2021 Concert Program for Music in the Vineyards
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Harmonic Organization in Aaron Copland's Piano Quartet
37 At6( /NO, 116 HARMONIC ORGANIZATION IN AARON COPLAND'S PIANO QUARTET THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By James McGowan, M.Mus, B.Mus Denton, Texas August, 1995 37 At6( /NO, 116 HARMONIC ORGANIZATION IN AARON COPLAND'S PIANO QUARTET THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By James McGowan, M.Mus, B.Mus Denton, Texas August, 1995 K McGowan, James, Harmonic Organization in Aaron Copland's Piano Quartet. Master of Music (Theory), August, 1995, 86 pp., 22 examples, 5 figures, bibliography, 122 titles. This thesis presents an analysis of Copland's first major serial work, the Quartet for Piano and Strings (1950), using pitch-class set theory and tonal analytical techniques. The first chapter introduces Copland's Piano Quartet in its historical context and considers major influences on his compositional development. The second chapter takes up a pitch-class set approach to the work, emphasizing the role played by the eleven-tone row in determining salient pc sets. Chapter Three re-examines many of these same passages from the viewpoint of tonal referentiality, considering how Copland is able to evoke tonal gestures within a structural context governed by pc-set relationships. The fourth chapter will reflect on the dialectic that is played out in this work between pc-sets and tonal elements, and considers the strengths and weaknesses of various analytical approaches to the work. -
Euphonium Repertoire List Title Composer Arranger Grade Air Varie
Euphonium Repertoire List Title Composer Arranger Grade Air Varie Pryor Smith 1 Andante and Rondo Capuzzi Catelinet 1 Andante et Allegro Ropartz Shapiro 1 Andante et Allegro Barat 1 Arpeggione Sonata Schubert Werden 1 Beautiful Colorado DeLuca 1 Believe Me If All Those Endearing Young Charms Mantia Werden 1 Blue Bells of Scotland Pryor 1 Bride of the Waves Clarke 1 Buffo Concertante Jaffe Centone 1 Carnival of Venice Clark Brandenburg 1 Concert Fantasy Cords Laube 1 Concert Piece Nux 1 Concertino No. 1 in Bb Major Op. 7 Klengel 1 Concertino Op. 4 David 1 Concerto Capuzzi Baines 1 Concerto in a minor Vivaldi Ostrander 1 Concerto in Bb K.191 Mozart Ostrander 1 Eidolons for Euphonium and Piano Latham 1 Fantasia Jacob 1 Fantasia Di Concerto Boccalari 1 Fantasie Concertante Casterede 1 Fantasy Sparke 1 Five Pieces in Folk Style Schumann Droste 1 From the Shores of the Mighty Pacific Clarke 1 Grand Concerto Grafe Laude 1 Heroic Episode Troje Miller 1 Introduction and Dance Barat Smith 1 Largo and Allegro Marcello Merriman 1 Lyric Suite White 1 Mirror Lake Montgomery 1 Montage Uber 1 Morceau de Concert Saint-Saens Nelson 1 Euphonium Repertoire List Morceau Symphonique Op. 88 Guilmant 1 Napoli Bellstedt Simon 1 Nocturne and Rondolette Shepherd 1 Partita Ross 1 Piece en fa mineur Morel 1 Rhapsody Curnow 1 Rondo Capriccioso Spears 1 Sinfonia Pergolesi Sauer 1 Six Sonatas Volume I Galliard Brown 1 Six Sonatas Volume II Galliard Brown 1 Sonata Whear 1 Sonata Clinard 1 Sonata Besozzi 1 Sonata White 1 Sonata Euphonica Hartley 1 Sonata in a minor Marcello -
Thesis and the Work Presented in It Is Entirely My Own
! ! ! ! ! Christopher Tarrant! Royal Holloway, University! of London! ! ! Schubert, Sonata Theory, Psychoanalysis: ! Traversing the Fantasy in Schubert’s Sonata Forms! ! ! Submission for the Degree of Ph.D! March! 2015! