DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Summer, 1967-1968

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Summer, 1967-1968 FIRST WEEK June 30, July 1, 2, 1967 7 WITH FLAIR A! FIRE! rca Victor OECORDIN PROKOFIEFF: SYMPHONY No. 5 BOSTON SYMPHONY/ LEINSDORF PROKOFIEFF SERIES _ Just two of the recordings in the Bostonians' acclaimed Prokofieff Series. Hear them all on RCA Victor Red Seal. RwThe most trusted name in sound EIGHTY-SIXTH SEASON 1966-1967 OSTON SYMPHONY ORCHESTRA ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor Thirtieth Berkshire Festival - 1967 MUSIC SHED AT TANGLEWOOD Concert Bulletin of the FIRST WEEK Copyright, 1967, by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks John L. Thorndike Philip K. Allen Francis W. Hatch Henry A. Laughlin Abram Berkowitz Andrew Heiskell Edward G. Murray Theodore P. Ferris Harold D. Hodgkinson John T. Noonan Robert H. Gardiner E. Morton Jennings, Jr. Mrs. James H. Perkins Sidney R. Rabb Raymond S. Wilkins Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Tanglewood Advisory Committee Alan J. Blau George E. Mole Jesse L. Thomason Lawrence K. Miller Whitney S. Stoddard Robert K. Wheeler H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Arthur W. Maskell, Jr. Lenox, John Pignatelli Lee, Andre Jaouen Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator William Moyer Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager Sanford R. Sistare Andrew Raeeurn Press and Publicity Assistant to the Music Director James F. Kiley, Tanglewood Superintendent TANGLEWOOD LENOX, MASSACHUSETTS 7 us II To hi-fi people, the word Dual doesn't mean (OAT JacToHy double or twofold* Oak St. off Lincoln Pittsfield, Mass. Open Mon. - Sat. 9-5 It means perfection. I 1 Hi-fi experts, who choose Dual for their own stereo systems, agree that Dual automatic turntables play your records as they were meant to be played. Perfectly. With low-friction tonearm bearings for flaw- less Vfe-gram tracking, to- tally accurate anti-skating compensation for balanced tracking on both groove walls, and with extra- gentle cueing for precise placement of stylus on rec- ord. The Dual 1015, $89.50. Other models from $69.50 to $129.50. For full informa- tion, write United Audio Products, Inc., Dept. CP, 535 Madison Avenue, New York, N.Y. 10022. — 2 — WEEKEND PRELUDE Friday Evening, June 30, at 7:00 MALCOLM FRAGER, Piano Assisted by DORIOT ANTHONY DWYER, flute BEETHOVEN SONATA IN F MAJOR, Op. 10, No. 2 Allegro—Allegretto—Presto In his Opus 10, Beethoven first adopts his plan of writing piano sonatas in three movements. In the second Sonata of this opus, the expected slow movement is omitted and the Scherzo, as middle movement, is modified to an allegretto, flowing melodiously in a gentle F minor. The returning refrain is written out and freshly developed. The Trio maintains the lyric mood, variety being reserved for the short Finale on a single canonic theme, this time clearly and ringingly gay. SIX THEMES WITH VARIATIONS, Op. 105 TEN THEMES WITH VARIATIONS, Op. 107 These two sets of variations were composed in 1818-1820 for G. Thomson in Edinburgh, and were written for piano solo, or piano with flute or violin. In this performance the flute version will be used. The variations are based on folk songs, many of them Scottish but others from Austria or Switzerland, and two from Russia. In this performance numbers 1-4 and 5 (Scottish) will be played from Op. 105 and numbers 7 and 8 (Russian) from Op. 107. PROKOFIEV PRELUDE, Op. 12, No. 7 This Prelude was published in 1913. It is marked Vivo e delicato. Below a rippling figure in the right hand, a typically folk-song theme sings its way. In the central section Prokofiev indulges in his usual ostinato rhythmic pattern, over which the right hand plays pianissimo glissandos. Before the conclusion of the composition, both the quiet opening and the motor-like middle section are combined. Here again, however, the Prelude moves from a climactic forte to a triple piano ending. MARCH, Op. 12, No. 1 On March 7, 1915, Prokofiev made his first appearance abroad in Rome. At this concert he played several of the numbers which comprise Opus 12. No. 1 is a short March which opens pianissimo and builds to a highly dis- sonant and fortissimo climax before subsiding in the last four bars to a sudden piano. This March was presumably written as early as 1906, but not published until 1913. PIANO SONATA No. 3 IN A MINOR, Op. 28 This Sonata bears the sub-title, "From Old Notebooks." Apparently Prokofiev used material from a discarded conservatory sonata which had been written in 1907, and revised it in final form in 1917. It is a brief one- movement sonata, which opens with a brilliant Allegro tempestuoso, followed by a typically lyrical melody marked Moderato. 