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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. -
Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years. -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time. -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. -
Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian 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/2762 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] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN 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 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian 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 Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community. -
A Pianoforte Recital
Greater London Council ROYAL FESTIVAL HALL Director: John Denison, C.B.E. WILFRID VAN WYCK LTD. present A Pianoforte Recital by ARTUR RUBINSTEIN Monday, 7th June 1971 at 8 p.m. PROGRAMME AND NOTES 15p Front page photograph by EVA RUBINSTEIN, NEW YORK ALL-CHOPIN PROGRAMME Polonaise-Fantaisie in A flat major Op. 61 Nocturne in F Sharp major Op. 15 Mazurka in C minor Op. 56 No. 3 Sonata in B flat minor Op. 35 INTERVAL Barcarolle Op. 60 4 Etudes from Op. 10 and 25 Berceuse Op. 57 Scherzo in C sharp minor Op. 39 STEINWAY PIANOFORTE R.C.A. VICTOR RECORDS pervasive air of artificiality and polite insincerity. True, the Nocturnes largely display a single Programme Notes aspect of Chopin's many-sided musical personality, but at their best they can stand comparison />/ with his more important works. Chopin's point of departure was the type of nocturne invented MOSCO CARNER by John Field, but while Field's nocturnes are today all but dead and buried, Chopin's are gloriously alive, thanks to their melodic imagination, their harmonic ingenuity and the felicity of (Author's Copyright) their pianistic style. The majority are in ternarry form, with a first section in a slow and dream like character while the middle section is almost invariably fast and frequently dramatic in Polonaise—Fantaisie in A fiat major Op. 61 expression. They are usually rounded off by a coda for which the composer reserved some of his most exquisite poetic touches. The F sharp major Nocturne, however, has no coda and is com Despite his French descent, Chopin was an ardent patriot whose love of his native Poland paratively short but is a piece outstanding for its delicacy and its consummate piano writing. -
CD´S Mit Werken Von Und Mit Xaver, Philipp U. Walter Scharwenka
Scharwenka Stiftung Die Tonträger können nach Voranmeldung Bestandsverzeichnis abgehört bzw. ausgeliehen werden CD´s mit Werken von & mit Xaver, Philipp und Walter Scharwenka Scharwenka Bearbeiter: Stand: 30.09.2019 Verleger Xaver Scharwenka Unterhaltsame Klaviermusik CD 1 „Gärten im Frühling“: Volkmar Schwerdtner/ Hans- Polnische Nationaltänze op.3 Nr.1 bis 5 Georg Schwerdtner Weitere Kompositionen von Carl Czerny, Jean Philippe Ramenau, Walter Eigenverlag Niemann, Hans-Willy Bergen Interpret am Klavier: Hans-Georg Schwerdtner Aufn.-dat. 1957 - 1963 CD 2 „Concertino“: Kompositionen von Albrecht Rosenstengel, Karl-Heinz Köper, Ernst Fischer/ H.-G. Schwerdtner, Julius Jacobsen, Lothar Mikuliez, Fried Walter Interpreten: Sabine Schwerdtner und Hans-Georg Schwerdtner Verleger Xaver Scharwenka Pianowerke 4: Polnische Tänze op. 47 Nr. 1 bis 4, Zwei Klavierstücke op. 65, Hyperion London 1975/ 2003 Six Waltzes op. 28, Variationen über ein Thema von C. H. Nr. 1 bis 13 op.57, LC 7533 CDH 55134 Drei Klavierstücke op. 86, Zwei Erzählungen am Klavier op. 5 Interpret: Seta Tanyel Aufn.-dat. 1975 Diese CD gibt es auch in einer anderen Cover- Version. Verleger Philipp Scharwenka Sonate op. 106; Carillion LC 8233 Außerdem: Robert Fuchs: Sechs Phantasiestücke op. 117, Sonate für Violine und Piano op. 86, Interpreten: Joachim Krist (viola), Michael Krist (piano) Aufn.-dat. 1988 Diese CD ist in zwei verschiedenen Cover- Versionen im Bestand vorhanden Verleger Xaver Scharwenka Polish Dance op.3 No.1; Lyrita SRCD.216 Weiterhin Johann Sebastian Bach: Toccata and Fugue d-moll (BWV 565); Frédéric Chopin: Marche funèbre (from Piano Sonata No.2 b-moll); Enrique Granados: Spanish Dance (No.5 Andaluza); Edvard Grieg: Funeral March; Claude Debussy: La Cathédrale engloutie (Preludes, Book 1 No.10); Aufn.-dat. -
