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Thesis October 11,2012
Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation. Elena Nalimova 10 October 2012 Submitted in partial requirement for the Degree of PhD in Performance Practice at the Goldsmiths College, University of London 1 Declaration The work presented in this thesis is my own and has not been presented for any other degree. Where the work of others has been utilised this has been indicated and the sources acknowledged. All the translations from Russian are my own, unless indicated otherwise. Elena Nalimova 10 October 2012 2 Note on transliteration and translation The transliteration used in the thesis and bibliography follow the Library of Congress system with a few exceptions such as: endings й, ий, ый are simplified to y; я and ю transliterated as ya/yu; е is е and ё is e; soft sign is '. All quotations from the interviews and Russian publications were translated by the author of the thesis. 3 Abstract This thesis presents a performer’s view of Galina Ustvolskaya and her music with the aim of demystifying her artistic persona. The author examines the creation of ‘Ustvolskaya Myth’ by critically analysing Soviet, Russian and Western literature sources, oral history on the subject and the composer’s personal recollections, and reveals paradoxes and parochial misunderstandings of Ustvolskaya’s personality and the origins of her music. Having examined all the available sources, the author argues that the ‘Ustvolskaya Myth’ was a self-made phenomenon that persisted due to insufficient knowledge on the subject. In support of the argument, the thesis offers a performer’s interpretation of Ustvolskaya as she is revealed in her music. -
Debussy Préludes
Debussy Préludes Books I & II RALPH VOTAPEK ~ Debussy 24 Préludes Préludes, Book I (1909-1910) 37:13 1 I. Danseuses de Delphes (Lent et grave) 2:59 2 II. Voiles (Modéré) 3:09 3 III. Le vent dans la plaine (Animé) 2:07 4 IV. Les sons et les parfums tournent dans l’air du soir (Modéré) 3:10 5 V. Les collines d’Anacapri (Très modéré) 2:57 6 VI. Des pas sur la neige (Triste it lent) 3:47 7 VII. Ce qu’a vu le vent d’Ouest (Animé et tumultueux) 3:23 8 VIII. La fille aux cheveux de lin (Très calme et doucement expressif) 2:29 9 IX. La sérénade interrompue (Modérément animé) 2:28 10 X. La cathédrale engloutie (Profondément calme) 5:54 11 XI. La danse de Puck (Capricieux et léger) 2:40 12 XII. Minstrels (Modéré) 2:10 Préludes, Book II (1912-1913) 36:04 13 I. Brouillards (Modéré) 2:38 14 II. Feuilles mortes (Lent et mélancolique) 2:55 15 III. La Puerta del Vino (Mouvement de Habanera) 3:19 16 IV. Les Fées sont d’exquises danseuses (Rapide et léger) 2:56 17 V. Bruyères (Calme) 2:42 18 VI. Général Lavine — eccentric (Dans le style et le mouvement d’un Cakewalk) 2:28 19 VII. La terrasse des audiences du clair de lune (Lent) 3:59 20 VIII. Ondine (Scherzando) 3:08 21 IX. Hommage à Samuel Pickwick, Esq., P.P.M.P.C. (Grave) 2:25 22 X. Canope (Très calme et doucement triste) 2:53 23 XI. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT By ©2016 Olivia Needham Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________________ Chairperson: Paul Laird ________________________________________ Véronique Mathieu ________________________________________ Bryan Haaheim ________________________________________ Philip Kramp ________________________________________ Jerel Hilding Date Defended: 04/15/2016 The Dissertation Committee for Olivia Needham certifies that this is the approved version of the following dissertation: STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT ________________________________________ Chairperson: Paul Laird Date Approved: 04/15/2016 ii ABSTRACT This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing. iii Igor Stravinsky (1882-1971) was born in Oranienbaum (now Lomonosov) in Russia near St. -
The Rite Signs: Semiotic Readings One Hundred Years On
