Este trabalho tem como objetos de estudo a terceira fase estética do compositor César Guerra-Peixe, fase nacional (1949-1993) e a obra para piano nela inserida. Buscou-se estabelecer relações entre esta fase estética e as obras nela situadas com a busca pela renovação do nacionalismo musical pelo compositor Guerra- Peixe. No estabelecimento dessas relações o ponto de partida foi a divisão da fase nacional em períodos, aos quais foram relacionadas uma ou mais obras para piano. Tendo como referencial teórico o pensamento do próprio Guerra-Peixe, cada período foi descrito dentro de um contexto histórico e musical, e buscou-se a identificação de características da estética de Guerra-Peixe, bem como de sua linguagem composicional em constante renovação. As características levantadas subsidiaram a análise das obras selecionadas para cada período. Através da análise estabeleceu-se a relação entre os períodos da fase nacional, suas respectivas obras e linguagem composicional e a busca pela renovação do nacionalismo musical pelo compositor Guerra-Peixe. / This dissertation aims to study the piano works present in the third aesthetic phase (1949-1993) of Brazilian composer Cesar Guerra-Peixe. The study established links between Guerra-Peixe\'s search for renewal of musical nationalism, his third aesthetic compositional phase and the piano works composed during this time. In establishing these relationships, the starting point was the division of the national phase in periods, which were related to one or more piano works. Each period has been described in a historical and musical context, having Guerra-Peixe\'s personal thoughts as the basis for theoretical reference. The features of Guerra-Peixe\'s aesthetics, as well as his compositional language, were identified and supported the analysis of the works selected for each period. The dissertation established the relationship between the periods of the national compositional phase, the corresponding piano works, Guerra-Peixes\'s musical language, and the search for renewal of musical nationalism undertaken by the composer.

This document provides a resource for Franz Liszt's unfamiliar piano work, the Grosses Konzertsolo and his subsequent rearrangement of the work for two pianos entitled Concerto pathetique. The Introduction places the work in its historical context as a precursor to the great Sonata in B minor and discusses possible reasons for its various revisions. Chapter One details Liszt's productive years from 1849-1853 in Weimar and selected keyboard works from this period which are closely related to the Grosses Konzertsolo. Chapter Two provides information on Liszt's first published piano works and his experiments with form, as well as a comparison of the Grosses Konzertsolo with the Sonata in B minor, in terms of motivic and thematic development. Technical issues and obstacles to performance are also addressed. Chapter Three compares the Concerto pathetique with the Grosses Konzertsolo showing how Liszt's rearrangement becomes more practical as well as effective. Chapter Four discusses Hans von Bulow's version of the Concerto pathetique and includes a brief biography.

The present diploma thesis deals with the life and compositional style of an important composer Sergei Rachmaninoff. The work of Sergei Rachmaninoff belongs to the basic pianistic repertoire. Pianists approach it in different ways, and their concepts often differ greatly. The purpose of the the diploma thesis is to compare several interpretative performance and draw general conclusions.

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Western art music is relatively new in Vietnam, with a colonial history that started in the late nineteenth century. Early European music exposure in Vietnam was part of French mission civilisatrice and was later taken over by the Vietnamese with the establishment of the Vietnam Academy of Music in 1956. The development and progress of classical music, however, was hindered by the Vietnam war and facility limitations throughout most of the country’s modern history. Despite the obstacles, Vietnamese musicians continued to operate the school and to train generations of musicians. Vietnamese composers also managed to produce a substantial amount of repertoire in various genres: orchestra, chamber, solo instrument, songs, and more. Within the relatively small solo instrumental output, piano music occupies a major part. These works, however, remain unknown due to lack of performance and information. Given the author’s main interest and focus as a pianist, the first chapter of this paper offers an overview of the development and dissemination of European classical music in Vietnam as context for the subsequent chapters, which focuses on compositions for piano. The next chapter provides some discussion about the general development of style and aesthetics of Vietnamese classical music. The final chapter provides a closer look at some representative composers and their piano works, with historical background, musical analysis, and performance commentary. / Music Performance

The compositions to be considered in this study have been divided into three periods, corresponding with certain times in the life of Alfredo Casella. There is enough consistency of style in the compositions of each period to justify this division. The first period, characterized by lyricism and virtuosity, includes the works written in Paris after Casella left the Paris Conservatory. The second period, with its chromaticism and dissonance, comprises his output during the first years after his return to Italy. The third period begins with the close of World War I. In this period Casella returns to a classic style which is firmly embedded in an extended tonal system. The compositions of this period combine various ideas and styles gathered through the years and blend them into works marked by maturity, sincerity, and originality.

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The musical compositions of Alfred Schnittke (1934-1998) have their own unique voice, and the Concerto for Piano and Strings is not an exception. Through the examination of Schnittke’s life and piano works in the context of the art and literature of his time, this monograph introduces Schnittke’s Concerto for Piano and Strings as something much more than just the analysis of a typical piano concerto while giving meaning to the polystylism existent in his works. Alfred Schnittke was of Jewish and German background and experienced living in the Soviet Union during World War II. An internal struggle for identity and the conflict present in the world at that time is evident in the works of Schnittke, which juxtaposes the dichotomy of good and evil. One cannot clearly understand the meaning behind the many different techniques and compositional devices of Schnittke’s music without a deeper knowledge of his life and the literature and art of the time; his music poses many poignant questions about religion and philosophy. The paper that follows consists of five chapters which begin with an introduction to Schnittke’s life, followed by a discussion of his pianistic style, an analysis of his works for piano, and a discussion of his piano concertos. The sections consist of a discussion of his Concerto for Piano and Strings within the context of his other works of the time and works of literature. Part of this discussion draws important parallels between Schnittke's Concerto for Piano and Strings and two literary works: The Master and Margarita by Mikhail Bulgakov and Doctor Faustus by Thomas Mann. It is hoped that this paper will bring a greater interest in Schnittke’s Concerto for Piano and Strings and his other piano works which are not frequently performed. / Music Performance

This study is an attempt to investigate part form structures in Brahms' Intermezzi, Opp. 116-119. Chapter One deals with the stylistic perspective in Brahms' piano writing in general as compared to his late works. Chapter Two concerns three aspects: 1) structural norms in part forms which are presented in many currently available textbooks on musical forms, 2) application of selected Brahms Intermezzi to above norms, and 3) the role of cadential types in part forms. Chapter Three analyzes structural aspects of all the Brahms Intermezzi in Opp. 116-119 and comments on pieces which appear problematic in terms of structural layout. Chapter Four, deals with the relationship between different thematic types and overall formal schemes.

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