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! "1 ! Declaration of! Authorship ! ! I, Christopher Tarrant, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stat- !ed. ! ! ! Signed: ______________________ ! Date: March 3, 2015# "2 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! For Mum and Dad "3 Acknowledgements! ! This project grew out of a fascination with Schubert’s music and the varied ways of analysing it that I developed as an undergraduate at Lady Margaret Hall, University of Oxford. It was there that two Schubert scholars, Suzannah Clark and Susan Wollen- berg, gave me my first taste of the beauties, the peculiarities, and the challenges that Schubert’s music can offer. Having realised by the end of the course that there was a depth of study that this music repays, and that I had only made the most modest of scratches into its surface, I decided that the only way to satisfy the curiosity they had aroused in me was to continue studying the subject as a postgraduate.! ! It was at Royal Holloway that I began working with my supervisor, Paul Harper-Scott, to whom I owe a great deal. Under his supervision I was not only introduced to Hep- okoskian analysis and Sonata Theory, which forms the basis of this thesis, but also a bewildering array of literary theory that sparked my imagination in ways that I could never have foreseen. -
Lost Generation.” Two Recent Del Sol Quartet Recordings Focus on Their Little-Known Chamber Music
American Masterpieces Chamber Music Americans in Paris Like Hemingway and Fitzgerald, composers Marc Blitzstein and George Antheil were a part of the 1920s “Lost Generation.” Two recent Del Sol Quartet recordings focus on their little-known chamber music. by James M. Keller “ ou are all a lost generation,” Generation” conveyed the idea that these Gertrude Stein remarked to literary Americans abroad were left to chart Y Ernest Hemingway, who then their own paths without the compasses of turned around and used that sentence as the preceding generation, since the values an epigraph to close his 1926 novel The and expectations that had shaped their Sun Also Rises. upbringings—the rules that governed Later, in his posthumously published their lives—had changed fundamentally memoir, A Moveable Feast, Hemingway through the Great War’s horror. elaborated that Stein had not invented the We are less likely to find the term Lost locution “Lost Generation” but rather merely Generation applied to the American expa- adopted it after a garage proprietor had triate composers of that decade. In fact, used the words to scold an employee who young composers were also very likely to showed insufficient enthusiasm in repairing flee the United States for Europe during the ignition in her Model-T Ford. Not the 1920s and early ’30s, to the extent that withstanding its grease-stained origins, one-way tickets on transatlantic steamers the phrase lingered in the language as a seem to feature in the biographies of most descriptor for the brigade of American art- American composers who came of age at ists who spent time in Europe during the that moment. -
Steven ISSERLIS Chopin Cello Sonata Schubert Arpeggione Sonata Dénes Várjon, Piano | Hyperion
AMC – ARTISTS MANAGEMENT COMPANY s.r.l. unipersonale Piazza R. Simoni, 1/E 37122 Verona, Italia Tel. (+39) 045 8014041, fax (+39) 045 8014980 [email protected] www.amcmusic.com Cod. fisc./P. IVA 04119540237 REA 393720 Reg. Imprese VR 04119540237, Capitale sociale I.V. € 20.000 Steven ISSERLIS Chopin Cello Sonata Schubert Arpeggione Sonata Dénes Várjon, piano | Hyperion Can it really be 10 years since Steven Isserlis and Dénes Várjon proved a wonderfully innate partnership with their disc of Schumann cello music (5/09)? This new disc is every bit as impressive, perhaps even more so. The very first thing we hear is the beautiful 1851 Érard, as Várjon launches into Chopin’s Introduction and Polonaise brillante (the pitch a tad lower than modern-day concert tuning). The two players bring to the Introduction a sense of freedom – consoling one moment, delicate the next, and then altogether more mournful – and the composer’s high-lying filigree in the keyboard has an effortless fluidity. The Polonaise struts its stuff without ever sounding effortful, with Isserlis’s pizzicatos really pinging through the texture. Passagework that, in some hands, can seem like mere stuffing is here never less than scintillating. Gautier Capuçon and Martha Argerich are, true to form, more extreme in this work, the polonaise rhythms exuberant, perhaps too much so, with Capuçon favouring a more full-on vibrato. Isserlis always plans his programmes painstakingly, and here makes a case for Auguste Franchomme – cellist, composer and faithful friend of Chopin’s – whose C minor Nocturne is an elegant affair, melodically charming if not harmonically particularly striking. -