AVANT, Vol. VII, No. 1/2016 ISSN: 2082-6710 avant.edu.pl/en DOI: 10.26913/70102016.0111.0001 The Rite Signs: Semiotic Readings One Hundred Years On Nicholas P. McKay Canterbury Christ Church University School of Music and Performing Arts nicholas.mckay- @- canterbury.ac.uk Abstract One hundred years on from the infamous premiere of The Rite of Spring, Stravinsky’s epoch-defining ballet continues to evoke controversy and contention in both musicological and performance circles. Even to call it a ballet is to overlook, or compound, its problematic identity. Throughout its life span, most audiences will have encountered, valorised and identified the work as a landmark of orchestral musical modernism heard primarily, perhaps even exclusively, in concert halls and on audio recordings with not a dancer, theatre stage or set in sight. Still to this day it thus remains one of music’s more remarkable split person- alities: bifurcated along formalist and contextualist lines by Stravinsky’s retrospective and opportunistic assertion that he had written “un oeuvre architectonique et non anecdotique.” Keywords: ballet; music; semiotics; Stravinsky; The Rite of Spring. One hundred years on from the infamous premiere of The Rite of Spring, Stravinsky’s epoch-defining ballet continues to evoke controversy and contention in both musicological and performance circles. Even to call it a ballet is to overlook, or compound, its problematic identity. Throughout its life span, most audiences will have encountered, valorised and identified the work as a landmark of orchestral musical modernism heard primarily, perhaps even exclusively, in concert halls and on audio recordings with not a dancer, theatre stage or set in sight. -
Recorded Gilels
RECORDED GILELS Including Non-commercial & Unpublished Items Compiled by Ateş TANIN Previous Update: September 1, 2015 This Update: January 8, 2017 New entries (or acquisitions) for this update are marked with [N] and corrections with [C] . The following is a list of recorded recitals and concerts by Emil Gilels, with one reference listing to each commercial release that are in my collection and all others that I am aware of. Your comments, additions and corrections would be much appreciated. Please contact me by e-mail: [email protected] . Details of Gilels CDs issued by DOREMI are at http://www.doremi.com/gilels.html . LOGO: (CD) = Compact Disc; (SACD) = Super Audio Compact Disc; (LD) = NTSC Laserdisc; (BD) = Blu-Ray Disc; (LP) = LP record; (78) = 78 rpm record; (VHS) = Video Cassette; ** = I have the original issue ; * = I have a CD-R or DVD-R of the original issue. (PTA) = I have a privately taped audio copy; (PTV) = I have a privately taped video copy ABSIL Concerto for Piano and Orchestra No.1, Op.30 29/5/1938 - Brussels - Live - excerpt CYPRESS CYP1102 (DVD) ALBENIZ Navarra 6/1/1954 - Moscow - Live - DOREMI DHR-7795 (CD)** Navarra [Arranged for Two Pianos] 1941 - Moscow - Flier - (PTV) Rumores de la Caleta (Malaguena) from Recuerdos de Viaje, Op.71/6 23/2/1957 - Moscow - Live - DOREMI DHR-7795 (CD)** [C] ALYABIEV Piano Quintet in E-flat 1949 - Moscow - Beethoven Q. - DG 00289 479 4651 (24CD)** Piano Trio in a 1&5/11/1948 - Moscow - Tsyganov/Shirinsky - DOREMI DHR-7755 (CD)** Sonata in e for Violin and Piano 12/1950 - Moscow - Tsyganov - DOREMI DHR-7755 (CD)** BABAJANIAN Heroic Ballade for Piano and Orchestra 14/5/1953 - Moscow - Live - USSR State S.O./Kondrashin - MELODIYA CD 10 02243 (50CD)** [N] BABAYEV, A. -
The Genre of the Minuet in the Works of Maurice Ravel
Journal of Siberian Federal University. Humanities & Social Sciences 1 (2016 9) 41-54 ~ ~ ~ УДК 78.085 The Genre of the Minuet in the Works of Maurice Ravel Valentina V. Bass* Krasnoyarsk State Institute of Art 22 Lenin Str., Krasnoyarsk, 660049, Russia Received 19.07.2015, received in revised form 21.08.2015, accepted 30.08.2015 The article deals with the key issue of modern musicology, the issue of a certain genre that prevails in the works of a music composer, an ability of a genre to become a factor that determines stylistic specificity. In the works of Maurice Ravel this style-forming factor is dance. On the example of the minuet that occupies a special place in the works of the composer, the article explores the principles of mediation of choreographic and musical features of the dance prototype at the semantic and structural levels in the thematism and form generation of Ravel’s works. The aesthetic perfection and delicate elegance of gestures, graphical precision of choreographic pattern and dialogueness