Trio no. 1 for piano, violin and cello (both versions) in B minor, op.8.

Contains both the 1854 and the 1891 versions.

Two quartets for piano, violin, viola and cello: Op.1 in C minor; Op.2 in F minor.

Op.1, C minor.--Op.2, F minor.

Piano concerto no. 2 in D minor, op. 40.

Mode of access: Internet.

Four works for violin and piano.

Rando brillant, op. 70, D.895-- Sonata, D major, op. 137, No. 1, D.384-- Sonata, A minor, op. 137, No. 2, D.385-- Sonata, G minor, op. 137, No. 3, D.408.

2 nocturnes pour le piano: op. 46

par Léopoldine Blahetka.

Der sterbende Jesus in einer Cantata : à basso solo con 2 hautbois, 2 violini, 1 viola, violoncello et organo

di Telemann

Faculty Recital Robin McCabe, piano Around Robin March 2, 2015

Concert Program

Tracing Beethoven Through the Ten Sonatas for Piano and Violin

Examination of Beethoven’s ten sonatas for piano and violin as a single arc, to uncover linkages between the individual sonatas and observe their stylistic evolution as a set, benefits from placing these works also in relation to the wider realm of Beethoven’s chamber music as a whole. During the years in which his sonatas for piano and violin were written, Beethoven often produced multiple works simultaneously. In fact, the first nine sonatas for piano and violin were written within a mere five-year span (1798 – 1803.) After a gap of nine years, Beethoven completed his tenth and final sonata, marking the end of his “Middle Period.” Because of this distribution, it is important to consider each of these sonatas not only as an interdependent set, but also in relation to the whole of Beethoven’s output for small ensemble. Beethoven wrote the last of his piano and violin sonatas in 1812, with a decade and a half of innovation still ahead of him. This provokes one to look beyond these sonatas to discover the final incarnation of the ideas introduced in these works. In particular, the key creative turning points within the ten sonatas for piano and violin become strikingly apparent when compared to Beethoven’s string quartets, which dramatically showcase Beethoven’s evolution in sixteen works distributed more or less evenly across his career. From the perspective of a string quartet player, studying the ten sonatas for piano and violin provides an opportunity to note similarities between the genres. This paper argues that examining the ten sonatas from a viewpoint primarily informed by Beethoven’s string quartets yields a more thorough understanding of the sonatas themselves and a broader conception of the vast network of interrelationships that produce Beethoven’s definitive voice. The body of this paper contains a full exploration of each of the ten sonatas for piano and violin, highlighting key musical, historical, and theoretical elements. Each of the sonatas is then put not only in context of the set of ten, but is contrasted with Beethoven’s sixteen string quartets, identifying unifying motives, techniques, and structural principles that recur across both bodies of work.

Biossorção de tório com emprego de Sargassum filipendula

Com o aumento do rigor para descarte de efluentes contaminado com metais pesados, as pesquisas têm se intensificado na busca de métodos de remoção, que tragam bons resultados de captação dos metais, aliado a um baixo custo. O uso de biomassas como bactérias, fungos e algas marinhas como material adsorvente, tem se apresentado como uma alternativa, principalmente para soluções com baixo teor de metais. Neste trabalho, a alga marinha Sargassum filipendula foi avaliada na sua capacidade de remoção do metal tório de uma solução sintética e do efluente dos laboratórios de análises ambientais do IRD. A cinética desta biossorção foi estudada em regime de batelada e o equilíbrio foi alcançado com 180 min de reação. Dois modelos cinéticos foram utilizados nesta avaliação, um de primeira ordem e um modelo de pseudo segunda ordem, tendo o modelo de segunda ordem apresentado um melhor ajuste dos dados. Na avaliação da capacidade máxima de captação do tório pela biomassa marinha em regime de batelada, foi construída a isoterma que apresentou um perfil crescente na captação alcançando um máximo de 2,59 mol/g. Os modelos de Langmuir e Freundlich foram utilizados para ajustar os dados da isoterma, tendo apresentado maior correlação com os dados o modelo de Langmuir, resultando num valor de captação máxima calculado pelo modelo de 2,92 mol/g. A capacidade de remoção do metal tório da alga Sargassum filipendula também foi avaliada em regime contínuo. Um estudo de altura crítica de leito foi realizado preenchendo-se uma coluna com diferentes massas de alga correspondendo a diferentes alturas de leito. A concentração de tório residual foi quantificada na solução de saída e a menor concentração na saída foi alcançada com 40 cm de leito ou 96 g de biomassa. Após este estudo um sistema contínuo com duas colunas, com 96 g de biomassa cada, e uma bomba peristáltica foi utilizado para o tratamento do efluente real do IRD, contendo não apenas o metal tório, mas outros metais como urânio, cálcio, cromo, ferro, chumbo, etc. Cento e cinco litros de efluente foram tratados numa concentração de 6 mg/L, a concentração do efluente de saída foi de 3,75 mg/L. A caracterização do efluente quanto aos metais presentes foi realizada em ICP-MS, os resultados demonstraram que não houve competição pelos sítios ligantes da biomassa entre o tório e os demais metais. Além disso, alguns metais como cálcio, ferro e magnésio, tiveram um aumento na concentração de saída indicando a presença do mecanismo de troca iônica na biossorção do tório por Sargassum filipendula

Interpreting the input admittance of violins and guitars

The most widespread vibration measurement on musical instrument bodies is of the point mobility at the bridge. Analysis of such measurements is presented, with a view to assessing what range of information could feasibly be extracted from the corpus of data. Analysis approaches include (1) pole-residue extraction; (2) damping trend analysis based on time decay information; (3) statistical estimates based on SEA power-balance and variance theory. Comparative results are shown for some key quantities. Damping trends with frequency are shown to have unexpectedly different forms for violins and for guitars. Linear averaging to estimate the "direct field" component gives a simple and clear visualisation of any local resonance behaviour near the bridge, such as the "bridge hill", and reveals some violins that show a double hill, while viols show only weak hills, and guitars none at all. © S. Hirzel Verlag · EAA.

Miniatures for Horn Trio.

This three movement work was first performed by members of the Research Ensemble at the Peninsula Arts Contemporary Music Festival, 26 February 2010. Material from the first movement reappears in the second and third in various guises. The second movement is dedicated to the choreographer, Merce Cunningham, and the constant piano part with pedal sustained throughout is a reference to the fluidity of dance. As a contrast to this there are passages of imitation between the horn and violin, some more audible than others, which are included as an acknowledgement of the intimate relationship which exists between co-dancers on stage. The third movement is dedicated to John Cage (Cunningham's partner) and, while the piano sustains chords (reworking content from the first movement), the gestures in the other parts loosely follow the outline of sections of one of Cage's watercolours, River Rocks and Smoke no.6. Much of my music is inspired by visual art and, having admired Cage's music and writings since by student days, it seemed appropriate after dedicating the second movement to Cunningham, to turn to Cage's art work in the final part of the composition.

The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplifi ed by his Piano Sonata in B minor

The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a diff erent and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szász. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He fi nds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists – Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen – are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.

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.