7 Mr. FRAGER plays the Steinway Piano — 3 — •ii PROGRAM NOTES At the conclusion of last year's season e4t the at Tanglewood, John N. Burk brought to / years of service a close 48 as program annotator for the Orchestra's concerts. Berkshire Festival His work is internationally known, and by many he was considered the dean of program annotators. He is also the author of distinguished books on Bee- thoven, Mozart and Clara Schumann. With his permission, much of his writ- ing is being used for this season's program notes. The editor of the pro- grams this summer will be Donald T. Gammons. THE SOLOISTS MALCOLM FRAGER Malcolm Frager, born in St. Louis in 1935, was a magna cum laude graduate of Columbia University in New York. He studied there with Carl Friedberg, and later at the American Conserva- tory at Fontainebleau and the Marlboro Music School. Since his debut recital in New York in 1952 he has toured extensively; in the Soviet Union, South America, Europe and Iceland, as well as in this country. He has won several prizes, notably the Edgar M. Levintritt Award in the United States in 1959, and these Pianists . the Queen Elisabeth of Belgium Inter- national Music Competition in Brussels in I960. JOHN BROWNING This is the fifth consecutive season that Mr. Frager has appeared as soloist VAN with the Boston Symphony Orchestra at CLIBURN the Berkshire Festival concerts. EVELYNE CROCHET YEHUDI MENUHIN Born in New York in 1916 of Russian MALCOLM FRAGER parents, Yehudi Menuhin began his vio- lin lessons at the age of five. Over the CLAUDE FRANK years he studied with three distinguished teachers, Louis Persinger, George Enesco and Adolf Busch. He made his debut as LILIAN KALLIR soloist in San Francisco in 1923 at the early age of seven. Since that time he EDEN and TAMIR has appeared with every major orchestra in the world, and has played under the baton of every distinguished conductor for the last fifty years. During the first World War he added hundreds of con- play only certs a year to his usual routine, playing often two or three times a day for men and women of the armed services of all nations. He has received many decora- tions and awards of honor, the list of * STEINWAY which would be impressive. At the moment Mr. Menuhin is the artistic director of two festivals in his M. STEINERT two adopted countries. The first is in & SONS Bath, England, where he conducts in 162 BOYLSTON STREET • BOSTON addition to directing the Festival. The ALSO WORCESTER and SPRINGFIELD (Continued on page 30) OSTON SYMPHONY ORCHESTRA Friday Evening, June 30, at 9:00 ERICH LEINSDORF, Conductor * PROKOFIEV Symphony No. 5, Op. 100 I. Andante II. Allegro moderato III. Adagio IV. Allegro giocoso Intermission BEETHOVEN * Violin Concerto in D major, Op. 61 I. Allegro ma non troppo II. Larghetto III. Rondo Soloist: YEHUDI MENUHIN BALDWIN PIANO *RCA VICTOR RECORDS 7 — 5 l» ^Program ^otes Friday Evening, June 30 SYMPHONY NO. 5, Op. 100 By Serge Prokofiev Born in Sontsovka, Russia, April 23, 1891; died near Moscow, March 4, 1953 Prokofiev wrote his Fifth Symphony in Soviet Russia in one month in the summer of 1944, fifteen years after his Fourth. He gave out a statement at the time that he intended it as "a hymn to free and happy Man, to his mighty powers, his pure and noble spirit." Such a dedication was in accord with official pronouncements that music should be addressed directly to the people. The sentiment was all very fine, but Prokofiev evidently considered it too broadly inclusive, for he added a personal claim: "I cannot say that I deliberately chose this theme. It was born in me and clamored for expression. The music matured within me. It filled my soul." The treatment, though traditional in form, is deeply felt, subjective and daring, and seems at times possessed of the dramatic tensions of the war period in which it was composed. The Symphony had its premiere in Moscow in January, 1945, with the composer conducting. Then in November of that Marlboro Music Festival RUDOLF SERKIN • Artistic Director • MARLBORO, VERMONT Festival Orchestra • Chamber Music ON WEEKENDS: JULY 7 - AUGUST 20 SATURDAYS AT 8:30 PM - SUNDAYS AT 3:00 PM FRIDAYS, JULY 7 AND AUGUST 18 AT 8:30 PM FIRST and SECOND WEEKENDS SOLD OUT Programs include : PABLO CASALS conducting the Marlboro Festival Orchestra Ticket Information from : Marlboro Festival, Box T, Marlboro, Vt. or phone: 802-254-8163 Steinway Piano Columbia Records — 6 year Serge Koussevitzky and the Boston Symphony Orchestra introduced the score to America. The opening movement is an Andante, built on two full-voiced melodic themes, the first in triple, the second in duple beat.
