Brechemin Piano Series April 9, 2015

Concert Program

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).

Formal function and phrase structure in contemporary music : Pierre Boulez’s late solo works and Sean Clarke’s "Lucretia Overture" and "4 Impromptus"

Cette thèse présente une théorie de la fonction formelle et de la structure des phrases dans la musique contemporaine, théorie qui peut être utilisée aussi bien comme outil analytique que pour créer de nouvelles œuvres. Deux concepts théoriques actuels aident à clarifier la structure des phrases : les projections temporelles de Christopher Hasty et la théorie des fonctions formelles de William Caplin, qui inclut le concept de l’organisation formelle soudée versus lâche (tight-knit vs. loose). Les projections temporelles sont perceptibles grâce à l’accent mis sur les paramètres secondaires, comme le style du jeu, l’articulation et le timbre. Des sections avec une organisation formelle soudée ont des projections temporelles claires, qui sont créées par la juxtaposition des motifs distincts, généralement sous la forme d'une idée de base en deux parties. Ces projections organisent la musique en phrases de présentation, en phrases de continuité et finalement, à des moments formels charnières, en phrases cadentielles. Les sections pourvues d’une organisation plus lâche tendent à présenter des projections et mouvements harmoniques moins clairs et moins d’uniformité motivique. La structure des phrases de trois pièces tardives pour instrument soliste de Pierre Boulez est analysée : Anthèmes I pour violon (1991-1992) et deux pièces pour piano, Incises (2001) et une page d’éphéméride (2005). Les idées proposées dans le présent document font suite à une analyse de ces œuvres et ont eu une forte influence sur mes propres compositions, en particulier Lucretia Overture pour orchestre et 4 Impromptus pour flûte, saxophone soprano et piano, qui sont également analysés en détail. Plusieurs techniques de composition supplémentaires peuvent être discernés dans ces deux œuvres, y compris l'utilisation de séquence mélodiques pour contrôler le rythme harmonique; des passages composés de plusieurs couches musicales chacun avec un structure de phrase distinct; et le relâchement de l'organisation formelle de matériels récurrents. Enfin, la composition de plusieurs autres travaux antérieurs a donné lieu à des techniques utilisées dans ces deux œuvres et ils sont brièvement abordés dans la section finale.

Material damage: 4 projector film performance

Dirk de Bruyn’s expanded cinema performances engage the æsthetics of process at a number of levels. At the core of these performances are several of three- or four-screen, essentially abstract films of the same duration which comment upon and echo each other in a constant interplay of flicker-like positive and negative imagery. The soundtrack of the films works in a related way: the same or similar words and sound fragments are overlayed, or are repeated in an absurd call-and-answer pattern running from one speaker to another. This overall design or formal system is then set into play and relativised in the live event through a number of treatment-techniques. Reels are placed out of order or interspliced with other short films or fragments of found footage or tests, the bulb of one or more projectors can be occasionally turned off while the soundtrack continues, or the projector can be stopped altogether, extending, stretching out or disrupting completely the apparent synchrony between each screen and soundtrack. The light beam of each projector is filtered, distorted, split and multiplied using hand-held colour gels, plastic bottles, prisms and mirrors, or else silhouetted or blocked completely with the artist’s own hands and body. The projectors themselves can be inverted, turned around or physically transported across the space, mixing and overlaying the imagery, animating different areas of the performance environment and transforming the body of the audience itself into a screen medium.

