The harmonia : a collection of four-part songs, for male voices, with German and English words /

Parts for tenor I, tenor II, bass I, and bass II.

The Nativity : a play, with music, for children : founded on old French songs /

Includes instructions for performance.

Cinq mélodies pour chant et piano, op. 54 /

Tristesse des Choses -- Le Colibri -- Les roses d'Ispahan -- Je n'en ai jamais aimé qu'une -- Ici bas.

Violin concerto in D major, op. 77.

Mode of access: Internet.

Five duets for piano and stringed instruments.

Sonata, F minor, opus 4, violin and piano; [For] violoncello and piano: Variations concertantes, D major, opus 17; Sonata no.1, B flat major, opus 45; Sonata no.2, D major, opus 58; Songs without words, D major, opus 109.

Works for piano and one other instrument.

Fantasy, op. 159.--Sonata, A major, op. 162.--Introduction & Variations on Trockne Blumen, op. 160.--Sonata for piano and arpeggione or cello.

Konzert, für Violine und Orchester : [A dur] /

Acc. arr. for piano.

Konzert für Violine und Orchester : op. 52 /

For violin and piano.

Musical commonplace book : manuscript, [approximately 1790-approximately 1810]

Contains songs, partly from English operas, and instrumental music.

RACHMANINOFF AND MEDTNER: SELECTED WORKS FROM THE SOLO AND COLLABORATIVE PIANO REPERTOIRE

Sergei Rachmaninoff and Nikolai Medtner occupy a special place in the history of Russian music. Both composers were exceptional pianists and left us some of the greatest works in the piano repertoire. Although these composers shared many similarities, and were often compared, their musical languages and views on composition were very different. Unfortunately, Medtner’s music, which Rachmaninoff admired greatly, has remained neglected for several generations of performers and listeners. In my dissertation I will explore the similarities and contrasts in Rachmaninoff’s and Medtner’s music. Through these performances, I hope to encourage other musicians to discover the imaginative power of Medtner’s music. Of course, no such encouragement is needed for Rachmaninoff’s extremely popular music; however, the technical and musical challenges of performing that repertoire are an invaluable part of every pianist’s education. This dissertation project was presented in three recitals which were performed in Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland on May 8, 2014, December 5, 2014 and March 21, 2016. The following pieces comprised the survey of Rachmaninoff music: Vocalise Op. 34, Variations on a Theme of Corelli Op. 42, Piano Concerto No 2 Op. 18, Selected Songs Opp. 4 and 8, and two Moments Musicaux Op. 16 - Nos 3 and 4. The following pieces were included to represent Medtner: Sonata for Violin and Piano Op. 57 in E minor “Epica”, Fairy Tales for solo piano Op. 20 No 1, Op. 26 No 3 and Op. 51 No 1, and Selected Songs Op. 6 and 15. My partners in this project were Lilly Ahn, soprano, Jennifer Lee, violin and Nadezhda Christova, piano. All three recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Graduate Violin Recital

Sonata for Solo Violin in G-minor, J. S. Bach (1685-1750) Adagio Fuga Siciliana Presto Sonata for Violin and Piano in G-major, L. Beethoven (1770-1827) Allegro assai Tempo di Menuetto Allegro vivace Sonata for Violin and Piano in A-major, G. Faure (1845-1924) Allegro molto Andante Allegro vivo Allegro quasi presto Jennifer Snyder, piano

TRADITION AND INNOVATION: ANALYSIS AND PERFORMANCE OF SELECTED COMPOSITIONS FOR VIOLONCELLO BY HEITOR VILLA-LOBOS

Brazilian composer Heitor Villa-Lobos (1887-1959) began his musical career as a cellist. When he was only twelve years old, it became imperativeupon the sudden and untimely death of his fatherthat the young Villa-Lobos earn money as a cellist to provide financial support for his mother and sisters. Villa-Lobos's intimate relationship with the cello eventually inspired him to compose great music for this instrument. This dissertation explores both the diversity of compositional technique and the evolution of style found in the music for cello written by Villa-Lobos. The project consists of two recorded recital performances and a written document exploring and analyzing those pieces. In the study of the music of Villa-Lobos, it is of great interest to consider the music's traditional European elements in combination (or even juxtaposition) with its imaginative and sometimes wildly innovative Brazilian character. His early works were greatly influenced by European Romantic composers such as Robert Schumann, Frédéric Chopin, and the virtuoso cellist/composer David Popper (whom Villa-Lobos idolized). Later, Villa-Lobos flourished in a newfound compositional independence and moved away from Euro-romanticism and toward the folk music of his Brazilian homeland. It is intriguing to experience this transition through an exploration of his cello compositions. The works examined and performed in this dissertation project are chosen from among the extensive number of Villa-Lobos's cello compositions and are his most important works for cello with piano, cello with another instrument, and cello with orchestra. The chosen works demonstrate the evolving range and combination of characteristic elements found in Villa-Lobos's compositional repertoire.

Fictions

Work in three movements for chamber ensemble of flute (d piccolo, alto flute), clarinet (d bass clarinet), violin, cello, piano written for Stony Brook Contemporary Music Players, Stony Brook University NY USA

Trois compositions, trois genres musicaux et une démarche programmatique : Le chat noir, La nébuleuse de la tour, Le livre de Thot

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU).

Selected songs of Eliakum Zunser

arr. for voice with piano accompaniment by William Fichandler ...