THE DIVERGENT PATHS OF OPERA IN THE CLASSICAL PERIOD AS SEEN THROUGH THE OPERATIC WORKS OF CHRISTOPH WILLIBALD GLUCK AND WOLFGANG AMADEUS MOZART

Although evidence of Gluck's influence on Mozart is sometimes discernible, by examining the two operas I have performed and a recital of arias by these two composers we can see clear contrasts in their approach to and expression of classical opera. The two operas discussed are Gluck's Armide and Mozart's Le Nozze di Figaro. Gluck and Mozart were both innovators but in very different ways. Gluck comes from a dramatic background (his principles have been compared to those of Wagner) and Mozart brings together dramatic excellence with the greatness of his musical genius, his gift of melody, and his ensemble writing, which is arguably unequaled in the repertory. A well-rounded performer strives to understand what the composer is really trying to say with his work, what the message to the audience is and what his particular way of conveying it is. The understanding of a composer's approach to drama and character interaction plays a huge role in character development. This applies no matter what role you are preparing whether it is baroque opera or late romantic. Discovering the ideals, style, and purpose of a composer contributes to an effective and rewarding performance experience, for those on stage, those in the pit, and those sitting in the seats.

The Evolution of Rachmaninov's Pianistic Style from 1892 to 1941 as Seen in Selected Original Works and Transcriptions for Piano

Unlike some other major composer-pianists (Franz Liszt and Alexander Scriabin being the most notable examples), Sergei Rachmaninov did not experience any dramatic changes in his compositional style; one can, however, notice certain stylistic differences between piano works composed during different periods of his long creative life. This dissertation argues that a clear evolution of Rachmaninov's pianistic style through his three creative periods can be traced by examining a selection of his compositions, from his first significant cycle for piano, 5 Marceaux de fantaisie, Op. 3 (1892), all the way through to his last piano work, a transcription of P.I.Tchakovsky's Lullaby, Op. 16, No. 1 (1941). Rachmaninov's life as a composer can be divided into three periods. His early period was ended abruptly by the disastrous premiere ofhis First Symphony in 1897, which caused a deep psychological crisis in the life of the young composer. Piano works of this period are often characterized by relatively simple homophonic texture, when Rachmaninov was clearly influenced by some of his Russian predecessors, most notably Tchaikovsky. His second and most productive period, also known as the period of"Russian maturity," started in 1900, when he began working on the Second Suite for two pianos, Op. 17, and the Second Concerto, Op. 18; this phase ended with the Russian Bolshevik revolution of 1917. Works of this time exhibit a mature style of piano writing, with rich, virtuosic - often considered excessive by many critics - texture and ever-increasing use of chromatic harmonies. Rachmaninov's works of the third period are limited in number owing to the composer's preoccupation with a career as pianist. Original works for piano now give way to revisions of earlier compositions and transcriptions: Rachmaninov's piano writing becomes more efficient and economical without losing any of its virtuosic brilliance. This dissertation project examines in detail, over the course of three piano recitals, a variety of works composed during the "Russian maturity" period, from several Preludes from Op. 23 (1903), the first major cycle for solo piano of the period, to 9 Etudes-Tableaux, Op.39 (1917), the last one; the early period is represented by 3 of 5 Marceaux defantaisie, Op. 3 (1892), while the late period is shown through several piano transcriptions and revised versions of the remaining 2 pieces from Op. 3.

PIANIST-COMPOSERS WHOSE WORKS INCLUDE PIANISTIC INNOVATIONS

Throughout the piano’s history, certain composers have created innovations in the areas of virtuosity and sonority. These innovations came not only from the composers’ imagination, but also from the development of instruments and changes in musical style from one period to another. To investigate what kinds of innovations these pianist composers made, I divided them into technique and sound from Mozart to Cowell. I chose two-piano music (Sonata in D major, K.448 by Mozart and Rachmaninoff’s Second Suite) to demonstrate their experiments with varieties of textures and sonorities, using different registers of the two pianos orchestrally. En Blanc et noir by Debussy shows this composer’s deep interest and originality in piano sonorities. For solo piano music, Beethoven’s Piano Sonata Op.53 shows extensive technical invention. His use of long pedal effects shows a pianistic possibility not explored by Mozart. Hummel’s Piano Sonata in D major represents orchestral devices as well as pianistic techniques showing recent developments in the instrument. Chopin’s Ballade No.3 and Scherzo No.3 show virtuosic moments and also the expanded range of the keyboard. His Nocturne Op.27, no.2, with its sonorities resulting from the combination of pedal, and widespread accompaniments derived from Alberti bass figures, is a perfect example of Chopin’s characteristic sound-world. “Vallée d’Obermann” by Liszt uses many virtuosic techniques as well as the extreme wide ranges of keyboard in both hands to create dramatic contrasts of texture. Debussy’s etude, “Pour les Sonorités opposés” is probably the first etude designed for sonority rather than for keyboard virtuosity. Albeniz’s “Evocación” and “Triana” show Spanish atmosphere. Prokofiev’s Sonata no.3 shows frequent motoric driving elements that demand percussive virtuosity. Cowell’s piano music is some of the earliest to explore the sonorities of tone clusters and playing on the strings. This performance dissertation consists of three recitals performed in the Orchestra Room, Leah Smith Hall, and Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

Who owns the copyright of architectural works and designs?