typical for the minuet have been reflected in the motive-composition character of the thematism, the periodicity of the syntax, the relative stability of the meter, the active use of various methods of polyphonization of the musical texture, the exclusive role of the principle of symmetry on the compositional, melodic and textural levels of the musical form. Individual features of the minuet in various works of Ravel are related to their stylistic origins and genre fusion creating certain imagery. Keywords: minuet, dance prototype, choreographic pattern of dance, genre semantics, counter rhythm, figurative polyphony, stylistic multilayers. -
![Serge Diaghilev/Serge Lifar Collection [Finding Aid]. Library of Congress](https://docslib.b-cdn.net/cover/1269/serge-diaghilev-serge-lifar-collection-finding-aid-library-of-congress-1101269.webp)
Serge Diaghilev/Serge Lifar Collection [Finding Aid]. Library of Congress
Serge Diaghilev/Serge Lifar Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2006 Revised 2012 November Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu003011 LC Online Catalog record: http://lccn.loc.gov/2006568220 Processed by the Music Division of the Library of Congress Collection Summary Title: Serge Diaghilev/Serge Lifar Collection Span Dates: 1750-1950 Bulk Dates: (bulk 1890-1929) Call No.: ML31.D53 Creator: Diaghilev, Serge, 1872-1929 Extent: around 1,350 items ; 81 boxes ; 91 linear feet Language: Collection material in English, French, and Russian Location: Music Division, Library of Congress, Washington, D.C. Summary: This collection is comprised in large part of printed music, widely representing 18th century Italian and 19th century Russian operatic music. Includes rare pre-revolutionary editions of Russian folk songs, annotated performance scores of Stravinsky, Mussorgsky, Rimsky-Korsakov, Gounod, Cimarosa. Non-musical materials include three letters from S. Prokofiev to S. Diaghilev, rare edition of books on music, literature and theater, libretti and synopses, souvenir books and programs and photographs. Several of the programs and photographs show Léon Bakst's set and costume designs. Non- musical materials also include Diaghilev’s personal notebook, containing entries in French, Russian, and English made in 1926-1929. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. -
Summergarden: Pianist Araceli Chacon to Perform
For Immediate Release July 1989 Summergarden PIANIST ARACELI CHACON TO PERFORM DEBUSSY'S PRELUDES Friday and Saturday, July 14 and 15, 7:30 p.m. A special collaboration between The Museum of Modern Art and The Juilliard School, SUMMERGARDEN 1989 presents a free series of concerts examining the music of Claude Debussy (1862-1918) and Bela Bartok (1881-1945). Under the artistic direction of Paul Zukofsky, performances are held at 7:30 p.m. on Friday and Saturday evenings in the Abby Aldrich Rockefeller Sculpture Garden. The Garden is open from 6:00 to 10:00 p.m. SUMMERGARDEN is made possible by a grant from Mobil. The second SUMMERGARDEN program, on July 14 and 15, features pianist Araceli Chacon performing the following works by Claude Debussy: Preludes, Book I (1910) 1. Danseuses de Delphes 2. Voiles 3. Le Vent dans la plaine 4. Les Sons et les parfums tournent dans l'air du soir 5. Les Collines d'Anacapri 6. Des Pas sur la neige 7. Ce qu'a vu le vent d'ouest 8. La Fille aux cheveux de lin 9. La Serenade interrompue 10. La Cathedrale engloutie 11. La Danse de Puck 12. Minstrels Preludes, Book II (1910-13). 13. Brouillards 14. Feuilles mortes 15. La Puerta del vino 16. Les Fees sont d'exquises danseuses - more - Friday and Saturday evenings in the Sculpture Garden of The Museum of Modern Art are made possible by a grant from Mobil 11 West 53 Street, New York, NY. 10019 5486 Tel: 212-708-9850 Cable: MODERNAkl Telex: 62370 MODART - 2 - 17. -
May, 1952 TABLE of CONTENTS
