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Elements of Traditional Folk Music and Serialism in the Piano Music of Cornel Țăranu
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2013 ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU Cristina Vlad University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Vlad, Cristina, "ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU" (2013). Student Research, Creative Activity, and Performance - School of Music. 65. https://digitalcommons.unl.edu/musicstudent/65 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU by Cristina Ana Vlad A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Mark Clinton Lincoln, Nebraska December, 2013 ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU Cristina Ana Vlad, DMA University of Nebraska, 2013 Adviser: Mark Clinton The socio-political environment in the aftermath of World War II has greatly influenced Romanian music. During the Communist era, the government imposed regulations on musical composition dictating that music should be accessible to all members of society. -
Historical Evolution of Thyroid Surgery: from the Ancient Times to the Dawn of the 21St Century
World J Surg (2010) 34:1793–1804 DOI 10.1007/s00268-010-0580-7 Historical Evolution of Thyroid Surgery: From the Ancient Times to the Dawn of the 21st Century George H. Sakorafas Published online: 17 April 2010 Ó Socie´te´ Internationale de Chirurgie 2010 Abstract Thyroid diseases (mainly goiter) have been The chief legacy which a surgeon can bequeath is a gift recognized for more than 3500 years. Knowledge of the of the spirit. To inspire many successors with a firm nature of these diseases was, of course, limited at that time. belief in the high destiny of our calling, and with a Thyroid surgery was conceived by the ancients, but it was confident and unwavering intention both to search out limited to rare attempts to remove part of an enlarged the secrets of medicine in her innermost recesses, and thyroid gland in cases of impending death by suffocation to practice the knowledge so acquired with lofty pur- or, in very rare cases, of a suppurating thyroid. Like other pose, high ideals, and generous heart, for the benefit of fields of surgery, thyroid surgery was limited by many humanity—that is the best that a man can transmit. problems: the lack of anesthesia and antisepsis, the need Sir Berkeley Moynihan for appropriate instruments, mainly artery forceps (many deaths after thyroid surgery were due to severe postoper- ative hemorrhage or infection). Much of the progress in Introduction thyroid surgery occurred in Europe during the second half of the 19th century. During the first half of the 20th Surgical management of thyroid diseases evolved slowly century, the evolution of thyroid surgery accelerated sig- throughout the ages. -
Schumann Romances
SCHUMANN ROMANCES ROBERT SCHUMANN (1810–1856) ROBERT SCHUMANN Drei Romanzen für Oboe und Klavier op. 94 (1849, erschienen/published 1849) Zwei Lieder, bearbeitet für Oboe und Klavier/Two songs, arranged for oboe and piano: 1 I Nicht schnell 03:30 15 „Meine Rose“ (Nikolaus Lenau) op. 90, Nr. 2 (Langsam, mit innigem Ausdruck) 2 II Einfach, innig – Etwas lebhafter – Im Tempo 03:58 (1850, erschienen/published 1850) 03:24 3 III Nicht schnell 04:37 16 „Mein schöner Stern“ (Friedrich Rückert) op. 101, Nr. 4 (Langsam) (1849, erschienen/published 1852) 02:16 Aus/From: Kinderszenen. Leichte Stücke für Klavier op. 15 (1838, erschienen/published 1839) Bearbeitung für Violine und Klavier von/Arranged for violin and piano by Emilius Lund (1870) 17 „Abendlied“ für Klavier zu drei Händen op. 85, Nr. 12 4 Nr. 7 Träumerei 02:24 (1849, erschienen/published 1850) 5 Nr. 8 Am Kamin 01:09 Bearbeitung für Oboe und Klavier/Arranged for oboe and piano (1870) 02:20 Studien für den Pedalflügel. Sechs Stücke in kanonischer Form op. 56 Aus/From: Fünf