Pianist Heida Hermanns née Goldschmidt seated at a piano; New York Portraits Women

Digital Image

Pianist Heida Hermanns née Goldschmidt seated at a piano; Berlin Portraits Women

Digital Image

Under Swastika and the French flag.

The memoirs were originally written for the Harvard University competition in 1940 and were translated by the author in 2001. Reflections on his childhood in Germany and Austria. His parents were both from Poland. They moved to Vienna in 1921, where his father opened a haberdashery store in the Second district (Leopoldstadt). Otto attended primary school in Czerningasse. Birth of his sister Cecile in 1924. After his failing business endeavors his father decided to move back to Germany, where the family opened a department store in Elbing, East Prussia. Otto attended Gymnasium, where he was one of only two Jewish students in his class. Growing Nazi movement among students. Summer vacations on the Baltic Sea. Private piano lessons. Hitler’s rise in Germany and life under National Socialism. Bar mitzvah in 1933. Anti-Jewish boycotts. His father fled to Vienna in order to escape a rounding up of Jews. The family followed soon after to Austria. Otto attended Gymnasium in the Zirkusgasse and started to work as a tutor. Member of a youth group and hiking tours in the mountains. Recollections of the Anschluss in 1938. Fervent attempts to obtain an exit visa for the United States, where they had a relative in New York. Description of discriminations and frequent attacks on Jewish friends and relatives in the weeks after the Anschluss. Otto was picked up by Nazi stormtroops. He was forced to hold up an anti-Jewish sign and was walked up and down, receiving beatings and spittings in front of a jeering crowd. Detailed account of the atmosphere within the Jewish population. The Gymnasium Zirkusgasse was transferred into a Jewish school. Frequent attacks of Hitler Youths on the students. Preparations for the “Matura” despite the turmoil. In June of 1938 his father was arrested and sent to Dachau concentration camp. After passing the final exams, Otto planned on leaving the country illegally, since he was subject to the Polish quota for the United States with

Cytotoxicity of half sandwich ruthenium(II) complexes with strong hydrogen bond acceptor ligands and their mechanism of action

Neutral and cationic organometallic ruthenium(II) piano stool complexes of the type [(eta(6)-cymene)R-uCl(X)(Y)] (complexes R1-R8) has been synthesized and characterized. In cationic complexes, X, Y is either a eta(2) phosphorus ligand such as 1,1-bis(diphenylphosphino)methane (DPPM) and 1,2-bis(diphenylphosphino)ethane (DPPE) or partially oxidized ligands such as 1,2-bis(diphenylphosphino)methane monooxide (DPPMO) and 1,2-bis(diphenylphosphino)ethane monooxide (DPPEO) which are strong hydrogen bond acceptors. In neutral complexes. X is chloride and Y is a monodentate phosphorous donor. Complexes with DPPM and DPPMO ligands ([(eta(6)-cymene)Ru(eta(2)-DPPM)Cl]PF6 (R2), [(eta(6)-cymene)Ru(eta(2)-DPPMO)Cl]PF6 (R3), [(eta(6)-cymene)Ru(eta(1)-DPPM)Cl-2] (R5) and [(eta(6)-cymene)Ru(eta(1)-DPPMO)Cl-2] (R6) show good cytotoxicity. Growth inhibition study of several human cancer cell lines by these complexes has been carried out. Mechanistic studies for R5 and R6 show that inhibition of cancer cell growth involves both cell cycle arrest and apoptosis induction. Using an apoptosis PCR array, we identified the sets of antiapoptotic genes that were down regulated and pro-apoptotic genes that were up regulated. These complexes were also found to be potent metastasis inhibitors as they prevented cell invasion through matrigel. The complexes were shown to bind DNA in a non intercalative fashion and cause unwinding of plasmid DNA in cell-free medium by competitive ethidium bromide binding, viscosity measurements, thermal denaturation and gel mobility shift assays.