111 AJ( 1 ~ toa TlE PIANO STYI2 OF AAURICE RAVEL THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Jack Lundy Roberts, B. I, Fort Worth, Texas May, 1952 TABLE OF CONTENTS LIST OFLLUSTRTIONS. Chapter I. THE DEVELOPMENT OF PIANO STYLE ... II. RAVEL'S MUSICAL STYLE .. # . , 7 Melody Harmony Rhythm III INFLUENCES ON RAVEL'S EIANO WORKS . 67 APPENDIX . .* . *. * .83 BTBLIO'RAWp . * *.. * . *85 iii LIST OF ILLUSTRATIONS Figure Page 1. Jeux d'Eau, mm. 1-3 . .0 15 2. Le Paon (Histoires Naturelles), mm. la-3 .r . -* - -* . 16 3. Le Paon (Histoires Naturelles), 3 a. « . a. 17 4. Ondine (Gaspard de a Nuit), m. 1 . .... 18 5. Ondine (Gaspard de la Nuit), m. 90 . 19 6. Sonatine, first movement, nm. 1-3 . 21 7. Sonatine, second movement, 22: 8. Sonatine, third movement, m m . 3 7 -3 8 . ,- . 23 9. Sainte, umi. 23-25 . * * . .. 25 10. Concerto in G, second movement, 25 11. _Asi~e (Shehdrazade ), mm. 6-7 ... 26 12. Menuet (Le Tombeau de Coupe rin), 27 13. Asie (Sh6hlrazade), mm. 18-22 . .. 28 14. Alborada del Gracioso (Miroirs), mm. 43%. * . 8 28 15. Concerto for the Left Hand, mii 2T-b3 . *. 7-. * * * .* . ., . 29 16. Nahandove (Chansons Madecasses), 1.Snat ,-5 . * . .o .t * * * . 30 17. Sonat ine, first movement, mm. 1-3 . 31 iv Figure Page 18. Laideronnette, Imperatrice des l~~e),i.......... Pagodtes (jMa TV . 31 19. Saint, mm. 4-6 « . , . ,. 32 20. Ondine (caspard de la Nuit), in. 67 .. .4 33 21. -
Formulaic Openings in Debussy
Formulaic Openings in Debussy JAMES A. HEPOKOSKI By now it comes as no surprise that much of grows from not merely one, but several syntac- what may at first strike us as innovative in De- tical conventions. On the one hand, Debussy bussy's music was in fact carried out within the perceived the language of Wagner as the most framework of historical precedent and estab- progressive available style, with its motivic or- lished convention. Indeed, tracing the emer- ganization and transformation, harmonic and gence of his personal style from the early works, formal freedom, aperiodic construction, and ex- with their explicit reliance on existing models, plicit seriousness of purpose.' On the other, he to the later works, where the models or conven- inherited by culture and education the set of tions are more tacit, is an issue of fundamental languages of such French contemporaries and musicological importance. Perhaps no com- immediate predecessors as Gounod, Saint- poser of this fin-de-sikcle era exemplifies more Sains, Faur6, Duparc, Chabrier, Franck, and clearly the expressive tension that results from Massenet-languages not untouched by the ex- the forging of a creative language that simulta- ample of Wagner (and Liszt), but ones more con- neously works within a received tradition and servative in their melodic emphasis and perio- strives for radical originality. dicity, even while they admitted considerable The question of the composer's development harmonic experimentation, particularly in the is particularly complex, because his music area of modality. Debussy's early works blend in differing proportions the existing German Notes for this article begin on page 57. -
Richard Goode, Piano
Sunday, April 22, 2018, 3pm Zellerbach Hall Richard Goode, piano PROGRAM William Byrd (c. 1539/40 or 1543 –1623) Two Pavians and Galliardes from My Ladye Nevells Booke (1591) the seconde pavian the galliarde to the same the third pavian the galliarde to the same Johann Sebastian Bach (1685 –1750) English Suite No. 6 in D minor, BWV 811 (1715 –1720) Prelude Allemande Courante Sarabande - Double Gavotte I Gavotte II Gigue Ludwig van Beethoven (1770 –1827) Sonata No. 28 in A Major, Op. 101 (1815 –16) Etwas lebhaft, und mit der innigsten Empfindung. Allegretto, ma non troppo Lebhaft. Marschmäßig. Vivace alla Marcia Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro INTERMISSION Claude Debussy (1862 –1918) Préludes from Book Two (1912 –13) Brouillards—Feuilles mortes—La puerta del Vino—Les fées sont d’exquises danseuses— Bruyères—“Général Lavine” – excentric— La terrasse des audiences du clair de lune— Ondine—Hommage à S. Pickwick Esq. P.P.M.P.C.— Canope—Les tierces alternées—Feux d’artifice Richard Goode records for Nonesuch Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. 7 PROGRAM NOTES William Byrd Among Byrd’s most significant achievements Selections from My Ladye Nevells Booke was the raising of British music for the virginal, William Byrd was not only the greatest com - the small harpsichord favored in England, to poser of Elizabethan England, but also one of a mature art, “kindling it,” according to Joseph its craftiest politicians. At a time