Stücke im Volkston für Violoncello und Klavier op. 102 (1845, erschienen/published 1845) (1849, erschienen/published 1851) Bearbeitung für Violine (Oboe), Violoncello und Klavier von/ Bearbeitung für Oboe und Klavier/Arranged for oboe and piano Arranged for violin (oboe), violoncello and piano by Theodor Kirchner (1888) 18 II Langsam 03:03 6 I Nicht zu schnell 02:18 19 III Nicht schnell, mit viel Ton zu spielen 03:27 7 II Mit innigem Ausdruck 03:40 20 IV Nicht zu rasch 01:57 8 III Andantino – Etwas schneller – Tempo I 01:39 9 IV Innig – Etwas bewegter 03:40 10 V Nicht zu schnell 02:10 CÉLINE MOINET Oboe 11 VI Adagio 03:06 NORBERT ANGER Violoncello (6–11) FLORIAN UHLIG Klavier/piano CLARA SCHUMANN (1819–1896) Drei Romanzen für Violine und Klavier op. -
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito. -
Surgery in Austria
SPECIAL ARTICLE Surgery in Austria W. Wayand, MD; W. Feil, MD; Manfred Skopec, DozDrPhil n 1747, Gerhard van Swieten (1700-1772), personal physician to Empress Maria Theresia and reformer of medical education in Austria, founded a bonne e´cole de chirurgie in Vienna. He invited the Florentine Natalis Giuseppe Pallucci (1719-1797), whom he had specially trained in Paris, France, to Vienna to assist him with the school. However, although van ISwieten was highly successful as a reformer of the medical curriculum, his attempt to transform surgery from a craft into an academic discipline failed.1 Emperor Joseph II, son of Empress Maria Theresia and successor to the throne, also attempted to raise the standing of surgery. In 1785, he founded a school for military surgeons later called Joseph’s Academy. Joseph II’s protochirurgus, Giovanni Alessandro Brambilla (1728-1800), became the first director of the school, which was modeled on the Academie Royale de Chirurgie in Paris. The Josephinum, a building in beautiful classical style, still exists today in Vienna. In 1805, Vincenz Kern (1760-1805) be- onstrate Schuh’s ardent desire to provide a gan the development of civil surgical train- thorough scientific grounding for surgery. ing, that is, the foundation of an efficient By 1840, Schuh had already performed a suc- university school of surgery. It was Kern’s cessful pericardiac aspiration, and on Janu- life work to transform surgery from a craft ary 27, 1847, he was the first to use ether as to a science. In 1807, Kern founded the Im- an anesthetic on a human in Austria.2,4 perial Royal Surgeons’ Institute, which be- Franz von Pitha (1810-1875) was the came the springboard for future Austrian chair of surgery at Joseph’s Academy from surgeons. -
THE UNKNOWN ENESCU Volume One: Music for Violin
THE UNKNOWN ENESCU Volume One: Music for Violin 1 Aubade (1899) 3:46 17 Nocturne ‘Villa d’Avrayen’ (1931–36)* 6:11 Pastorale, Menuet triste et Nocturne (1900; arr. Lupu)** 13:38 18 Hora Unirei (1917) 1:40 2 Pastorale 3:30 3 Menuet triste 4:29 Aria and Scherzino 4 Nocturne 5:39 (c. 1898–1908; arr. Lupu)** 5:12 19 Aria 2:17 5 Sarabande (c. 1915–20)* 4:43 20 Scherzino 2:55 6 Sérénade lointaine (1903) 4:49 TT 79:40 7 Andantino malinconico (1951) 2:15 Sherban Lupu, violin – , Prelude and Gavotte (1898)* 10:21 [ 20 conductor –, – 8 Prelude 4:32 Masumi Per Rostad, viola 9 Gavotte 5:49 Marin Cazacu, cello , Airs dans le genre roumain (1926)* 7:12 Dmitry Kouzov, cello , , 10 I. Moderato (molto rubato) 2:06 Ian Hobson, piano , , , , , 11 II. Allegro giusto 1:34 Ilinca Dumitrescu, piano , 12 III. Andante 2:00 Samir Golescu, piano , 13 IV. Andante giocoso 1:32 Enescu Ensemble of the University of Illinois –, – 20 14 Légende (1891) 4:21 , , , , , , DDD 15 Sérénade en sourdine (c. 1915–20) 4:21 –, –, –, , – 20 ADD 16 Fantaisie concertante *FIRST RECORDING (1932; arr. Lupu)* 11:04 **FIRST RECORDING IN THIS VERSION 16 TOCC 0047 Enescu Vol 1.indd 1 14/06/2012 16:36 THE UNKNOWN ENESCU VOLUME ONE: MUSIC FOR VIOLIN by Malcolm MacDonald Pastorale, Menuet triste et Nocturne, Sarabande, Sérénade lointaine, Andantino malinconico, Airs dans le genre roumain, Fantaisie concertante and Aria and Scherzino recorded in the ‘Mihail Jora’ Pablo Casals called George Enescu ‘the greatest musical phenomenon since Mozart’.1 As Concert Hall, Radio Broadcasting House, Romanian Radio, Bucharest, 5–7 June 2005 a composer, he was best known for a few early, colourfully ‘nationalist’ scores such as the Recording engineer: Viorel Ioachimescu Romanian Rhapsodies. -
