Konzert für Violine und Orchester : op. 52 /

For violin and piano.

Sonaten für Klavier und Violine.

Mode of access: Internet.

Twee sonates voor viool met pianobegeleiding /

Sonata 1 in G major, from Op. 8 according to Scheurleer's preface, is Op. 2, no. 5, the Andante from Op. 6, no. 12; sonata 2 in F minor, from Op. 4 according to Scheurleer, is Op. 6, no. 7. cf. Altmann. Kammermusik-katalog.

Andante and scherzo capriccioso : for the violin, with accompaniment of orchestra or piano, op. 16 /

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

SCHUBERT’S WINTERREISE AND THE PIANO TRIO IN Eb; TWO REMARKABLE WORKS FROM ONE REMARKABLE YEAR – 1827: A RECORDING PROJECT

During Franz Schubert’s penultimate year of 1827, he produced two profoundly important and mature works that are the focus of this recording project. The works are, in chronological order: • Winterreise (cycle of 24 songs on the poetry of Wilhelm Müller, 1794-1827) • Piano Trio in Eb Major, Op. 100, D. 929 A unique feature of the project is to present Winterreise in two poetic orders: as traditionally performed and published by Schubert, and in the final ordering published by the poet. The program notes accompanying the dissertation’s three compact discs have extensive information as well as comparative tables of Müller’s and Schubert’s final ordering of the cycle. There are significant differences in ordering, and ultimately the listener will determine which is more dramatically satisfying. Dark melancholy is the central emotion in Winterreise, which Schubert composed at various times throughout 1827 in a mood of corresponding gloom and distress. By contrast, the summer and fall of that year produced, in quick succession, the two glowing and remarkable Piano Trios in Bb and Eb, the second of which is included on these compact discs. The contrast between the trios and Winterreise follows the outward circumstances of Schubert’s life and health, a pattern of sorrow and later consolation and elation. The sound recordings for this dissertation recording project are available on three compact discs that can be found in the Digital Repository at the University of Maryland (DRUM). Winterreise was recorded in August 2009, at the University of Baltimore recital hall in Baltimore, Maryland with University of Maryland Professor François Loup. The trio, recorded in live performance in Baltimore in the spring of 2010, features two members of the Baltimore Symphony Orchestra: Qing Li, B.S.O. principal second violin, and Bo Li, B.S.O. section cellist.

Sonatas and partitas for violin solo /

Mode of access: Internet.

Suite concertante, pour le violon avec accompagnement d'orchestre ou de piano, op. 25,

Cover title also in Russian.

In a nutshell suite : for piano solo /

Originally for orchestra, piano and Deagan percussion instruments.

Sonata III : in D : for violin : with accompaniement of piano /

Unfigured bass realizaed for piano.

COMPOSITIONS FEATURING THE PIANO IN FANTASY FORM: 1820-1920

The Fantasy form offered a composer the freedom to create a work without concerns for fitting into the current stylistic and traditional structures. The flowering of the form seems to be concentrated from 1820-1920 since the composer started to use it as a way to convey a personal idea or to portray a special spirit. This dissertation is comprised of three recitals with fantasies in different genres and styles. Through performing these diverse fantasies, I have been inspired to connect with the imagery and spirit of the compositions in order to capture the unique sentiments of each piece. Also, in order to keep the audience absorbed in the music that is without structure, I have focused on expanding my technical abilities to vary color, sonority, and phrasing. Program one (April 26,2004) includes Fantasie, Op. 17 and Piano Concerto, Op. 54 (assisted by Ya-Hsin Wu) by R. Schumann. Program two (December 10, 2004) includes Three Fantastic Dances, Op. 5 by D. Shostakovitch, Fantasy "Sonataecossaise ", Op. 28 by F. Mendelssohn, Sonata No.2 "Sonata-Fantasy", Op. 19 by A. Scriabin and Fantasie for Piano and Violin, D 934 by F. Schubert with violinist, TaoChang Yu. The last program (November 1, 2005) includes Fantasia baetica by E. de Falla, Morceaux de Fantaisie, Op. 3 by S. Rachrnaninoff, Fantaisie, Op. 49, Impromptu No. 4 '%h.ntasy-hpromptu", Op. 66 and Polonaise-Fantaisie, Op. 61 by F. Chopin.