A Discography by Claus Nyvang Kristensen - Cds and Dvds Cnk.Dk Latest Update: 10 April 2021 Label and ID-Number Available; Not Shown
A discography by Claus Nyvang Kristensen - CDs and DVDs cnk.dk Latest update: 10 April 2021 Label and ID-number available; not shown Alain, Jean (1911-1940) Deuxième Fantaisie Marie-Claire Alain (1972) Intermezzo Marie-Claire Alain (1972) Le jardin suspendu Marie-Claire Alain (1972) Litanies Marie-Claire Alain (1972) Suite pour orgue Marie-Claire Alain (1972) Trois danses Marie-Claire Alain (1972) Variations sur un thème de Janequin Marie-Claire Alain (1972) Albéniz, Isaac (1860-1909) España, op. 165: No. 2 Tango in D major Leopold Godowsky (1920) España, op. 165: No. 2 Tango in D major (Godowsky arrangement) Carlo Crante (2011) Emanuele Delucchi (2015) Marc-André Hamelin (1987) Wilhelm Backhaus (1928) Iberia, Book 2: No. 3 Triana (Godowsky arrangement) Carlo Crante (2011) David Saperton (1957) Albinoni, Tomaso (1671-1751) Adagio in G minor (Giazotto completion) (transcription for trumpet and organ) Maurice André, Jane Parker-Smith (1977) Violin Sonata in A minor, op. 6/6: 3rd movement, Adagio (transcription for trumpet and organ) Maurice André, Hedwig Bilgram (1980) Alkan, Charles-Valentin (1813-1888) 11 Grands Préludes et 1 Transcription du Messie de Hændel, op. 66 Kevin Bowyer (2005) 11 Grands Préludes et 1 Transcription du Messie de Hændel, op. 66: No. 1 Andantino Nicholas King (1992) 11 Grands Préludes et 1 Transcription du Messie de Hændel, op. 66: Nos. 2, 3, 4, 5, 6, 7, 8, 9, 11 (da Motta transcription for piano four hands) Vincenzo Maltempo, Emanuele Delucchi (2013) 11 Pièces dans le Style Religieux et 1 Transcription du Messie de Hændel, op. 72 Kevin Bowyer (2005) 13 Prières pour Orgue, op. -
Boston Symphony Orchestra Concert Programs, Season 10, 1890-1891, Subscription
MUSIC HALL, BOSTON. BOSTON SYMPHONY ORCHESTRA. ARTHUR NIKISCH, Conductor. Tenth Season, 1890-91. PROGRAMME OF THE Fifteenth Rehearsal ana Concert FRIDAY AFTERNOON, FEBRUARY 6, AT 2.30. SATURDAY EVENING, FEBRUARY 7, AT 8.00, WITH HISTORICAL AND DESCRIPTIVE NOTES PREPARED BY G. H. WILSON. PUBLISHED BY C. A. ELLIS, Manager. (449) PSALTERY. CLAVICEMBALO. VIRGINAL. SPINET. HARPSICHORD. CLAVICHORD. PIANOFORTE. One of the greatest steps in the history of the Pianoforte is the Screw-stringer, an improved method of holding the strings, invented and pat- ented in 1883 by Mason & Hamlin, and which has proved so successful that the MASON & HAMLIN PIANOFORTE Is fast becoming as famous as the Mason & Hamlin Organ. Mason & Hamlin Organ and Piano Company, 154 and 155 TREMONT STREET. (450) FIFTEENTH REHEARSAL and CONCERT Friday Afternoon, February 6, at 2.30. Saturday Evening, February 7, at 8.00. PROGRAMME. Saint-Saens - - Symphonic Poem, "The Youth of Hercules" Scharwenka - Concerto for Piano, No. 1, in B-flat minor, Op. 32 Allegro patetico ; Adagio; Allegro animato. Scherzo (Allegro assai)-. Allegro non tanto, quasi adagio; allegro molto e passionate Wagner ------ Waldweben from "Siegfried" Chadwick ----- Symphony No. in B-flat, Op. 21 2, Andante non troppo ; Allegro con brio. Allegretto scherzando. Largo e maestoso. Finale. Soloist, Mr. XAVER SCHARWENKA. THE PIANOFORTE USED IS A BEHR BROS. The Programme for the next Public Rehearsal and Concert will be found on page 475. (451) : SHORE LINE BOSTON jn NEW YORK NEW YORK I U BOSTON Trains leave either city, week-days, as follows, except as noted DAY EXPRESS at 10.00 a.m. Arrive at 4.30 p.m. -
