VIRTUOSIC ELEMENTS IN THE COLLABORATIVE PIANIST’S REPERTOIRE: SELECTED SOLO, VOCAL, AND CHAMBER WORKS OF RACHMANINOFF AND RAVEL

This dissertation project explores some of the technical and musical challenges that face pianists in a collaborative role—specifically, those challenges that may be considered virtuosic in nature. The material was chosen from the works of Rachmaninoff and Ravel because of the technically and musically demanding yet idiomatic piano writing. This virtuosic piano writing also extends into the collaborative repertoire. The pieces were also chosen to demonstrate these virtuosic elements in a wide variety of settings. Solo piano pieces were chosen to provide a point of departure, and the programmed works ranged from vocal to two-piano, to sonatas and a piano trio. The recitals were arranged to demonstrate as much contrast as possible, while being grouped by composer. The first recital was performed on April 24, 2009. This recital featured five songs of Rachmaninoff, as well as three solo piano preludes and his Suite No. 2 for two pianos. The second recital occurred on November 16, 2010. This recital featured the music of both Rachmaninoff and Ravel, as well as a short lecture introducing the solo work “Ondine” from Gaspard de la nuit by Ravel. Following the lecture were the Cinq mélodies populaires grecques and the program closed with the substantial Rachmaninoff Sonata for Cello and Piano. The final program was given on October 10, 2011. This recital featured the music of Ravel, and it included his Sonata for Violin and Piano, the Debussy Nocturnes transcribed for two pianos by Ravel, and the Piano Trio. The inclusion of a transcription of a work by another composer highlights Ravel’s particular style of writing for the piano. All of these recitals were performed at the Gildenhorn Recital Hall in the Clarice Smith Performing Arts Center at the University of Maryland. The recitals are recorded on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

Psycho-physio dynamics in violin-piano duo: a pianist's perspective

The case study looked at psychological and physiological responses to stress in musicians, comparing a newly formed and a consolidated violin-piano duo. The common element between these duos was the pianist. Using the psychological tests (STAI Y1 and Y2, K-MPAI, MMPI-2, ICAC), the immunoassay saliva test to measure cortisol (stress hormone) and non- invasive device VitalJacket® developed at the University of Aveiro, Portugal, participants were monitored under various performance conditions. Others quantitative and qualitative dataset were collected including a pianist’s personal diary (analyzed by psychiatrist), semi-structured interviews with members of long-terms chamber music duo and perceptual evaluations (listening test) of the performances by expert listeners. The variables included two performance venues (European university and secondary school), as well as well-known repertoire, recently known repertoire and newly known repertoire. The latter was given approximately one week before each recital. The psychological and physiological dataset were collected for a total of eight recitals – two series of four recitals each. The unexpected results show that state anxiety levels and stress of the pianist, who does not present an anxious profile, either in social or in musical terms, are always higher when playing with a well-known partner. Possible explanations may be due to the highest expectations for quality of performance and implications of mirror neurons (since the reactions are very different according to the partner). In other words, the “known” (i.e., the consolidated duo) can become “trapped” within a predetermined space, especially at the psychological level, while the “unknown” (the occasional duo) seems to be less involved and therefore more reassuring and exciting in positive terms. In addition, the preference of the expert audience is for the consolidated duo.

Noon Recital, Music for Harpsichord and Piano, May 14, 1969

Concert Program for Noon Recital, Music for Harpsichord and Piano, May 14, 1969

Cantorial anthology of traditional and modern synagogue music : arranged for cantor and choir with organ accompaniment

comp. and ed. by Gershon Ephros

The Boston Handel and Haydn Society collection of church music : being a selection of the most approved psalm and hymn tunes, anthems, sentences, chants, &c. : together with many beautiful extracts from the works of Haydn, Mozart, Beethoven, and other eminent composers, harmonized for three and four voices, with a figured base for the organ and piano forte /

Mode of access: Internet.

The Star collection of instrumental music; arranged for wind and string instruments, and for the use of small bands and orchestras.

Contains arrangements of songs, selections from operas, dances, etc.

Early Italian piano music; a collection of pieces written for the harpsichord and clavichord.

"Italian composers for the harpsichord": p. [ix]-xiv.

The golden treasury of piano-music; a collection of pieces written for the virginal, spinet, harpsichord and clavichord

Contains works by Byrde, Bull, Gibbons, Frescobaldi, Froberger and others.

Poem, for flute and orchestra. [music] : For flute and piano /

Mode of access: Internet.

Concerto for horn no. 2. [music] : solo French horn and piano /

Originally for horn and string orchestra.

Concerto no. 1 in B flat minor, opus 23, for piano and orchestra. [music] /

Mode of access: Internet.

Jigs and reels. [music] : containing all favorite reels, jigs, hornpipes, flings, country dances, buck and wing dances, etc., both old and new; for the piano or organ.

Mode of access: Internet.

Two sonatas for violoncello and piano, op. 45 and 58. [music] /

Mode of access: Internet.

Allegro de concert, for violin with piano accompaniment, op. 15 /

Originally for violin and orchestra; acc. arr. for piano.

Elegiac variations. [music] : op. 25, for violoncello and piano.

Cover title.