THE LESSER-KNOWN PIANO CHAMBER MUSIC OF CAMILLE SAINT-SAENS: A RECORDING PROJECT

Throughout his long and industrious lifetime, Camille Saint-Saens (1835-1921) devoted himself unconditionally to music both as a composer and a performer. Saint-Saens was a self-described traditionalist and musical purist, yet his works are distinctly expressive and imaginative, and they reflect the composer's own unique musical language which incorporates recognizably modem traits such as chromaticism and frequent modulation. As a performer, Saint-Saens preferred to premiere his own works and often included his chamber music in his concert programs. Regarded primarily as a symphonic composer in the present day, however, his extensive and varied collection of chamber music works is sadly neglected. Six varied small-ensemble works with piano from his chamber music repertoire have been selected for study and recording for this project: Piano Trio No. 1 in F Major, Op. 18 (1864); Sonata for Cello and Piano No. 1 inC Minor, Op. 32 (1872); two pieces for two pianos, Le Rouet d'Omphale (The Spinning Wheel ofOmphale), Op. 31 (1871) and Phaeton, Op. 39 (1874); piano duet Konig Harald Haifagar (King Harald Haarfager), Op. 59 (1880); and a wind quartet, Caprice sur des airs Danois et Russes (Caprice on Danish and Russian Airs) for Flute, Oboe, Clarinet and Piano, Op. 79 (1887). Analyses of the forms and harmonic structures of these compositions will be included in this dissertation paper as well as studies from the viewpoint of Saint-Saens' compositional style, ensemble characteristics, and writing for the piano. The recordings for this project were made in four sessions in LeFrak Concert Hall at Queens College, the City University of New York. On September 24, 2003, Op. 31, Op. 39 and Op. 59 were recorded with Professor Morey Ritt, piano. On March 2, 2004, Op. 18 was recorded with Elena Rojas, violin, and Clare Liu, cello, and on March 15, 2004, Op. 32 was recorded, also with Ms. Liu. The Caprice, Op. 79 was recorded on June 27, 2008 with Laura Conwesser, flute; Randall Wolfgang, oboe; and Steve Hartman, clarinet. The recordings may be found on file in the library at the University of Maryland, College Park.

A GOLDEN AGE: FRENCH AND SPANISH CELLO MUSIC FROM SAINT-SAENS TO CASSADO

Motivated by both the delicacy of French music, such as La Mer by Claude Debussy, and the exotic atmosphere of Spanish music, such as Zigeunerweisen by Pablo Sarasate, I decided to investigate the characteristics of French and Spanish cello music from Camille Saint-Saens to Gaspar Cassad6. French cello music flourished from the end ofthel9th to the middle of the 20th century because of the innovation of many unprecedented techniques and experimentation with a variety of sonorities. The Spanish were heavily influenced by the French due to the geographical connection. Cello virtuosi like Auguste Tolbecque, August Franchomme, Pierre Fournier, and Paul Tortelier inspired composers of their day, creating a "golden age" of cello music. This dissertation consisted of three recitals in Gildenhom Recital Hall. The first recital was held on May lOth, 2007 at 5:30pm with pianist David Ballena. The second recital was held on October 14th, 2007 at 2pm with collaborators Minna Han, piano and Jenny Wu, violin. The third recital was held on March 301 2008 at 5:30 with pianist Naoko Takao. Here is the program of the recitals: The first recital: Gabriel Faure(1856-1924): Sonate pour Violoncello et Piano Op.109(1917) Gaspar Cassad6 (1897-1966): Suite per Violoncello Solo (1926) Claude Debussy (1862-1918): Sonate pour Violoncelle et Piano (1915) The second recital: Manuel de Falla (1876-1946): Melodia (1897), Romanza (1898) Camille Saint-Saens (1835-1921): Concerto for Cello and Orchestra No.1 in A minor Op.33 (1873) Maurice Ravel (1875-1973): Sonata for Violin and Cello (1920-22) The third recital: Pablo Casals (1876-1973): Song of the Birds (1925) Edouard Lalo (1823-1892): Concerto for Cello and Orchestra in D Minor (1877) Franscis Poulenc (1899-1963): Sonata for Cello and Piano Op.l43(1940-48)