(Franz) Xaver Scharwenka (1850-1924) Michael P. Mihalyo Jr
The Life and Keyboard Works of (Franz) Xaver Scharwenka (1850-1924) Michael P. Mihalyo Jr. Research Project 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 DMA Committee Christine Kefferstan, D.M.A., chair Mary Ferer, Ph.D. James Miltenberger, D.M.A. Rosemary Srebalus, Ed.D. David Taddie, Ph.D. Virginia Thompson, D.M.A. Morgantown, West Virginia 2002 Keywords: Scharwenka, Romantic, Polish, Piano Copyright 2002 Michael P. Mihalyo Jr. ABSTRACT 4. THE KEYBOARD WORKS OF XAVER SCHARWENKA 25 The Life and Works of (Franz) Xaver Scharwenka The Polish Dances 27 (1850 – 1924) The Solo Keyboard Sonatas 60 Michael P. Mihalyo Jr. The Concertos for Piano and Orchestra 83 (Franz) Xaver Scharwenka (1850-1924) was a highly acclaimed performer, Other Character Pieces 105 teacher, editor, and composer of international fame during the late Romantic 5. CONCLUSIONS 112 period. APPENDIX Overshadowed by the innovative styles of a number of contemporaneous A. List of Works 118 composers B. Discography 127 including Ravel, Debussy, and Scriabin, Scharwenka’s works gradually BIBLIOGRAPHY 129 disappeared from iv the teaching studio and the concert hall. Regrettably, his compositions, although ACKNOWLEDGEMENTS critically acclaimed in his lifetime, are now for the most part out of print and rarely I would like to express my gratitude to Dr. Mary Ferer for her patient and performed. This study explores Scharwenka’s works as a significant addition to consistent help throughout this project. I would also like to thank Dr. David Taddie the for repertory of the late Romantic literature for study and performance. -
The Ballades of Frederic Chopin
University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects 12-1-1981 The alB lades of Frederic Chopin Janell E. Brakel Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Brakel, Janell E., "The alB lades of Frederic Chopin" (1981). Theses and Dissertations. 451. https://commons.und.edu/theses/451 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. ' 1 f. 1 'c' ,.!'l)~r,T(' ,.,H.,L l, ]3"11 .... J_.;/\ D' ••• ; 'J''1' · ...:'"· 1"i'_ ·, l·,r\ _ . Li1· Janl"ll E. Brakel Bachelor af Science, Mayville State Coll~ge, 1978 A Thesis Submitted to the Graduate Faculty of the University of North Dakota in partial fulfillnl\'!nt of the requirements for the degree of Master of Arts Grand Forks, North Dakota December 1981 I ' ' ,........I 'J-·liis 'l'he:;i.s su:Omitted by Janell E. Brakel in partir1l fulfillment of tl1e requirements for the Degree of !>laster nf Art:s from the University of North Dakota is h~reby ap proved Ly the Faculty Advisory Conunittee under whom the work has been done. ' / I' -'' , ~ _/ ,. ' , ,'I / - ,' ' I ./ , I' -~ v (Chairman) c - ' ' ' - ' This Thesis meets the standards for appearance and confor~s to the style and format requirements of the Graduate School of the University of i'Jorth Dakota, and is hereby approved . -
Volume 24, Number 05 (May 1906) Winton J
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1906 Volume 24, Number 05 (May 1906) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 24, Number 05 (May 1906)." , (1906). https://digitalcommons.gardner-webb.edu/etude/514 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ; ij . m \ ■_ MAY, 1906 1.50 PER YEAR PRICE 15 CENTS FOR THE TEACHER, STUDENT AND LOVER OF MUSIC PUBLISHED BY ,,. THEO. PRESSER ^ . PHILADELPHIA. THE ETUDE 277 Modern Studies TWO PIANOS SENT ON INSPECTION TO RESPONSIBLE PARTIES CHURCH MUSIC -,„EES~TCNT» Some Recent Publications OF STANDARD GRADED COURSE OF Eight Hands CLAYTON F. SUMMY CO. STUDIES FOR THE PIANOFORTE W. S. B. MATHEWS The following list is In Ten Books, a Grade to each Book ture for this arranger GRADED EDITION FOR THE PIANO We shall add other t impositions by the l in progressive order, selected from the best composers for the cultivation of technic, taste, and sight reading.