Load more

Recommended publications
  • MALCOLM FRAGER COLLECTION (2013 Gift)
    MALCOLM FRAGER COLLECTION (2013 Gift) RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Jacek Blaszkiewicz, summer 2015 Revised by David Peter Coppen, spring 2017 1 Vladimir Ashkenazy and Malcolm Frager. Photograph attributed to New York Times Staff Photographer (ca. 1966). From Malcolm Frager Collection, Box 11, Folder 11. 2 TABLE OF CONTENTS Description of the Collection . 4 Description of Series . 6 SUB-GROUP I: PERSONAL PAPERS Series 1: Correspondence . 8 Series 2: Publicity . 15 Series 3: Business papers . 16 Series 4: Biographical and other personal papers . 17 Series 5: Concert programs . 18 Series 6: Awards . 19 Series 7: Sound recordings . 21 Series 8: Oversized items . 25 SUB-GROUP II: SCORES Series 1: Inscribed to Malcolm Frager . 26 Series 2: Annotated by Malcolm Frager . 27 3 DESCRIPTION OF THE COLLECTION Shelf location M3A 1,1—1,6 Physical extent: 18 linear feet Biographical sketch Photograph of Malcolm Frager from CAMI publicity circular. From Malcolm Frager Collection (2013 Gift), Box 11, Folder 4. Malcolm Frager (1935-1991), American concert pianist, was born in St. Louis, Missouri, where he attended public school and received his earliest musical training. He earned his baccalaureate at Columbia University, where he studied languages in addition to music. His twin victories in the Leventritt Competition (1959) and the Queen Elisabeth of Belgium Competition (1960) launched his career on an international level. In 1963 he made a tour of the U.S.S.R., on which occasion he performed two-piano repertory with fellow pianist Vladimir Ashkenazy, who would remain a close friend of Mr.
    [Show full text]
  • The Voice of the Viola in Times of Oppression Ásdís
    The Voice of the Viola in Times of Oppression Ásdís Valdimarsdóttir viola Marcel Worms piano The Voice of the Viola Felix Mendelssohn Bartholdy (1809-1847) in Times of Oppression Sonata for viola and piano (1824) Ásdís Valdimarsdóttir 1 6’45 Adagio - Allegro viola 2 6’23 Menuetto (Allegro molto) and Trio (Più lento) Marcel Worms 3 12’59 Andante con variazioni piano Hans Gál (1890-1987) Sonata op.101 for viola and piano (1941) 4 6’15 Adagio 5 5’31 Quasi menuetto, tranquillo 6 6’58 Allegro risoluto e vivace Dmitri Shostakovich (1906-1975) 7 1’39 Impromptu for viola and piano (1931) Paul Hindemith (1895-1963) Sonata for viola and piano (1939) 8 7’18 Breit, mit Kraft 9 5’02 Sehr lebhaft 10 4’05 Phantasie: sehr langsam,frei 11 7’35 Finale: leicht bewegt total time: 70’32 The Voice of the Viola in Times of Oppression 2 THE VIOLA is surely not the most assertive instrument Felix Mendelssohn-Bartholdy (1809-1847) Hans Gál (1890-1987) among the string family. It reaches neither the extreme Sonata for Viola and Piano (1824) Sonata op.101 for viola and piano (1941) height of the violin nor the rumbling depth and the Mendelssohn was only fifteen years old when he wrote Hans Gál was born in the vicinity of Vienna. Until his death, strength of the cello and contrabass. Its role is more his sonata for viola and piano. An opus number was late in the twentieth century and outside Central Europe, integrating than leading or polarising; and in brilliance, not assigned to the work by the young composer, and he let that Viennese origin resonate in his music.
