Sonate G-Dur = Sol-majeur = G major : für viola und Klavier /

Mode of access: Internet.

Sechs romantische Sonaten : für pianoforte und violine /

Mode of access: Internet.

Sonate, G moll, für Violine und Pianoforte, Op. 1 /

Title from part; t.p. of score missing.

Nuova raccolta di 11 sonate e un minuetto variato, per violino con acc. di pianoforte/

1. A min. (C.[II] 56).--2. G maj.--3. G maj. (Op. 6/6).--4. E min. (C.[II] 57).--5. G maj. (Op. 6/1).--6. D maj. (Op. 7/1).--7. A maj. (C[II] 21).--8. A maj. (Op. 6/4).--9. E maj. (Op. 7/4).--10. F maj.--11. G min. (C.[II] 33).--12. A maj.

Sonate, A moll, für Pianoforte und Violine, op. 10 /

Mode of access: Internet.

Sonate in D für Violine und Klavier, op. 11, Nr. 2. [music] /

Mode of access: Internet.

Sonata /

Caption title.

Cortège : extrait de la Petite suite à 4 mains /

Part for violin.

Sonaten für Klavier und Violine.

Mode of access: Internet.

Concerto in E flat for violin and orchestra : Köchel no. 268 : with orchestral accompaniment arranged for piano /

Mode of access: Internet.

The Kneisel collection : for violin & piano : selections from the masters, old and new /

Principally arrangements.

Classic trios for violin, cello and piano

Mode of access: Internet.

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

VIRTUOSIC ELEMENTS IN THE COLLABORATIVE PIANIST’S REPERTOIRE: SELECTED SOLO, VOCAL, AND CHAMBER WORKS OF RACHMANINOFF AND RAVEL

This dissertation project explores some of the technical and musical challenges that face pianists in a collaborative role—specifically, those challenges that may be considered virtuosic in nature. The material was chosen from the works of Rachmaninoff and Ravel because of the technically and musically demanding yet idiomatic piano writing. This virtuosic piano writing also extends into the collaborative repertoire. The pieces were also chosen to demonstrate these virtuosic elements in a wide variety of settings. Solo piano pieces were chosen to provide a point of departure, and the programmed works ranged from vocal to two-piano, to sonatas and a piano trio. The recitals were arranged to demonstrate as much contrast as possible, while being grouped by composer. The first recital was performed on April 24, 2009. This recital featured five songs of Rachmaninoff, as well as three solo piano preludes and his Suite No. 2 for two pianos. The second recital occurred on November 16, 2010. This recital featured the music of both Rachmaninoff and Ravel, as well as a short lecture introducing the solo work “Ondine” from Gaspard de la nuit by Ravel. Following the lecture were the Cinq mélodies populaires grecques and the program closed with the substantial Rachmaninoff Sonata for Cello and Piano. The final program was given on October 10, 2011. This recital featured the music of Ravel, and it included his Sonata for Violin and Piano, the Debussy Nocturnes transcribed for two pianos by Ravel, and the Piano Trio. The inclusion of a transcription of a work by another composer highlights Ravel’s particular style of writing for the piano. All of these recitals were performed at the Gildenhorn Recital Hall in the Clarice Smith Performing Arts Center at the University of Maryland. The recitals are recorded on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

Trios for piano, violin, and violoncello.

Trio I in E♭, op. 1, no. 1.--Trio II in G, op. 1, no. 2.--Trio III in C minor, op. 1, no. 3.--Trio IV in B♭, op. 11.--Trio V in D, op. 70, no. 1.--Trio VI in E♭, op. 70, no. 2.--Trio VII in B♭, op. 97.