Synthesis, Reactivity Studies, Structural Aspects, and Solution Behavior of Half Sandwich Ruthenium(II) N,N `,N `'-Triarylguanidinate Complexes

[(eta(6)-C(10)H(14))RuCl(mu-Cl)](2) (eta(6)-C(10)H(14) = eta(6)-p-cymene) was subjected to a bridge-splitting reaction with N,N',N `'-triarylguanidines, (ArNH)(2)C=NAr, in toluene at ambient temperature to afford [(eta(6)-C(10)H(14))RuCl{kappa(2)(N,N')((ArN)(2)C-N(H)Ar)}] (Ar = C(6)H(4)Me-4 (1), C(6)H(4)(OMe)-2 (2), C(6)H(4)Me-2 (3), and C(6)H(3)Me(2)-2,4 (4)) in high yield with a view aimed at understanding the influence of substituent(s) on the aryl rings of the guanidine upon the solid-state structure, solution behavior, and reactivity pattern of the products. Complexes 1-3 upon reaction with NaN(3) in ethanol at ambient temperature afforded [(eta(6)-C(10)H(14))RuN(3){kappa(2)(N,N')((ArN)(2)C-N(H)Ar)}] (Ar = C(6)H(4)Me-4 (5), C(6)H(4)(OMe)-2 (6), and C(6)H(4)Me-2 (7)) in high yield. [3 + 2] cycloaddition reaction of 5-7 with RO(O)C-C C-C(O)OR (R = Et (DEAD) and Me (DMAD)) (diethylacetylenedicarboxylate, DEAD; dimethylacetylenedicarboxylate, DMAD) in CH(2)Cl(2) at ambient temperature afforded [(eta(6)-C(10)H(14))Ru{N(3)C(2)(C(O)OR)(2)}{kappa(2)(N,N')((ArN)(2) C-N(H)Ar)}center dot xH(2)O (x = 1, R = Et, Ar = C(6)H(4)Me-4 (8 center dot H(2)O); x = 0, R = Me, Ar = C(6)H(4)(OMe)-2 (9), and C(6)H(4)Me-2 (10)) in moderate yield. The molecular structures of 1-6, 8 center dot H(2)O, and 10 were determined by single crystal X-ray diffraction data. The ruthenium atom in the aforementioned complexes revealed pseudo octahedral ``three legged piano stool'' geometry. The guanidinate ligand in 2, 3, and 6 revealed syn-syn conformation and that in 4, and 10 revealed syn-anti conformation, and the conformational difference was rationalized on the basis of subtle differences in the stereochemistry of the coordinated nitrogen atoms caused by the aryl moiety in 3 and 4 or steric overload caused by the substituents around the ruthenium atom in 10. The bonding pattern of the CN(3) unit of the guanidinate ligand in the new complexes was explained by invoking n-pi conjugation involving the interaction of the NHAr/N(coord)Ar lone pair with C=N pi* orbital of the imine unit. Complexes 1, 2, 5, 6, 8 center dot H(2)O, and 9 were shown to exist as a single isomer in solution as revealed by NMR data, and this was ascribed to a fast C-N(H)Ar bond rotation caused by a less bulky aryl moiety in these complexes. In contrast, 3 and 10 were shown to exist as a mixture of three and five isomers in about 1:1:1 and 1.0:1.2:2:7:3.5:6.9 ratios, respectively in solution as revealed by a VT (1)H NMR, (1)H-(1)H COSY in conjunction with DEPT-90 (13)C NMR data measured at 233 K in the case of 3. The multiple number of isomers in solution was ascribed to the restricted C-N(H)(o-tolyl) bond rotation caused by the bulky o-tolyl substituent in 3 or the aforementioned restricted C-NH(o-tolyl) bond rotation as well as the restricted ruthenium-arene(centroid) bond rotation caused by the substituents around the ruthenium atom in 10.

Extensa aproximación a mi sucinta Sonatinina para piano

Resumen: El compositor realiza un análisis de su Sonatinina, miniatura para piano, la cual consiste en una extrema condensación de elementos delos cuatro movimientos de la forma sonata tradicional. Una aproximación analítica se basa en describir e interrelacionar estructuras interválicas, pero otro tipo de análisis estudia las connotaciones o referencias a la tradición y al repertorio existente, ya sean citas de obras concretas o bien citas de estilo. La obra Sonatinina es, en su totalidad, una alusión a un arquetipo formal.