    [Show full text]
  • Godowsky6 30/06/2003 11:53 Page 8
    225187 bk Godowsky6 30/06/2003 11:53 Page 8 Claudius zugeschriebenen Gedichts. Litanei, Robert Braun gewidmet, nach der DDD In Wohin?, dessen Widmungsträger Sergej Vertonung eines Gedichts von Johann Georg Jacobi, ist Rachmaninow ist, bearbeitet Godowsky das zweite Lied ein Gebet für den Seelenfrieden der Verstorbenen. Das Leopold 8.225187 der Schönen Müllerin, in dem der junge Müllersbursche Originallied und die Transkription sind von einer den Bach hört, dessen sanftes Rauschen, in der Stimmung inneren Friedens durchzogen. Klavierfassung eingefangen, ihn aufzufordern scheint, Godowskys Schubert-Transkriptionen enden mit GODOWSKY seine Reise fortzusetzen, doch wohin? einem Konzertarrangement der Ballettmusik zu Die junge Nonne, David Saperton gewidmet, Rosamunde aus dem Jahr 1923 und der Bearbeitung des basiert auf der Vertonung eines Gedichts von Jacob dritten Moment musical op. 94 von 1922. Schubert Transcriptions Nicolaus Craigher. Die junge Nonne kontrastiert den in der Natur brausenden Sturm mit dem Frieden und Keith Anderson Wohin? • Wiegenlied • Die Forelle • Das Wandern • Passacaglia ewigen Lohn des religiösen Lebens. Deutsche Fassung: Bernd Delfs Konstantin Scherbakov, Piano 8.225187 8 225187 bk Godowsky6 30/06/2003 11:53 Page 2 Leopold Godowsky (1870-1938) für 44 Variationen in der traditionellen barocken Form, Godowsky jede Strophe des Original-Lieds. Piano Music Volume 6: Schubert Transcriptions zu denen u.a. auch eine gelungene Anspielung auf den Das Wandern ist das erste Lied des Zyklus Die Erlkönig zählt. Die Variationen, in denen das Thema in schöne Müllerin, in dem der junge Müllersbursche seine The great Polish-American pianist Leopold Godowsky of Saint-Saëns, Godowsky transcribed for piano his unterschiedlichen Gestalten und Registern zurückkehrt, Wanderung beginnt.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974
    BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THURSDAY A6 FRIDAY-SATURDAY 22 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K. ALLEN SIDNEY STONEMAN JOHN L. THORNDIKE Vice-President Vice-President Treasurer VERNON R. ALDEN MRS HARRIS FAHNESTOCK JOHN T. NOONAN ALLEN G. BARRY HAROLD D. HODGKINSON MRS JAMES H. PERKINS MRS JOHN M. BRADLEY E. MORTON JENNINGS JR IRVING W. RABB RICHARD P. CHAPMAN EDWARD M. KENNEDY PAUL C. REARDON ABRAM T. COLLIER EDWARD G. MURRAY MRS GEORGE LEE SARGENT ARCHIE C EPPS III JOHN HOYT STOOKEY TRUSTEES EMERITUS HENRY B. CABOT HENRY A. LAUGHLIN PALFREY PERKINS FRANCIS W. HATCH EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager PAUL BRONSTEIN JOHN H. CURTIS MARY H. SMITH Business Manager Public Relations Director Assistant to the Manager FORRESTER C. SMITH DANIEL R. GUSTIN RICHARD C. WHITE Development Director Administrator of Assistant to Educational Affairs the Manager DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood HARRY NEVILLE Program Editor Copyright © 1974 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS ^H jgfism SPRING LINES" Outline your approach to spring. In greater detail with our hand- somely tailored, single breasted, navy wool worsted coat. Subtly smart with yoked de- tail at front and back. Elegantly fluid with back panel. A refined spring line worth wearing. $150. Coats. Boston Chestnut Hill Northshore Shopping Center South Shore PlazaBurlington Mall Wellesley BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC.
