Two quartets for piano, violin, viola and cello: Op.1 in C minor; Op.2 in F minor.

Op.1, C minor.--Op.2, F minor.

Phantasy in F sharp minor : for piano quartet /

Duration: 12:00.

Quatuor pour piano, violon, alto et violoncelle, op. 66 /

Publisher's nos.: DF0436400; D. et F. 4634.

Quatuor (inachevé) : pour piano, violon, alto et violoncelle. /

"À Eugéne Ysaÿe." -- T.p.

Quatuor en la majeur, pour piano, violon, alto et violoncelle, op. 30 /

Mode of access: Internet.

Quartet no. 3, for piano, violin, viola and cello in C minor.

Mode of access: Internet.

Contrasts: Quartets and Art Songs of the Nineteenth Century

The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Quartet, G minor, for pianoforte, violin, viola and violoncello, Köchel-Edition, no. 478. [music] /

Mode of access: Internet.

Quartett (D moll) für Violine, Bratsche, Violoncell und Klavier, op. 113 /

Publisher's no.: Bote & Bock Kleine Partitur-Ausgabe No. 4.

The Silver chord: a companion to the "Home circle," a collection of favorite songs, ballads, duets and quartets, with piano-forte accompaniment.

Mode of access: Internet.

SELECTED ICONIC CHAMBER MUSIC WORKS WITH PIANO FROM THE NINETEENTH AND TWENTIETH CENTURIES

Chamber music repertoire featuring the piano blossomed from the mid-nineteenth through the early twentieth century. The quantity of works increased greatly during this time and the quality of these works reached the highest level. Among the many symbolic works that were composed were sonatas for a single string instrument with piano, piano trios, quartets: and quintets as well as two-piano works and four-hand duets. Being able to study and perform many of these iconic works before I graduated was one of the major goals I set for myself as a collaborative pianist. The abundance of repertoire has made it easy to choose works considered "iconic" for my dissertation's three recitals. Iconic is defined as "very famous or popular, especially being considered to represent particular opinions or a particular time" in the online Cambridge Advanced Leamer's Dictionary & Thesaurus © Cambridge University. The compositions featured in the recitals were composed from 1842 through 1941, including works by Schumann, Brahms, Faure, Rachmaninoff, Ravel, and Lutoslawski. Choosing the repertoire with my fellow performers in mind was an important part of this dissertation. In addition to trying to make balanced programs which include variety, working with different instruments and performers is one of the most fulfilling parts of the musical experience for me as a collaborative pianist. Joining me for the concerts were members of the Aeolus String Quartet (violinist Nicholas Tavani, violinist Rachel Shapiro, violist Greg Luce, and cellist Alan Richardson), pianist Hsiao-Ying Lin (a doctoral student from the Peabody Conservatory), and my colleagues from the Peabody Institute Preparatory Division (faculty violinist Dr. Christian Tremblay and cellist Alicia Ward), and Derek Smith, Associate Principal violist of the Annapolis Symphony Orchestras). The three recitals were performed in the Gildenhom and Ulrich Recital Halls at the University of Maryland, College Park, Maryland. They are recorded on CD and available on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

Exaltation : for violin, violoncello, harp (or piano) and organ. [music] /

Cover title.

Au vol d'oiseau : scènes pittoresques : pour flûte, violon, violoncelle (ad. lib.) avec piano : op. 98 /

Mode of access: Internet.

Various choral works, with piano or organ.

German words.