Brahms, Mathilde Wesendonck, and the Would-Be “Cremation Cantata”
Volume XXX, Number 2 Fall 2012 Brahms, Mathilde Wesendonck, and the Would-Be “Cremation Cantata” Mathilde Wesendonck (1828–1902) is best known to music historians not for her poetic and dramatic writings, but for her romantic entanglement with and artistic influence on Richard Wagner in the 1850s. In early 1852, Wagner met Mathilde and her husband Otto Wesendonck in Zurich, having fled there in search of asylum from the German authorities, who held a warrant for the composer’s arrest due to his involvement in the revolutionary activities at Dresden in 1848. Otto, a silk merchant, became a patron of Wagner, and in April 1857 the Wesendoncks began to shelter the composer and his wife Minna in a small cottage alongside their own villa in Zurich; Wagner called the cottage his “Asyl.” It was during this time that a love affair apparently evolved between Mathilde and Richard, although it was not necessarily consummated. Not surprisingly, this arrangement proved unsustainable. Minna confronted her husband about the affair in April 1858, and Wagner soon departed his Asyl permanently, heading to Venice; the affair with Mathilde was over, and his marriage would never recover.1 Although Wagner and Mathilde Wesendonck remained in touch, the Wesendoncks would turn down Wagner’s request Mathilde Wesendonck, sketch by Franz von Lenbach for a loan in 1863, and within another year, he was no longer welcome in their home.2 The relationship, however, had left its attitude toward Brahms in the mid-to-late 1860s may have been mark on his work: it is generally recognized as an inspiration influenced by the shift in Mathilde’s loyalties.4 for Tristan und Isolde (1857–59), and Wagner had set some of A relatively little-known oddity is the collection of poetic Mathilde’s poetry as his Wesendonck Lieder (1857–58); earlier, texts that Mathilde composed and sent to Brahms in 1874 in the he had dedicated to her his Sonate für das Album von Frau M. -
Surgery: a Cutting Edge Career Deakin Medical Student's Association HEAD Bly Aiunthoer
2016 Edition 1 April Surgery: A Cutting Edge Career Deakin Medical Student's Association HEAD bLy aIuNthoEr Welcome to The Pulse 2016. interview with Dr. Elysia The Pulse is MeDUSA?s Robb of the Victorian Medical quarterly student newsletter Women?s Society, and an written by students, staff and elective report from Corey medical professionals alike. It Thompson (Class of 2015) aims to engage minds, provoke outlining his experience at discussion and stimulate The Victorian Institute of interest in all things medical. Forensic Medicine. We will be kicking off the Thanks is given to all those year with Surgery: A Cutting that have contributed to this Edge Career. Surgery has a first edition, with particular long and rich history, filled thanks to 2nd year student with both extraordinary Kate Thimbleby who advances and devastating illustrated the front cover. complications, making the Now sit back and enjoy field one of great interest and reading The Pulse. discussion. In this edition, we have a range of articles based Benj amin Paul on experience, insight and Editor (3rd Year) opinion. We also have feature articles, including an A Student's Guide to Surgery 10 tips for surviving theatre By Pippin Freeth (4th Year) 1. Be a wall 5. Sterility. 2. If you can?t be a wall, be very close Don?t touch anything. to the wall. If you want to touch something, maintain nervous eye contact with the local theatre Unless there is something important on nurse and move your hand very slowly that wall and then you should find a new towards the desired object, you will be patch of wall. -