    [Show full text]
  • Cherkassky, Shura (1909-1995) Shura Cherkassky with the Israeli Philharmonic by Slawomir P
    Cherkassky, Shura (1909-1995) Shura Cherkassky with the Israeli Philharmonic by Slawomir P. Dobrzanski Orchestra in Tel Aviv in 1954. Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2008 glbtq, Inc. Reprinted from http://www.glbtq.com With the death of Shura Cherkassky in 1995, the music world lost its last link with the Great Romantic Piano Era. At the age of eighty-six, after more than seventy-five years of performing, the longest career in the history of classical pianism, Shura Cherkassky still sounded like a young man. Cherkassky was born in Odessa, Ukraine on October 7, 1909 (but frequently given as 1911), the son of a Jewish family. Cherkassky's father was a dentist, and his mother a professional pianist, with whom he began piano studies at the age of four. Cherkassky's debut in his native city in 1920 was sensational. In December 1922, the family moved to the United States, settling first in Baltimore, Maryland. At this time the family gave Cherkassky's birth date as 1911, believing that a prodigy of 12 would be regarded as more remarkable than an adolescent of 14. After consulting famous pianists of the day (Vladimir de Pachman, Sergei Rachmaninoff, Ignace Jan Paderewski, and Josef Hofmann), Cherkassky's parents enrolled him in the newly opened Curtis Institute of Music in Philadelphia in the fall of 1925. He began formal studies with Hofmann, with whom he would study until 1935, becoming his most successful student. He also studied briefly with David Saperton, another member of the Curtis faculty. Cherkassky's American debut took place in March of 1923 in Baltimore.
    [Show full text]
  • Curtis Institute of Music
    C URTIS INST I TUT E O F MUS IC C ATA LOGU E 1 938- 1 939 R I T T E N H O U S E S Q U A R E P HI L A D E L P HI A P E NN S Y L V A NI A THE C RT S ST T TE OF M S C o ded U I IN I U U I , f un in 1 1 M o i e C i Bok e come 9 4 by ary L u s urt s , w l s f i i i students o all nat onal t es . Th e Curtis Institute receive s its support from Th e M o i e C i Bok Fo d i o i s ary L u s urt s un at n , operated under a Charter of th e Comm onwe alth of Pe i an d i s cc edi e d for th e nnsylvan a , fully a r t i c onferr ng of Degrees . Th e Curtis Institute i s approved by th e United State s Go vernment as an institution of learning for th e i i of n on - o o ei de tra n ng qu ta f r gn stu nts , in m A f 1 1 accordance with th e Im igration ct o 9 4 . T H E C U R T I S I N S T I T U T E O F M U S I C M ARY LOUISE CURTIS BOK ' Prcud mt CURTIS BOK Vice- President CARY W BOK Secretary LL PHILIP S .
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date: 12-May-2010 I, Chiu-Ching Su , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Viola It is entitled: A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas Student Signature: Chiu-Ching Su This work and its defense approved by: Committee Chair: Catharine Carroll, DMA Catharine Carroll, DMA 6/18/2010 657 A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas 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 Performance Studies Division of the College-Conservatory of Music 2010 by Chiu-Ching Su B.M. Fu Jen Catholic University, 2001 M.M. University of Cincinnati, 2003 ABSTRACT Franz Anton Hoffmeister’s Viola Concerto in D Major (written prior to 1799) has become among the standard repertoire of viola concertos, due to the rise of viola virtuosos since the beginning of the twentieth century and the rarity of virtuosic viola concertos with stylistic forms from the Classical period. This piece has been included in several major orchestra auditions and competitions. While violists often lack hands-on experiences of the Classical repertoire, this document is to provide violists ways to perform this piece and pieces from the same period. Hoffmeister’s Viola Concerto in D Major has been published by G. Henle Verlag, Kunzelmann, Peters, Kalmus, International Music Company (New York), H.