Discovering Hands - México

El modelo de Discovering Hands ha sido reconocido internacionalmente como un proyecto innovador que se ha expandido por diferentes países del mundo, como Austria, y se ha empezado a estudiar la propuesta en países como República Checa, India y Colombia. (Discovering Hands, 2016). Esto se debe a que no solo mejora el tratamiento de cáncer de mama, sino que también reduce los costos totales de tratamiento de la enfermedad y aumenta la fuerza laborar de los países donde esté presente. Al representar una gran oportunidad en diferentes aspectos, se quiso desarrollar un estudio de factibilidad del modelo de negocio en tres países de América Latina, Colombia –donde ya se encuentra en marcha un proyecto piloto liderado por la CAF en Cali - , Argentina y México. El presente trabajo consiste en dicho estudio de factibilidad, focalizado en México; por medio de este se buscaron tres cosas primordiales, conocer y estudiar el contexto del mercado y situación de salud en el país, analizar los datos recogidos, con el fin de proponer soluciones para disminuir una de las principales causas de muerte en el país. Actualmente en México el 52% de casos de cáncer de mama diagnosticados sucede en etapas tardías, aumentando el riesgo de muerte de los pacientes (Colima, 2013). Con el estudio se logró identificar una oportunidad potencial para Discovering Hands siendo su estrategia un recurso adicional para contribuir a mejorar el diagnóstico precoz de cáncer de mama en el país y debido a esto se presenta un modelo de negocio adaptable a las necesidades mexicanas

A new low temperature synthesis route of fraipontite (Zn,Al)3(Si,Al)2O5(OH)4

A low temperature synthesis method based on the decomposition of urea at 90°C in water has been developed to synthesise fraipontite. This material is characterised by a basal reflection 001 at 7.44 Å. The trioctahedral nature of the fraipontite is shown by the presence of a 06l band around 1.54 Å, while a minor band around 1.51 Å indicates some cation ordering between Zn and Al resulting in Al-rich areas with a more dioctahedral nature. TEM and IR indicate that no separate kaolinite phase is present. An increase in the Al content however, did result in the formation of some SiO2 in the form of quartz. Minor impurities of carbonate salts were observed during the synthesis caused by to the formation of CO32- during the decomposition of urea.

Raman spectroscopic characteristics of phthalocyanine and naphthalocyanine in sandwich-type phthalocyaninato and porphyrinato rare earth complexes Part 5. – Raman spectroscopic characteristics of naphthalocyanine in mixed [tetrakis(4-tert-butylphenyl)porphyrinato]-(naphthalocyaninato) rare earth double-deckers

Raman spectra were recorded in the range 400–1800 cm−1 for a series of 15 mixed \[tetrakis(4-tert-butylphenyl)porphyrinato](2,3-naphthalocyaninato) rare earth double-deckers M(TBPP)(Nc) (M = Y; La–Lu except Pm) using laser excitation at 632.8 and 785 nm. Comparisons with bis(naphthalocyaninato) rare earth counterparts reveal that the vibrations of the metallonaphthalocyanine M(Nc) fragment dominate the Raman features of M(TBPP)(Nc). When excited with radiation of 632.8 nm, the most intense vibration appears at about 1595 cm−1, due to the naphthalene stretching. These complexes exhibit the marker Raman band for Nc•− as a medium-intense band in the range 1496–1507 cm−1, attributed to the coupling of pyrrole and aza stretching, while the marker Raman band of Nc2− in intermediate-valence Ce(TBPP)(Nc) appears as a strong band at 1493 cm−1 and is due to the isoindole stretchings. By contrast, when excited with radiation of 785 nm that is in close resonance with the main Q absorption band of the naphthalocyanine ligand, the ring radial vibrations at ca 680 and 735 cm−1 for MIII(TBPP)(Nc) are selectively intensified and are the most intense bands. For the cerium double-decker, the most intense vibration also acting as the marker Raman band of Nc2− appears at 1497 cm−1 with contributions from both pyrrole CC and aza CN stretches. The same vibrational modes show weak to medium intensity scattering at 1506–1509 cm−1 for MIII(TBPP)(Nc) and this is the marker Raman band of Nc•− when thus excited. The scatterings due to the Nc breathings, ring radial vibration, aza group stretchings, naphthalene stretchings, benzoisoindole stretchings and the coupling of pyrrole CC and aza CN stretchings in MIII(TBPP)(Nc) are all slightly blue shifted along with the decrease in rare earth ionic radius, confirming the effects of increased ring–ring interactions on the Raman characteristics of naphthalocyanine in the mixed ring double-deckers.