REVIEW Jan Mikulicz-Radecki: One of the Creators of World Surgery Wojciech Kielan, Bogdan Lazarkiewicz, Zygmunt Grzebieniak, Adam Skalski and Piotr Zukrowski
REVIEW Jan Mikulicz-Radecki: one of the creators of world surgery Wojciech Kielan, Bogdan Lazarkiewicz, Zygmunt Grzebieniak, Adam Skalski and Piotr Zukrowski Second Department of General and Oncological Surgery, Wroclaw Medical University, Wroclaw, Poland (Received for publication on March 30, 2004) (Revised for publication on December 14, 2004) (Accepted for publication on December 16, 2004) Abstract. This paper presents the life and achievements of Professor Jan Mikulicz-Radecki and his contribution to European and world surgery. He was born in 1850. Four periods can be distinguished in his surgical career: (1) Vienna period, 1875–82, when he worked by the side of the great Theodor Billroth: he introduced a number of new diagnostic and operative techniques, aseptic and antiseptic procedures, published research papers. He made the first endoscope for examining the esophagus and stomach. (2) Cracow period, 1882–87, when he was head of the Department of Surgery: he inaugurated his work with a lecture in Polish, which started: Gentlemen, I have been accused that I do not know the Polish language – which is my mother tongue to me as well as to any of you. He published papers on the use of iodophorm for healing wounds, was the first surgeon who sutured a perforated gastric ulcer (1885) and invented pyloroplasty (1887), nowadays called Heinecke-Mikulicz pyloroplasty. (3) Ko¨ nigsberg period, 1887–90: he improved the technique of gastric resection, worked on surgery for peptic ulcer and advocated aseptic and antiseptic procedures. (4) Wroclaw (Breslau) period, 1890– 1905: Mikulicz was appointed head of a newly founded Surgical Department. He rebuilt it and designed one of the largest and most modern operating theaters in Europe that time. -
Johannes Brahms String Quartet No
Johannes Brahms String Quartet No. 1 in C minor, Op. 51 No. 1 Clarinet Quintet in B minor, Op. 115 Aris Quartett Thorsten Johanns, Clarinet Johannes Brahms (1833–1897) Aris Quartett Anna Katharina Wildermuth, Violin Noémi Zipperling, Violin Caspar Vinzens, Viola Lukas Sieber, Cello Thorsten Johanns, Clarinet String Quartet No. 1 in C minor, Op. 51 No. 1 01 Allegro . (10'39) 02 Romanze. Poco Adagio . (07'43) 03 Allegretto molto moderato e comodo . (08'42) 04 Allegro . (05'59) Clarinet Quintet in B minor, Op. 115 05 Allegro . (12'57) 06 Adagio . (11'29) 07 Andantino — Presto non assai, ma con sentimento . (04'39) 08 Con moto . (08'35) Total Time . (70'48) Brahms’ formidable string quartets “They contain much beauty in a concise form; yet they are both enormously diffi cult, tech- nically speaking, and not light in content.” his observation of the two string quartets opus 51 was made by Viennese surgeon Theodor Billroth, to whom his friend Johannes Brahms had dedicated them. In doing so, Brahms was not only thinking of the enthusiastic quartet player Bill- T roth, who held a frequently-visited concert salon in his Viennese house, but also of the well-known doctor. For his opus 51, Brahms needed an “obstetrician”, as he put it, since the two hard-won works were a veritable “forceps delivery”. He had destroyed more than twenty string quartets from his youth before he fi nally published his opus 51. Amongst the early pieces was a quartet in D minor that Robert Schumann had already wanted to publish in 1853. -
SCHIMEK During the Nineteenth Century There Was Musical Migration from Cit- Ies Such As Vienna, Milan, Venice and Prague Towards the South and East