Copyright protects the rights and interests of authors on their original works of authorship such as literary, dramatic, musical, artistic, and certain other intellectual works including architectural works and designs. It is automatic once a tangible medium of expression in any form of an innovative material, which conforms the Copyright Designs and Patents Act 1988 (CDPA 1988), is created. This includes the building, the architectural plans and drawings. There is no official copyright registry, no requirements on any fees need to be paid and they can be published or unpublished materials. Copyrights owners have the rights to control the reproduction, display, publication, and even derivation of the design. However, there are limitations on the rights of the copyright owners concerning copyrights infringements. Infringement of copyright is an unauthorised violation of the exclusive rights of the copyright author. Architects and engineers depend on copyright law to protect their works and design. Copyrights are protected on the arrangements of spaces and elements as well as the overall form of the architectural design. However, it does not cover the design of functional elements and standard features. Although copyright law provides automatic protection to all original architectural plans, the limitation is that copyright only protects the expression of ideas but not the ideas themselves. It can be argued that architectural drawings and design, including models are recognised categories of artistic works which are protected under the copyright law. This research investigates to what extent copyrights protect the rights and interests of the designers on architectural works and design.

Works.

Half-titles.

The works of Thomas Love Peacock, including his novels, poems, fugitive pieces, criticisms, etc.,

v. 1. Preface. Biographical notice. Headlong hall. Melincourt. Nightmare abby.--v. 2. Maid Marian. Misfortunes of Elphin. Crotchet castle. Gryll grange--v. 3. Poetry. Miscellanies. Four ages of poetry. Horæ dramaticæ, no. 1-3 . Shelley. Shelley letters.

The works of Henry Mackenzie, esq. ...

I. Man of feeling. Man of the world.--II. Man of the world (cont.)--III. Julia de Roubigné.--IV. Papers from The Mirror.--V. Papers from The Mirror (cont.) Papers from The Lounger.--VI. Papers from The Lounger (cont.)--VII. Papers from The Lounger (cont.) Life of Dr. Blacklock. Life of Lord Abercromby. Life of William Tytler. Review of the principal proceedings of the Parliament of 1784.--VIII. Poems. Dramatic pieces: The prince of Tunis. The Spanish father. False shame, or The white hypocrit.

The collected poetical works of Algernon Charles Swinburne.

"First printed (Chatto), 1904; reprinted 1904, '09, '10, '12, (Heinemann) 1917."

The works of Thomas Love Peacock.

With reproductions of original title-pages.

The poetical works of Sir Walter Scott, baronet.

Engraved title, with vignette.

The miscellaneous works of Oliver Goldsmith : in five volumes /

v.1. The life of Dr. Goldsmith. The vicar of Wakefield -- v.2-3. Citizen of the world -- v.4. An enquiry into the present state of polite learning. Essays originally published in 1765. The life of Thomas Parnell, D.D. The life of Henry Lord Viscount Bolingbroke -- v.5. Preface to Dr. Brooke's natural history. Introduction to a new History of the world. Preface to the Roman history. Preface to the History of England. Preface to An history of the earth. Preface to the Beauties of English poetry. Preface to a collection of poems for young ladies, devotional, moral, and entertaining. Dr. Aikin's Critical dissertation on the poetry of Dr. Goldsmith. Poems. Dramatic : The good-natur'd man. She stoops to conquer.

[Complete works of Robert Browning,

"In preparing this first fully annotated edition of the complete works of Robert Browning, care has been taken to give with accuracy the poet's own latest revised text of 1888, 1889 ..."--Editors pref.

The works of Charles and Mary Lamb /

Includes bibliographical references and index.

The poetical works of William B. Yeats.

v. 1. Lyrical poems.--v. 2. Dramatic poems.

The poetical works of Robert Browning.

v.1. Pauline. Sordello.--v.2. Paracelsus. Strafford.--v.3. Pippa passes. King Victor and King Charles. The return of the Druses. A soul's tragedy.--v.4. A blot in the 'scutcheon. Colombe's birthday. Men and women.--v.5.. Dramatic romances. Christmas-eve and Easter-day.-- v. 6. Dramatic lyrics. Luria.-- v.7. In a balcony. Dramatis personæ.--v.8-10. The ring and the book.--v.11. Balaustion's adventure. Prince Hohenstiel-Schwangau. Fifine at the fair.--v.12 Red cotton night-cap country. The inn album.--v.13. Aristophanes' apology. The Agamemnon of Æschylus.--v.14. Pacchiarotto and how he worked in distemper, with other poems.--v.15. Dramatic idyls (First and second series). Jocoseria.--v.16. Ferishtah's fancies. Parleyings with certain people of importance in their day.--v.17 Asolando. Biographical and historical notes to the poems [by Edward Berdoe] General index. Index to first lines of shorter poems.