ian Hobson, piano, Samir Golescu, piano ---------- Brahms : Theme and Variations in D minor arranged for piano from the B flat sextet for strings, Op. 18 Ian Hobson, piano J.S.Bach/Brahms: Presto in G minor arranged for piano (two versions) Ian Hobson, piano Brahms: Six Baroque Movements Ian Hobson, piano Brahms: Three Little Pieces Ian Hobson, piano Brahms: Five Arrangements Ian Hobson, piano 4. Thursday, September 26, 2013, 7 :30 p.m., Cary Hall Brahms: Variations on a Theme by Robert Schumann, Op. -
1440. Cavatine Backgrounds of S
1440. Cavatine Backgrounds Of S. Radic Joseph Joachim Raff (1822-1882) was a German composer and music teacher of Swiss origin who grew up in Lachen on the upper end of Lake Zurich. His father, the schoolmaster and music teacher Franz Josef Raff, had fled from forced recruitment to Switzerland in 1810, where he married Katharina Schmid, the daughter of the ox landlord, in Lachen in Canton Schwyz. In 1838 he moved to Schmerikon, then to Schwyz. His modest income as a schoolmaster did not allow him to provide his son Joachim with a comprehensive school education. Early on, the boy practiced playing the violin, piano and organ. When the papal nuncio needed an interpreter in an official matter, Joachim entered working life at the age of 18 In 1861 he won first prize with a prominent jury at the as his companion. He proved himself excellent and music competition of the Gesellschaft der became a teacher in Rapperswil in the same year. Musikfreunde in Vienna; the premiere took place on However, his thoughts were devoted to music, and 22 February 1863 at the Vienna Musikverein. only four years later he freed himself from the teaching profession. As a result of a youthful coup, he was expelled from Canton Schwyz as an "undesirable The Symphony Im Walde quickly spread its fame, as foreigner" and moved to Zurich. did the Fifth Symphony Leonore, which is still played occasionally today. In Wiesbaden, where Raff also Beginnings as a composer. Raff was mainly spent some time with his colleague Richard Wagner, autodidact, but already his first compositions showed he worked until 1877. -
Proton Nmr Spectroscopy
1H NMR Spectroscopy (#1c) The technique of 1H NMR spectroscopy is central to organic chemistry and other fields involving analysis of organic chemicals, such as forensics and environmental science. It is based on the same principle as magnetic resonance imaging (MRI). This laboratory exercise reviews the principles of interpreting 1H NMR spectra that you should be learning right now in Chemistry 302. There are four questions you should ask when you are trying to interpret an NMR spectrum. Each of these will be discussed in detail. The Four Questions to Ask While Interpreting Spectra 1. How many different environments are there? The number of peaks or resonances (signals) in the spectrum indicates the number of nonequivalent protons in a molecule. Chemically equivalent protons (magnetically equivalent protons) give the same signal in the NMR whereas nonequivalent protons give different signals. 1 For example, the compounds CH3CH3 and BrCH2CH2Br all have one peak in their H NMR spectra because all of the protons in each molecule are equivalent. The compound below, 1,2- dibromo-2-methylpropane, has two peaks: one at 1.87 ppm (the equivalent CH3’s) and the other at 3.86 ppm (the CH2). 1.87 1.87 ppm CH 3 3.86 ppm Br Br CH3 1.87 ppm 3.86 10 9 8 7 6 5 4 3 2 1 0 2. How many 1H are in each environment? The relative intensities of the signals indicate the numbers of protons that are responsible for individual signals. The area under each peak is measured in the form of an integral line. -
Form in the Music of John Adams
Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners. -
Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp 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/2572 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] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp 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 Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions. -
Download Program Notes
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Piano Quintet in F minor, Op. 34 Johannes Brahms ohannes Brahms was 29 years old in 1862, seated at the other piano. Ironically, critics Jwhen he embarked on this seminal mas- now complained that the work lacked the terpiece of the chamber-music repertoire, sort of warmth that string instruments would though the work would not reach its final have provided — the opposite of Joachim’s form as his Piano Quintet until two years objection. Unlike the original string-quintet later. He was no beginner in chamber music version, which Brahms burned, the piano when he began this project. He had already duet was published — and is still performed written dozens of ensemble works before and appreciated — as his Op. 34bis. he dared to publish one, his B-major Piano By this time, however, Brahms must have Trio (Op. 8) of 1853–54. Among those early, grown convinced of the musical merits of his unpublished chamber pieces were 20-odd material and, with some coaxing from his string quartets, all of which he consigned friend Clara Schumann, he gave the piece to destruction prior to finally publishing his one more try, incorporating the most idiom- three mature works in that classic genre in atic aspects of both versions. The resulting the 1870s. In truth, he did get some use out Piano Quintet, the composer’s only essay of those early quartets — to paper the walls in that genre (and no wonder, after all that and ceilings of his apartment. -
Julius Stockhausen's Early Performances of Franz Schubert's
19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16. -
Fundamental Techniques in Viola Spaces of Garth Knox. (2016) Directed by Dr
ÉRTZ, SIMON ISTVÁN, D.M.A. Beyond Extended Techniques: Fundamental Techniques in Viola Spaces of Garth Knox. (2016) Directed by Dr. Scott Rawls. 49 pp. Viola Spaces are often seen as interesting extra projects rather than valuable pedagogical tool that can be used to fill where other material falls short. These works can fill various gaps in the violist’s literature, both as pedagogical and performance works. Each of these works makes a valuable addition to the violist’s contemporary performance repertoire as a short, imaginative, and musically satisfying work and can be performed either individually or as part of a smaller set in a larger program (see Appendix A). They all also present interesting technical challenges that explore what are seen as extended techniques but can also be traced back to work on some of the fundamentals of viola technique. Etudes for viola are often limited to violin transcriptions mostly written in the eighteenth, nineteenth, or early twentieth centuries. Contemporary etudes written specifically for viola are valuable but are usually not as comprehensive or as suitable for performance etudes as are Viola Spaces. Few performance etudes cover the technical varieties that are presented in these works of Garth Knox. In this paper I will discuss the historical background of the viola and etudes written for viola. Many viola etudes written in the earlier history of the viola have not continued to be published; this study will also look at why some survived and others are no longer used. Compared to literature for the violin there are large gaps in the violists’ repertoire that Viola Spaces does much to fill; furthermore many violinists have asked for transcriptions of these works.