    [Show full text]
  • Chamber Music Series
    I ,11--2-.-1)5 0`(- _ PRD 1 BROOKLYN ACADEMY OF MUSIC for , SCOTT NICKRENZ (violist) is Music Director Philharmonic under Seiji Ozawa. Mr. Lesser 9gs 00-377 BAM's Chamber Music Series. He divides his has appeared as a soloist with the Boston .0! time between New York and Hartford, where he Symphony Orchestra, the London Philharmonic, is chairman of the string department of the the Los Angeles Philharmonic and other major University of Hartford. orchestras. He has appeared at the Casals, Together with his wife, flutist Paula Marlboro, Charleston, and Spoleto Festivals, Robison, he directs chamber music for the as well as London's South Bank Summer Music ff ar Spoleto Festivals, both in the United States Festival, and has been a frequent guest at the and Italy. Lincoln Center Chamber Music Society in New Long a performer in his own right, Mr. York. He has recorded with Columbia, Nickrenz attended the Curtis Institute and was Melodiya, and Desto. 4j. a founding member of both the Lenox and Mr. Lesser was a Visiting Professor at the Vermeer Quartets. While he was a member of Eastman School of Music in 1980 and was the Claremont Quartet he formed the New appointed President of the New England Chamber Quintet and later created the Quartet Conservatory of Music in 1983. series at the University of Chicago. He also began the Chamber Series at Northwestern University. Mr. Nickrenz has appeared extensively in 1 concerts in the United States and all over the SEYMOUR LIPKIN (pianist) won first prize in world. He has played with the Music from the Rachmaninoff Piano Competition in 1948.
    [Show full text]
  • « Leopold Godowsky's Fifty-Three Studies on Chopin's Études »
    « Leopold Godowsky’s Fifty-Three Studies on Chopin’s Études » by « Younggun Kim » A thesis submitted in conformity with the requirements for the degree of « Doctor of Musical Arts » « Graduate Department of Music » University of Toronto © Copyright by « Younggun Kim » « 2017 » Leopold Godowsky’s Fifty-Three Studies on Chopin’s Études Younggun Kim Doctor of Musical Arts Graduate Department of Music University of Toronto 2017 Abstract Leopold Godowsky (1870-1937) composed works that require pianistic fluency of an exceptional order, including fifty-three Studies based on twenty-six of Frédéric Chopin’s twenty-seven Études. The purpose of this dissertation is to examine the significance of these Studies and to reveal the compositional techniques that Godowsky used to create them. This dissertation consists of a foreword and seven chapters. The foreword describes the unique position that Godowsky’s Studies occupy in the piano literature and argues that they deserve further scholarly research. Chapter one discusses Godowsky’s life and the composition of the Studies, and it provides a review of relevant literature. Chapter two is divided into ii two sections. The first section proposes five compositional techniques that are used to create the Studies: switch, condensation, superimposition/addition, reconstruction and merging. The second section examines Godowsky’s classification of the Studies into five categories: Strict Transcriptions, Free Transcriptions, Cantus Firmus Versions, Versions in Form of Variations and Metamorphoses. Chapters three, four and five are case studies of selected Studies, arranged by the compositional techniques presented in Chapter two. Chapter three deals with Studies that are composed using switch, superimposition/addition and merging technique.
    [Show full text]
  • Fall 2003-Spring 2004)
    David Korevaar, Helen and Peter Weil Professor of Piano 1 Updated: July 2018 David Korevaar University of Colorado at Boulder, College of Music 301 UCB, Boulder, CO 80309-0301 303-492-6256, [email protected] www.davidkorevaar.com http://spot.colorado.edu/~korevaar Curriculum Vitae Educational Background: Doctor of Musical Arts, Piano, The Juilliard School, 2000. Doctoral Document: “Ravel’s Mirrors.” DMA Document. New York: The Juilliard School, 2000. xi + 196 pp. Awarded Richard French prize for best DMA Document, The Juilliard School, 2000. Committee: L. Michael Griffel, Robert Bailey, Jerome Lowenthal. Piano studies with Abbey Simon. Related area studies with Jonathan Dawe, Jane Gottlieb, L. Michael Griffel, David Hamilton, Joel Sachs, Maynard Solomon, Claudio Spies. Master of Music, Piano, The Juilliard School, 1983. Bachelor of Music, Piano, The Juilliard School, 1982. Piano studies with Earl Wild. Composition studies with David Diamond. Chamber music studies with Claus Adam, Paul Doktor, Felix Galimir, Leonard Rose, Harvey Shapiro. Independent piano studies: Paul Doguereau (1985-1998). Earl Wild (1976-1984). Sherman Storr (1969-1976). Andrew Watts (2013) Richard Goode (2013) Summer programs: Johannesen International School of the Arts, Victoria, B. C. (1980). Piano studies with John Ogdon, Robin McCabe, Joseph Bloch, Bela Siki. Bowdoin Summer Music Program (1981). Piano studies with Martin Canin. Aspen (1985). Piano studies with Claude Frank. David Korevaar, Helen and Peter Weil Professor of Piano 2 Teaching Affiliations: Academic year appointments: Current: Professor of Piano at the University of Colorado at Boulder (2011-); Associate Professor with tenure (2006-2011); appointed as Assistant Professor in 2000. Former: University of Bridgeport, Bridgeport, Connecticut (Adjunct position, “Head of Piano Studies”; 1995-2000).