Entre tempos antigamente e de hoje em dia: memórias da patrimonialização da viola de cocho

Neste trabalho, procuramos conhecer as memórias da patrimonialização da viola de cocho nas cidades de Cuiabá -Mato Grosso, e Corumbá -Mato Grosso do Sul. Para a realização desse estudo usamos como referência teórica os estudos de memória social sobretudo as discussões desenvolvidos por Bartlett (1932), Halbwachs (1990), Bosi (1994), Portelli (1997) e Sá (2005). Tomando como referência essa abordagem teórica e buscando um entendimento psicossocial das memórias da preservação e patrimonialização do modo de fazer a viola de cocho, buscamos desenvolver a pesquisa por meio de análise documental, observações de campo e entrevistas in loco com mestres pessoas idosas representantes desse saber-, jovens aprendizes e pessoas envolvidas com a patrimonialização desse modo de saber fazer. Revelar as memórias dos entrevistados foi revelar as histórias pessoais e também as memórias coletivas em uma interface com a história narrada do modo de saber fazer a viola de cocho e o conjunto de práticas sociais à ela associadas. Cada entrevistado, ao recordar o momento vivido com esse saber, fez uma reinterpretação pessoal e coletiva e inscreveu suas lembranças na história desse saber ao mesmo tempo em que também traduziu o contexto e a história desse saber em suas memórias de vida. Através das narrativas de mestres, aprendizes e pessoas ligadas a patrimonialização desse saber foi possível conhecer os sentidos e significados atribuídos em diferentes contextos, bem como, as experiências vivenciadas e traduzidas pelos grupos em suas práticas coletivas. Ao tecermos comparações entre as narrativas de mestres e aprendizes foi possível relacionar algumas modificações que as tradições e todo o conjunto de conhecimentos associados ao modo de saber fazer a viola de cocho sofreu e relacionar alguns efeitos sociais dessas mudanças nas formas de ser, de se organizar e de viver destes grupos.

Syntheses and characterization of half-sandwich zirconium complexes with dichalcogenolate o-carborane ligands

Metallocene complex (Cp2ZrCl2)-Zr-tt (Cp-tt = eta(5)-1,3-(Bu2C5H3)-Bu-t) (1) has been prepared from the reaction of LiCptt with ZrCl4 in good yield. Reactions of 1 with dilithium dichalcogenolate o-carboranes afforded new type of half-sandwich compounds with dichalcogenolate o-carboranyl ligands [Li(THF)(4)][(CpZr)-Zr-tt(E2C2B10H10)(2)] (E = S, 2a; E = Se, 2b) in which only one cyclopentadienyl ring ligand existed. Complexes 1 and 2a were structurally characterized by X-ray analyses. In complex 2a, the Zr(IV) ion is eta(5)-bound to one 1,3-di-tert-cyclopentadienyl ring and a-bound to four mu(2)-sulfur atoms of two dithio-carboranes. The zirconium atom and four sulfur atoms form a distorted pyramid. The coordination sphere around the zirconium atom resembles in a piano stool structure with four legs of sulfur atoms and the fulcrum at the zirconium atom.

Filmy dla muzyki. Egar Varèse i Bill Viola

Anno Mungen focuses on “films made for music” and on the rare phenomenon of ‘music depicted by picture’ (S. Kracauer). The narration about historical metamorphoses of varied forms of coexistence between music and picture is accompanied by a reflection on the laws of audiovisual perception. The main examples are discussed, these concentrating on the artistic ideas of Walt Disney’s animated film Fantasia and – first of all – on Edgard Varèse’s bold ideal of spatial music, attained post mortem in Bill Viola’s Déserts (1994). After a detailed analysis of Viola’s film the author admits that the movie pictures deduced from music are able to render the latter its own substantial visual power.

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.

