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.

Fantaisie brillante sur des motifs de l'opera Faust (Chas. Gounod) pour le violon avec accompagnement de piano, op.20

Mode of access: Internet.

Ballade et polonaise : pour violon avec accompagnement d'orchestre ou de piano : opus 38 /

Arranged for violin and piano.

Concerto russe : pour le violon avec accompagnement d'orchestre ou de piano. : op. 29.

For violin and piano.

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

Searching for Nearest Strings with Neural-Like String Embedding

We analyze an approach to a similarity preserving coding of symbol sequences based on neural distributed representations and show that it can be viewed as a metric embedding process.

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)

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.

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).