    [Show full text]
  • This Album Presents American Piano Music from the Later Part of the Nineteenth Century to the Beginning of the Twentieth
    EDWARD MacDOWELL and Company New World Records 80206 This album presents American piano music from the later part of the nineteenth century to the beginning of the twentieth. Chronologically it ranges from John Knowles Paine’s Fuga Giocosa, published in 1884, to Henry F. Gilbert’s Mazurka, published in 1902. The majority are from the nineties, a time of great prosperity and self-satisfaction in a nation of philanthropists and “philanthropied,” as a writer characterized it in The New York Times. Though the styles are quite different, there are similarities among the composers themselves. All were pianists or organists or both, all went to Europe for musical training, and all dabbled in the classical forms. If their compatriots earlier in the nineteenth century wrote quantities of ballads, waltzes, galops, marches, polkas, and variations on popular songs (New World Records 80257-2, The Wind Demon), the present group was more likely to write songs (self-consciously referred to as “art songs”) and pieces with abstract titles like prelude, fugue, sonata, trio, quartet, and concerto. There are exceptions. MacDowell’s formal works include two piano concertos, four piano sonatas, and orchestra and piano suites, but he is perhaps best known for his shorter character pieces and nature sketches for piano, such as Fireside Tales and New England Idyls (both completed in 1902). Ethelbert Nevin was essentially a composer of songs and shorter piano pieces, most of them souvenirs of his travels, but he, too, worked in the forms that had become most prestigious in his generation. The central reason for the shift away from dance-inspired and entertainment pieces to formal compositions was that American wealth created a culture that created a musical establishment.
    [Show full text]
  • Festival Internacional De Piano "Bogota 450 Años"
    OLM ---------- ----- ~ E - MALCOLM FRAGER Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. FESTIVAL INTERNACIONAL DE PIANO "BOGOTA 450 AÑOS" Para vincularse a la celebración de (dos Preludios Opus 23, dos los 450 años de la fundación de Momentos musicales Opus 16 y Bogotá, la Sala de Conciertos de la Daisies Opus 38), Scriabin (Sonata Biblioteca está realizando, dentro Opus 30 No. 4 Y dos Estudios) y de de su temporada musical de este Chopin (Barcarola Opus 60, tres año, el Festival Internacional de Mazu rkas, Noctu rno Opus 32 No. 1 y Piano, en el cual participan desta­ Balada Opus 23 No. 1). El 6 de julio cados intérpretes internacionales y la connotada pianista austríaca colombianos. Ingrid Haebler con obras de Mozart (Variaciones en Do mayor K 265, Blanca Uribe cuya brillante carrera Fantasía en Do menor K 475 YSona­ internacional la ha consagrado ta en Do menor K 457), Schubert como una de las grandes pianistas (Sonata Opus 120) y Debussy (tres colombianas, abrió el festival el pa­ Preludios). sado 16 de marzo. El 27 de marzo intervino el pianista polaco Walde­ El 13 de julio la pianista venezolana mar Malicki, al cual siguieron, el4 de Judith Jaimes con obras de Schu­ mayo, los pianistas Nelly y Jaime mann (Piezas de fantasía Opus 12), Ingram, de Panamá, quienes con­ Juan Bautista Plaza (Intermezzo), forman uno de los más célebres Lauro (Suite venezolana) y de Cho­ dúos pianísticos de la actualidad. pin (cuatro Scherzos). Dos pian istas se presentan en este El 27 de julio el español Joaquín mes de junio: el 8, Malcolm Frager, Achúcarro con obras de Bach (Par­ norteamericano de larga trayecto­ tita No.
    [Show full text]