Solo and Chamber Music of Pulitzer Prize-Winning Composers

The Pulitzer Prize in Music, established in 1943, is one of America's most prestigious awards. It has been awarded to fifty-three composers for a "distinguished musical composition of significant dimension by an American that has had its first performance in the United States during the year." Composers who have won the Pulitzer Prize are considered to be at the pinnacle of their creativity and have provided the musical world with classical music compositions worthy of future notice. By tracing the history of Pulitzer Prize-winning composers and their compositions, researchers and musicians enhance their understanding of the historical evolution of American music, and its impact on American culture. Although the clarinet music of some of these composers is rarely performed today, their names will be forever linked to the Pulitzer, and because of that, their compositions will enjoy a certain sense of immortality. Of the fifty-four composers who have won the award, forty-seven have written for the clarinet in a solo or chamber music setting (five or less instruments). Just as each Pulitzer Prize-winning composition is a snapshot of the state of American music at that time, these works trace the history of American clarinet musical development, and therefore, they are valuable additions to the clarinet repertoire and worthy of performance. This dissertation project consists of two recitals featuring the solo and chamber clarinet music of sixteen Pulitzer Prize-winning composers, extended program notes containing information on each composer's life, their music, the Pulitzer Prize-winning composition and the recital selection, and a complete list of all Pulitzer Prize-winning composers and their solo and chamber clarinet music. Featured Composers Dominick Argento, To Be Sung Upon the Water Leslie Bassett, Soliloquies William Bolcom, Little Suite of Four Dances Aaron Copland, As it Fell Upon a Day John Corigliano, Soliloquy Norman Dello Joio, Concertante Morton Gould, Benny's Gig Charles Ives, Largo Douglas Moore, Quintet for Clarinet and Strings George Perle, Three Sonatas Quincy Porter, Quintet for Clarinet and Strings Mel Powell, Clarinade Shulamit Ran, Private Game Joseph Schwantner, Entropy Leo Sowerby, Sonata Ernst Toch, Adagio elegiaco

THE EFFECT OF A PROGRAM OF PORTABLE ELECTRONIC PIANO KEYBOARD EXPERIENCE ON THE ACQUISITION OF SIGHT-SINGING SKILL IN THE NOVICE HIGH SCHOOL CHORUS

The problem was to determine whether a method of aural and visual vocal training that included a program of portable electronic piano keyboard experience would be more effective in teaching sight-singing skills to novice high school chorus students than a method that included only aural and visual vocal training. A sub-problem was to determine whether novice chorus students enjoyed playing electronic keyboards in chorus as a reinforcement experience in sight-singing training. Students were randomly assigned to two treatment groups, tested with the Musical Aptitude Profile, Tonal Imagery, part A, and then trained separately. The experimental group sang repetitions of melodic patterns and utilized techniques associated with the Kodály Method while simultaneously playing keyboard. The comparison group received a similar treatment without using keyboards. The students were pre- and post-tested in sight-singing using the Vocal Sight-Reading Inventory. Results of the Analysis of Covariance using MAP scores as the covariate revealed no significant difference (p<.05) between post-test scores of the two groups. Improvement was noted in 96% of students from pre-test to post-test regardless of grouping. The repeated measures ANOVA revealed a significant relationship (p<.006) between aptitude group and post-test score. High aptitude students in both groups were found to benefit more from the training than low aptitude students. High aptitude keyboard group students achieved an average gain score that was 8.67 points higher than the comparison group. Of the total experimental group, 92% enjoyed playing keyboards in chorus. It is recommended that future research be undertaken to study the use of keyboards with advanced high school choruses and with uncertain singers in the high school chorus. Research is also needed to develop graded, valid, and reliable sight-singing tests for use in high school chorus. Techniques of the Kodály Method should be further investigated for use in high school sight-singing training.

Sonata Development at the Turn of the Century: From Liszt to Stravinsky

The sonata began to lose its position of predominance among compositions in the middle of the 19th century. Having been the platform for harmonic and thematic development of music since the late baroque period the sonata entered a process of reevaluation and experimentation with form. As a result fewer sonatas were being composed with some composers dropping the genre completely. This dissertation looks at the different approaches taken by the German, French and Russian schools of composition and compares the solo and chamber music applications of the sonata form. In the German tradition Franz Liszt's Sonata in b minor sets the standard for the revolutionary approach to form while the Berg Sonata is a very conservative application of form to an innovative use of extended chromaticism. Both composers chose to write one movement through composed pieces with Liszt working with a very expansive use of form and Berg being extremely compact and efficient. Among the Russian composers, Prokofieff's third sonata is also a one movement sonata, but he falls between Liszt and Berg in terms of the length of the piece and the use of innovative musical language. Scriabin uses a two movement approach, but keeps the element of a through composed piece with the same important material spanning both movements. Stravinsky is the most conservative of these with a three movement sonata that uses a mix of chromaticism and baroque and classical style influences. The French almost stopped composing true sonatas except for chamber music where Franck and Fauré write late romantic sonatas, while Debussy is very innovative within a three movement sonata. Estampes, by Debussy, are taken in almost as an afterthought to illustrate the direction Debussy takes in his piano solo music. While Estampes is by definition a set of character pieces they function like a sonata with three movements.