Guide to Repertoire
Guide to Repertoire The chamber music repertoire is both wonderful and almost endless. Some have better grips on it than others, but all who are responsible for what the public hears need to know the landscape of the art form in an overall way, with at least a basic awareness of its details. At the end of the day, it is the music itself that is the substance of the work of both the performer and presenter. Knowing the basics of the repertoire will empower anyone who presents concerts. Here is a run-down of the meat-and-potatoes of the chamber literature, organized by instrumentation, with some historical context. Chamber music ensembles can be most simple divided into five groups: those with piano, those with strings, wind ensembles, mixed ensembles (winds plus strings and sometimes piano), and piano ensembles. Note: The listings below barely scratch the surface of repertoire available for all types of ensembles. The Major Ensembles with Piano The Duo Sonata (piano with one violin, viola, cello or wind instrument) Duo repertoire is generally categorized as either a true duo sonata (solo instrument and piano are equal partners) or as a soloist and accompanist ensemble. For our purposes here we are only discussing the former. Duo sonatas have existed since the Baroque era, and Johann Sebastian Bach has many examples, all with “continuo” accompaniment that comprises full partnership. His violin sonatas, especially, are treasures, and can be performed equally effectively with harpsichord, fortepiano or modern piano. Haydn continued to develop the genre; Mozart wrote an enormous number of violin sonatas (mostly for himself to play as he was a professional-level violinist as well). -
Dr. Timothy Cuffman 11839 Ridge Parkway #1316, Broomfield, CO 80021 419-606-3438 [email protected]
Dr. Timothy Cuffman 11839 Ridge Parkway #1316, Broomfield, CO 80021 419-606-3438 [email protected] EDUCATION The University of Iowa, Iowa City, IA Doctor of Musical Arts: Violin Performance and Pedagogy. Secondary Area: Viola Performance. Dissertation: A Practical Introduction to Just Intonation Through String Quartet Playing. Cumulative GPA: 3.91. May 2016 Ohio University, Athens, OH Master of Music: Violin Performance. GPA: 3.968. May 2013 Ohio University, Athens, OH Master of Music: Upper String Pedagogy. Cumulative GPA: 3.968. May 2013 University of Akron, Akron, OH Bachelor of Music: Violin Performance. Cumulative GPA: 3.977. May 2010 PRIMARY INSTRUCTION Dr. Scott Conklin, Associate Professor of Violin The University of Iowa 2013-2016 Dr. Michael Kimber, Visiting Professor of Viola The University of Iowa 2016 Professor Christine Rutledge, Professor of Viola The University of Iowa 2015-2016 Dr. Stephen Miahky, Assistant Professor Violin Ohio University 2010-2013, Viola 2012-2013 Professor Cory Smith, Adjunct Professor of Violin University of Akron 2008-2010 1 PRIMARY INSTRUCTION continued Professor Alan Bodman, Professor of Violin University of Akron 2005-2010 Dr. Thomas Wood, Professor of Violin The College of Wooster 2000-2005 COLLEGE TEACHING EXPERIENCE Teaching Assistant The University of Iowa, Iowa City, IA 2013-2016. Provide weekly violin instruction to non-major violin students under the supervision of Dr. Scott Conklin and Professor Katherine Wolfe. Additional technique lessons on scales, arpeggios, and double stops for violin majors in Dr. Scott Conklin’s studio. Assist in recruiting events. Teaching Assistant Ohio University, Athens, OH 2010-2013. Violinist and violist in the Klinder Graduate String Quartet. -
