Various choral works with piano accompaniment.

German words.

Various choral works, with piano accompaniment [Op.92, 103, 112, 93b]

Quartette...Op.92 [no.] 1-4.--Zigeunerlieder...op.103 [no.]1-11.--Sechs Quartette...op.112 [no.] 1-6.--Tafellied...op.93b.--Kleine Hochzeitskantate.

Piano mastery, second series; talks with master pianists and teachers, including conferences with Hofmann, Godowsky, Grainger, Powell, Novaes, Hutcheson and others; also hints on Macdowell's teaching by Mrs. Macdowell, and reminiscences of Joseffy,

Mode of access: Internet.

A complete course of instruction for the piano forte, with the assistance of hand guides: containing the principles of music, a complete system of fingering, with rules on expression and musical punctuation, and a classification of authors, proper to be studied, followed by a study for three fingers, a toccata, a fugue of four parts for the left hand alone, and several studies in thirds, sixths, and octaves.

Principally exercises.

UW Symphony David Alexander Rahbee, conductor with Concerto Competition Winners ZeZe Xue, piano and Andrew Abel, tuba June 3, 2016

Concert Program

Barry Lieberman & Friends present guest artist Travis Gore, contrabass with Huang Ting Yao, piano November 21, 2010

Concert Program

Barry Lieberman & Friends presents Ted Botsford double bass with Megan McElroy, piano Marissa Winship, viola May 22, 2016

Concert Program

Piano recital consisting of works by J. S. Bach, L. Van Beethoven and F. Chopin with extended program notes

Partita No 4 in D Major, BWV 828 - Johann Sebastian Bach (1685-1750) Sonata No 23 in F minor, Op 57 - Ludwig van Beethoven (1770-1827) Scherzo No 1 in B minor, Op 20 - Frederic Chopin (1810-1849)

Into the Bends of Time and Musical Forces in Jazz: Group Interaction and Double-time in “My Foolish Heart” as performed by the Bill Evans Trio with Scott LaFaro and Paul Motian.

Into the Bends of Time is a 40-minute work in seven movements for a large chamber orchestra with electronics, utilizing real-time computer-assisted processing of music performed by live musicians. The piece explores various combinations of interactive relationships between players and electronics, ranging from relatively basic processing effects to musical gestures achieved through stages of computer analysis, in which resulting sounds are crafted according to parameters of the incoming musical material. Additionally, some elements of interaction are multi-dimensional, in that they rely on the participation of two or more performers fulfilling distinct roles in the interactive process with the computer in order to generate musical material. Through processes of controlled randomness, several electronic effects induce elements of chance into their realization so that no two performances of this work are exactly alike. The piece gets its name from the notion that real-time computer-assisted processing, in which sound pressure waves are transduced into electrical energy, converted to digital data, artfully modified, converted back into electrical energy and transduced into sound waves, represents a “bending” of time.

The Bill Evans Trio featuring bassist Scott LaFaro and drummer Paul Motian is widely regarded as one of the most important and influential piano trios in the history of jazz, lauded for its unparalleled level of group interaction. Most analyses of Bill Evans’ recordings, however, focus on his playing alone and fail to take group interaction into account. This paper examines one performance in particular, of Victor Young’s “My Foolish Heart” as recorded in a live performance by the Bill Evans Trio in 1961. In Part One, I discuss Steve Larson’s theory of musical forces (expanded by Robert S. Hatten) and its applicability to jazz performance. I examine other recordings of ballads by this same trio in order to draw observations about normative ballad performance practice. I discuss meter and phrase structure and show how the relationship between the two is fixed in a formal structure of repeated choruses. I then develop a model of perpetual motion based on the musical forces inherent in this structure. In Part Two, I offer a full transcription and close analysis of “My Foolish Heart,” showing how elements of group interaction work with and against the musical forces inherent in the model of perpetual motion to achieve an unconventional, dynamic use of double-time. I explore the concept of a unified agential persona and discuss its role in imparting the song’s inherent rhetorical tension to the instrumental musical discourse.

The Emergence of Spanish Impressionism and its Interaction with French Impressionism in Music at the Turn of the Twentieth Century: selections from the solo and collaborative piano repertoire

French Impressionism is a term which is often used in discussing music originating in France towards the end of the nineteenth century. The term Spanish Impressionism could also be used when discussing Spanish music written by the Spanish composers who studied and worked in Paris at the same time as their French counterparts. After all, Spanish music written during this time exhibits many of the same characteristics and aesthetics as French music of the same era. This dissertation will focus on the French and Spanish composers writing during that exciting time. Musical impressionism emphasizes harmonic effects and rhythmic fluidity in the pursuit of evocative moods, sound pictures of nature or places over the formalism of structure and thematic concerns. The music of this time is highly virtuosic as well as musically demanding, since many of the composers were brilliant pianists. My three dissertation recitals concentrated on works which exhibited the many facets of impressionism as well as the technical and musical challenges. The repertoire included selections by Spanish composers Manuel de Falla, Isaac Albéniz, Enrique Granados, Joaquín Turina, and Joaquín Rodrigo and French composers Claude Debussy and Maurice Ravel. The recitals were on April 30, 2013, February 23, 2014 and October 11, 2015. They included solo piano works by Granados and Albéniz, vocal works by Debussy, Ravel, de Falla, Turina and Rodrigo, piano trios by Granados and Turina, instrumental duos by Debussy, Ravel and de Falla, and a two-piano work of Debussy transcribed by Ravel. All three recitals were held in Gildenhorn Recital Hall at the University of Maryland and copies of this dissertation and recordings of each recital may be found through the Digital Repository at the University of Maryland (DRUM).

Ted Botsford double bass with Marissa Winship and Megan McElroy, piano November 13, 2016

Concert Program

UW Symphony David Alexander Rahbee Music Director and Conductor with Jonathan Biss, piano December 9, 2016

Concert Program

Deep Blue Orchestra

Under an Australian Research Council Linkage Grant, the partnering research organisations QUT, Creative Media Warehouse, The Brisbane Festival and The Queensland Orchestra undertook extensive reviews of many aspects of traditional and contemporary arts practice. We will publish excerpts from the findings soon. deepblue is committed to ongoing research as a part of the day to day operation and is currently working in partnership with John Kotzas and the team at QPAC on exploring new techniques for presenting and marketing deep blue.