Bridging the Divide Between the Soloist and the Ensemble Player

In conservatories and music schools, the general practice for an aspiring pianist is to focus on solo performance learning mainly solo repertoire. With the advent of the advanced degree in collaborative piano, pianists could submerge themselves in the study of duo sonatas, larger chamber music ensembles, and art song. The appearance of this degree was an important step in the development of pianists, as this kind of work requires specific training and focus to master the vast repertoire involved. However it also more clearly brought out the invisible divide separating the solo pianist from the collaborative pianist, a.k.a. the accompanist. While geniuses such as Bach, Beethoven and Brahms were known to compose and perform all types of music, the appearance of super stars such as Liszt and Paganini helped bring into being the term accompanist and since then music world has tacitly embraced this divide. The goal of my dissertational study is to show that this divide need not exist. The three recitals which comprise this dissertational project were all performed at the University of Maryland, the first on 12 November 2010 at Gildenhom Recital Hall, the second at Ulrich Recital Hall on 10 September 2011, and the third at Gildenhorn Recital Hall on 11 November 2011. The repertoire included Rachmaninoff Prelude in g# minor op. 32 no. 12 and Etude-Tableaux in Eb minor op. 29 no. 5, Brahms Sonata for Piano and Violin in d minor op. 108, Mendelssohn Piano Trio in d minor op. 49, Chopin Sonata No.2 in Bb minor, Franck Sonata for Piano and Violin, Prokofiev Piano Concerto no. 2 in g minor op. 16 with pianist Elizabeth Brown as orchestra, Beethoven Sonata for Piano and Violin in A op 47 (Kreutzer), and Paul Schoenfield Cafe Music. All works with violin and cello were performed with violinist Rebecca Racusin, and cellist Devree Lewis. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland(DRUM).

Post-1945 Danish Piano Trio Literature: A Recording Dissertation

This recording dissertation surveys post-1945 literature written for piano trio (violin, violoncello and piano) by ten Danish composers. The literature was first considered for inclusion by searching a database provided by the Danish Music Information Center (www.mic.dk). Scores were rented from the publisher Edition Wilhelm Hansen AS, or purchased from the publisher Samfundet til Udgivelse af Dansk Musik. An additional score published by Viking Musikforlag was used as well. The music was then studied and evaluated for selection. During the selection process, the following criteria were considered: 1) quality of the compositions; 2) recognition of the composers at the national or international level; 3) whether the compositions had been previously recorded; and 4) variety of compositional styles. The selected works are written by Niels Viggo Bentzon, Vagn Holmboe, Anders Koppel, Herman D. Koppel, Bent Lorentzen, Anders Nordentoft, Per Norgard, Michael Nyvang, Karl Aage Rasmussen, and Poul Rovsing Olsen. The selected compositions were practiced, rehearsed, and performed under direct supervision of the composers and other expert musicians. In order to better understand the compositional style of each composer, relevant books, articles, and recordings were researched and studied. This recording dissertation is supported by a written document. A subjective preference for program balance was exercised to determine the order of recorded works. The written document is divided into chapters defined by composer, following the order of the recorded document, which include the composers' biographies and notes referring to the recorded compositions. The recording took place at the Manzius Gaarden, Birkerod, Denmark during three sessions: July 31-August 2, 2002, March 2 and 3, 2003, and June 2-4, 2003. The music for this dissertation was recorded by the members of the Jalina Trio; Line Fredens, violin, Janne Fredens, cello and Natsuki Fukasawa, piano. Aksel Trige, a well-respected recording engineer, was engaged for the recording and editing. Additionally, a Hamburg Steinway concert grand piano was rented and a Joseph Guarnerius filius Andreas Cremona violin (1706) was provided by the Augustinus Fonden, Denmark. The cellist used her own instrument, Vuillaume of Paris (c. 1850). The expense of this recording was partially paid by generous grants from the Augustinus Fonden, the Solist Foreningen af 1921, and the Dansk Musikerforbunds Kollective Rettighedsmidler. The compositions selected for this recording dissertation are assumed to be previously unrecorded, with the exception of Poul Rovsing Olsen's Trio II.