Musical Ties of the Romanian Principalities with Austria Between 1821 and 1859 HAIGANUS PREDA-SCHIMEK During the nineteenth century there was musical migration from cit- ies such as Vienna, Milan, Venice and Prague towards the south and east. That this migration was noticeable in Serbian, Hungarian, Greek and Bulgarian cities was shown at the 17th Congress of the Interna- tional Musicology Society in Leuven, 2002.[1] A similar phenomenon took place in the Romanian world, which was not documented at this conference. The present article aims at proving that such a transfer also occurred on Romanian territory and that it was not an accidental phenomenon but part of the deeper process of political, social and cultural change suffered by the country after the second decade of the nineteenth century. A number of Austrian musicians arrived in the Romanian principalities precisely at the moment when, through a process largely supported by international politics, the Greco- Ottoman way of life was being abandoned in favor of Western habits. Politics, economy, and culture underwent a deep reform that affected mentalities, language and social practices. Foreign musicians of Aus- trian or Czech origin arrived, invited by princes or by influential local families, or even on their own in search of favorable commissions, and participated in this renewal work, particularly in its first phase (1821-1859).[2] CULTURAL CONTACTS BETWEEN THE ROMANIAN PRINCIPALITIES AND WESTERN EUROPE BETWEEN 1821 AND 1859 Musical relations between the Habsburg Empire and the Romanian principalities of Moldavia and Walachia[3] emerged against a differ- ent historical background than those in Transylvania, which had be- longed since the seventeenth century to the Habsburgs and possessed a longer tradition of Western-orientated music. -
Festspielfrühling Rügen2020
Festspielfrühling Rügen 2020 Daniel Hope Liebes Publikum, liebe Festspielgäste, ANKOMMEN | GENIESSEN | WOHLFÜHLEN große Kunst entsteht oft innerhalb enger Grenzen. Beim Festspiel- frühling Rügen kommen Musiker aus aller Welt für knapp zwei Wochen auf einer Insel zusammen, um ihrer Kunst neue Horizonte Nur wer auch den Müßiggang liebt, ist ein echter Flaneur. Der Bummel über die Prachtallee der Wilhelmstraße hat mindestens zwei Ziele: die Seebrücke am Ostseestrand – und die Sonnenterrasse unseres Hotels. zu eröffnen. Den Blick zu weiten, das Publikum auf Tuchfühlung Markisen, Oleanderblüten und behagliche Rattanmöbel schaffen eine südländische Stimmung des „Savoir Vivre“. Und warum auch nicht? mit dem Klang zu bringen und die Musik im Zusammenspiel mit Schließlich gehört die Insel Rügen zu den sonnenreichsten Gegenden in Deutschland. der Landschaft wirken zu lassen — das sind Grundideen unseres Frühjahrsfestivals. 26 27 2020 wollen wir darüber hinaus die Künstlerpersönlichkeit Daniel Hope in einem umfassenden Panorama porträtieren. Als Künstle- rischer Leiter hat er befreundete Musiker aus aller Welt nach Rügen gelockt; das Programm reicht von intimer Kammermusik bis zu Orchesterkonzerten. Daniel Hope ist ferner bei einem Kinder- konzert, einem Künstlergespräch und bei einem Abend mit dem Das Romantik ROEWERS Privathotel begeistert mit Schauspieler Sebastian Koch zu erleben. den sonnigen Farben südlicher Eleganz. Eine hochwerti- ge Ausstattung und echte Stilelemente der Vergangen- heit schaffen Persönlichkeit. Erleben Sie den Luxus der Individualität. Unsere 52 Hotelzimmer und Suiten vari- ieren zwischen 20 qm und 55 qm. Sie eignen sich für das Ich23 lade Sie herzlich ein: Werden Sie Teil unseres Frühjahrsfestivals. 22 Wochenende zu Zweit oder die Ferien mit der Familie. Mit allen Sinnen genießen… 10 Erleben Sie die entspannte11 Kombination Ich freue mich auf Ihren Besuch! aus großzügigen Zimmerangeboten, feiner Küche mit regionalem Einfl uss Ihr und wohltuenden Massagen zu Ihrer Erholung bei uns.