Variations on a nursery song, for full orchestra and piano concerante. Op. 25. Miniature score

Mode of access: Internet.

CABARET: MIRROR OF SOCIETIES

The basic definition of a cabaret is a café that offers live entertainment performed by singers, musicians and dancers and serves food and drink. It is generally housed in small, intimate spaces. Starting in the middle of the nineteenth century, artists, composers and writers met at Parisian cafés and salons to share their works. The cabaret was a suitable place for social activities. Artists could meet, discuss their opinions, and share their art in a relaxed setting. Even though cabaret music was often based on popular idioms, social and political commentary coupled with satirical settings represented the true soul of the genre. This trend flourished in the late nineteenth and early twentieth centuries. The first cabaret in Paris, Le Chat Noir inspired the growth of similar places in major cities throughout Europe besides Paris. The three recitals that comprise this dissertation project were performed at University of Maryland venues: the Robert & Arlene Kogod Theatre on 11 May 2011, Ulrich Recital Hall on 4 December 2011, and Gildenhorn Recital Hall on 4 March 2012. The repertoire for the first recital included works by Erik Satie with mezzo-soprano Monica Soto-Gil, Friedrich Hollaender with soprano Gabrielle DeMers, William Bolcom with baritone Ethan Watermeier and mezzo-soprano Stepanie Sadownik, and Poulenc with baritone Andrew McLaughlin. André Previn‘s Tango Song and Dance with violinist Jennifer Kim served as the instrumental interlude. The second recital included songs by Friedrich Hollaender with mezzo-soprano Monica Soto-Gil, Hanns Eisler and Viktor Ullmann with mezzo-soprano Stephanie Sadownik, and Mischa Spoliansky with soprano CarrieAnne Winter. Victor Hollaender‘s Romance and Albumblatt were the instrumental interludes with violinist Jennifer Kim. The last recital featured works for piano and violin, the Graceful Ghost Rag by William Bolcom with violinist Jenny Wu, Four Souvenirs by Paul Schoenfield with violinist Jennifer Kim, Cabaret Songs by Benjamin Britten with soprano Linda Mabbs, and Souvenirs for piano four-hands by Samuel Barber with pianist Rita Sloan. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

Exoplanets or Dynamic Atmospheres? The Radial Velocity and Line Shape Variations of 51 Pegasi and tau Bootis

The stars 51 Pegasi and tau Bootis show radial velocity variations that have been interpreted as resulting from companions with roughly Jovian mass and orbital periods of a few days. Gray and Gray & Hatzes reported that the radial velocity signal of 51 Peg is synchronous with variations in the shape of the line lambda 6253 Fe I; thus, they argue that the velocity signal arises not from a companion of planetary mass but from dynamic processes in the atmosphere of the star, possibly nonradial pulsations. Here we seek confirming evidence for line shape or strength variations in both 51 Peg and tau Boo, using R = 50,000 observations taken with the Advanced Fiber Optic Echelle. Because of our relatively low spectral resolution, we compare our observations with Gray's line bisector data by fitting observed line profiles to an expansion in terms of orthogonal (Hermite) functions. To obtain an accurate comparison, we model the emergent line profiles from rotating and pulsating stars, taking the instrumental point-spread function into account. We describe this modeling process in detail. We find no evidence for line profile or strength variations at the radial velocity period in either 51 Peg or in tau Boo. For 51 Peg, our upper limit for line shape variations with 4.23 day periodicity is small enough to exclude with 10 sigma confidence the bisector curvature signal reported by Gray & Hatzes; the bisector span and relative line depth signals reported by Gray are also not seen, but in this case with marginal (2 sigma ) confidence. We cannot, however, exclude pulsations as the source of 51 Peg's radial velocity variation because our models imply that line shape variations associated with pulsations should be much smaller than those computed by Gray & Hatzes; these smaller signals are below the detection limits both for Gray & Hatzes's data and for our own. tau Boo's large radial velocity amplitude and v sin i make it easier to test for pulsations in this star. Again we find no evidence for periodic line shape changes, at a level that rules out pulsations as the source of the radial velocity variability. We conclude that the planet hypothesis remains the most likely explanation for the existing data.

PHOTOMINERALISATION OF 4-CHLOROPHENOL SENSITIZED BY TITANIUM-DIOXIDE - A STUDY OF THE INTERMEDIATES

The photomineralisation of 4-chlorophenol (4-CP) sensitised by Degussa P25 TiO2 in O2-saturated solution represents a possible standard test system in semiconductor-sensitised photomineralisation studies. As part of a detailed examination of this photosystem, the results of the temporal variations in the concentrations of 4-CP, CO2, Cl- and the major organic intermediates, namely, 4-chlorocatechol (4-CC), hydroquinone (HQ), benzoquinone and 4-chlororesorcinol, are reported. The observed variations in [4-CP], [4-CC], [HQ] and [CO2] fit those predicted by a kinetic model which utilises kinetic equations with a Langmuir-Hinshelwood form and assumes that there are three major possible routes in which the photogenerated hydroxyl radicals can react with 4-CP, ie. 4-CP --> 4-CC, 4-CP --> HQ and 4-CP --> (unstable intermediate) --> CO2 and that these routes have the following probabilities of occurring: 48%, 10% and 42%.

Complete works for pianoforte: Concertstück, pieces and variations;

Mode of access: Internet.

Gott erhalte Franz, den kaiser; grosse Variationen über J. Haydns Nationalgesang, für das Piano-Forte. 73. Werk.

Printed on double leaves.

Variations for the pianoforte /

Mode of access: Internet.

Quartette op. 41 /

Mode of access: Internet.

Variationen für das Piano-Forte /

Mode of access: Internet.

Quartette,

Mode of access: Internet.

Parade; ballet réaliste.

Mode of access: Internet.

Trois chorals pour orgue /

Pl. no.: D.& F. 7077-7079.

Composizioni /

Mode of access: Internet.

Indian suite /

For piano, 2 hands.

Hungarian dances : nos. 1, 3, 10 /

Mode of access: Internet.