A Tonal Analysis of the First String Quartet, Opus 37, by Karol Szymanowski
A TONAL ANALYSIS OF THE FIRST STRING QUARTET, OPUS 37, BY KAROL SZYMANOWSKI By PAUL CADRIN M.A., McGill University, 1979 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES ''Department of Music) We' accept this thesis/a^ conforming to t^ne /req^ir^d standard THE UNIVERSITY OF BRITISH COLUMBIA December 1985 © Paul Cadrin, 1985 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. MUSIC Department of The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date 23 April I986 ABSTRACT In 1917, at the peak of the most productive period of his creative life, the Polish composer Karol Szymanowski (1882-1937) undertook his First String Quartet in C, opus 37. Of the four movements originally planned, three were published in 1925. These three movements reflect important directions in the evolution of the composer's style: from a youthful fervor toward German late romanticism (First Movement), through Szymanowski*s discovery of French impressionism (Second Movement), to his most daring experiment with polytonality (Third Movement). The complexity of this work, particularly of its tonal-harmonic language, raises questions which this dissertation proposes to answer. -
June Diary/04 For
NOVEMBER 2004 36 Wigmore Street London W1U 2BP Box Office Tel 020 7935 2141 Online Booking www.wigmore-hall.org.uk NOVEMBER 2004 BOOKING DATES Wednesday at 6.00 pm Bechstein Room Friends: Post/fax form to reach Box Office by 17 September 3 Paul Lewis in conversation with Paul Kildea (admission £3) Mailing List: Post/fax form to reach Box Office by 24 September General Public: Telephone/online bookings: 1 October At 7.30 pm ( NB Personal bookings will not be possible until 9 October) London Pianoforte Series Monday at 1.00 pm Paul Lewis piano 1 BBC Radio 3 Lunchtime Concert Beethoven Sonata in F, Op. 54; Busoni 2 Elegies: Nach der Wendung; Meine Seele bangt und hofft zu dir; Chopin Ballade No. 4 in F minor, Juilliard Quartet Op. 52; Schubert Sonata in Bb, D. 960 76 5 Haydn String Quartet in D, Op. , No. ; Beethoven String Quartet £22 £18 £14 £12 in E minor, Op. 59, No. 2 ‘Razumovsky’ £10 Senior Citizens £8 4 Thursday at 6.00 pm Bechstein Room Monday at 7.30 pm Murray–Mahler Series Olga Neuwirth in conversation with Paul Kildea (admission free) Chamber Music Season At 7.30 pm Belcea Quartet Resident String Quartet Klangforum Wien Ann Murray DBE mezzo soprano Johannes Kalitzke director; Andrew Watts countertenor Simon Keenlyside baritone; Paul Kildea conductor Olga Neuwirth Hommage à Klaus Nomi (final song, world première commissioned by the Anglo-Austrian Music Society); Verfremdung/ Repeat of concert on 30 October Entfremdung; ...morphologische Fragmente...; Salvatore Sciarrino £28 only. All others sold Esplorazione del bianco; Rebecca -
Pinchas Zukerman, Violin & Viola Yefim Bronfman, Piano
CAL PERFORMANCES PRESENTS Tuesday, April 8, 2014, 8pm First Congregational Church Pinchas Zukerman, violin & viola Yefim Bronfman, piano PROGRAM Franz Schubert (1797–1828) Sonatina No. 2 for Violin and Piano in A minor, D. 385 (1816) Allegro moderato Andante Menuetto: Allegro Allegro Ludwig van Beethoven (1770–1827) Sonata No. 7 for Piano and Violin in C minor, Op. 30, No. 2 (1802) Allegro con brio Adagio cantabile Scherzo: Allegro Finale: Allegro INTERMISSION Johannes Brahms (1833–1897) Sonata for Viola and Piano in F minor, Op. 120, No. 1 (1894) Allegro appassionato Andante un poco Adagio Allegretto grazioso Vivace Funded, in part, by the Koret Foundation, this performance is part of Cal Performances’ – Koret Recital Series, which brings world-class artists to our community. This performance is made possible, in part, by Paton Sponsors Diana Cohen and Bill Falik. Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL PROGRAM NOTES Franz Schubert (9>@>–9?:?) tions for voice and keyboard that could be used Sonatina No. : for Violin and Piano in to support his application, but his works for vi - A minor, D. ;?= olin had all been within an orchestral or cham - ber ensemble context. He was trained in violin Composed in 1816. (though he preferred playing viola in the Schubert household quartet and in the amateur Between 1814 and 1816, Schubert worked as orchestra that sprouted from it), but he had not a teacher in his father’s school in suburban yet written a piece featuring the instrument, so Vienna. He cared little for the situation, and in March and April 1816 he quickly composed soothed his frustration by composing; in 1815 three Sonatinas for Violin and Piano. -
Writing About Music: a Style Sheet, Second Edition
36473_u01.qxd 2/6/08 4:24 PM Page 1 1 Music Terminology Titles of Works 1.1 The formal title of a work from the classical repertoire includes the key, index identifier, and sometimes its familiar or tradi- tional name. Beethoven, Symphony No. 3 in Ef Major, op. 55 (“Eroica”) or Beethoven, Symphony No. 3 in E-flat Major, op. 55 (“Eroica”) Either solution is correct. (The use of lowercase b and the num- ber symbol # for Ef and F# is not.) For most applications the spelled-out version ends posing fewer challenges to design and layout. 1.2 Generic Titles. Generic titles are those, in English, that use such describers as symphony, concerto, fantasia, and the like, often with an identifying opus or catalog number appended. These ti- tles are given in roman type. Consider the forms given below. Bach, Toccata and Fugue in D Minor, BWV 565 ___–1 Haydn, Baryton Trio No. 71 in A Major, Hob. XI:71 ___ 0 ___+1 1 36473_u01.qxd 2/6/08 4:24 PM Page 2 music terminology Beethoven, String Quartet No. 1 in F Major, op. 18, no. 1 Beethoven, Violin Concerto in D Major, op. 61 Beethoven’s Fifth Symphony Schubert, Mass No. 6 in Ef Major, D. 950 Schumann, Variations for Piano, op. 9 the Schumann Variations, op. 9 Lisz,: Piano Sonata in B Minor (See, for more samples, 1.16, and, for catalogs, 1.25.) Capitalization styles vary but should be consistent throughout a work. CMS (8.203), for instance, prefers Symphony no. 3. -
Schubert's Recapitulation Scripts – Part II
CHAPTER 4 CATEGORY 2 RECAPITULATIONS 4.1. Introduction 4.2. Mozart, Monahan, and the Crux 4.3. Beethoven and the Minimally Recomposed Category 2 4.4. Beethoven and Schubert: Labor and Grace 4.5. Repetitions of Single Referential Measures 4.6. A Summary Analysis: The Finale of D. 537 4.7. Conclusion ADD CUT 1. One alteration only, + x 1. One alteration only, - x SIZE a. Minimally different, + 1 a. Minimally different, -1 1. by repetition (at the same pitch 1. deletion of originally repeated level) material 2. by sequence (repetition at a 2. deletion of non-repeated different pitch level) material a. by repetition of multiple referential measures, en bloc (backing up) STRATEGY b. by repetition of a single referential measure (stasis) 3. by composing new material Figure 4.1. Category 2 Strategies. 151 The ways in which thematic and harmonic gestures reappear go well beyond what can be captured by the standard notions of return or recapitulation.1 Like virtually all Western music, the music of the common-practice period is characterized by formal correspondences of various kinds. Such correspondences usually do not form exact symmetries, however, even at the phrase level. This stems partly, no doubt, from distaste for too much repetition and regularity—for predictability, that is, the negative side of the symmetrical coin.2 At this very early date, Riepel could scarcely be expected to realize what he was observing; later, of course, asymmetry would set in on a much greater scale.3 If one does not perceive how a work repeats itself, the work is, almost literally, not perceptible and therefore, at the same time, not intelligible.