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No description available.

In 1950-51, for the bicentennial of the death of J. S. Bach, Dmitri Shostakovich wrote his collection of Twenty-four Preludes and Fugues, Op. 87. This thesis is a study of the fugal technique of Shostakovich as observed in Op. 87, in light of the fugal style of Bach as observed in The Well-Tempered Clavier, Volume One. Individual analyses of each of the twenty-four Shostakovich pieces yield the conclusion that Op. 87 is an emulation of Bachian fugal methods as observed in The Well-Tempered Clavier, Volume One.

In dem Titel "wELten ERleBEn" stecken - bei Berücksichtigung der Großbuchstaben - die Wörter ERBE und ELBE. Ein Beitrag zum Welterbetag 2009, in dem die Schönheit der Landschaft sowie ihre Bedrohungen (Hochwasserkatasgtrophe 2002, Bau der Waldschlösschenbrücke) zum Klingen gebracht wird, ohne den Hörer auf eine einseitige Deutung festzulegen. Uraufführung: 6. Juni 2009 in Dresden

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With a medium level of technical and interpretive difficulty, these arrangements of “Three Spirituals” are aimed at more advanced pianists. Lasting around 1½ to 2½ minutes each, the three movements are all fairly short and can be performed separately or – as recommended by the composer – in the order given here.:“Go Down, Moses” “Sometimes I Feel Like A Motherless Child” “Nobody Knows The Trouble I’ve Seen” / Die Arrangements der hier vorliegenden Ausgabe von „Three Spirituals“ richten sich mit ihrem in spieltechnischer Hinsicht mittleren Schwierigkeitsgrad und ihren musikalischen Anforderungen an schon etwas fortgeschrittenere Klavierspieler. Mit einer Dauer von circa eineinhalb bis zweieinhalb Minuten haben alle drei Sätze eine überschaubare Länge und können sehr gern einzeln oder – empfehlenswerterweise – in der hier abgedruckten Reihenfolge vorgetragen werden.:“Go Down, Moses” “Sometimes I Feel Like A Motherless Child” “Nobody Knows The Trouble I’ve Seen”

Titre de l'écran-titre (visionné le 13 décembre 2023) / Pour les interprètes de musique ancienne, les danses baroques sont comme une famille et des voisins ; où que vous alliez, vous trouverez l'une d'entre elles, dans des suites, des sonates, des ballets, des opéras, et même des cantates et des oratorios, sous des noms et des formes variés. Comprendre des aspects essentiels comme le tempo, l'articulation et le phrasé dans la musique de danse baroque nécessite des informations d'interprétation. Grâce aux efforts des chorégraphes contemporains pour faire revivre les danses des XVIIe et XVIIIe siècles, des informations relativement détaillées sur les pratiques d'interprétation de ces danses ont été obtenues. Ce projet vise à générer de nouvelles idées pour l'interprétation du répertoire de clavecin par le biais d'une étude artistique qui intègre de multiples méthodologies. Celles-ci comprennent l'étude des traités baroques, l'analyse de la notation des danses baroques, la pratique de ces danses et l'étude comparative de la notation de danse et la notation musicale. La validité des résultats de la recherche a été estimée par la pratique, à la fois en tant que danseur et en tant que musicien accompagnant des danseurs, utilisant ainsi la pratique comme outil de recherche. En outre, de nombreuses nouvelles idées d'interprétation ont été découvertes au cours du processus de pratique. / For the early music performers, baroque dances are like family and neighbours; wherever you go, one of them will be found, in suites, sonatas, ballets, operas, and even cantatas and oratorios, with various names and forms. Understanding essential aspects like tempo, articulation, and phrasing in baroque dance music requires interpretive information. Thanks to the efforts of contemporary choreographers to revive the 17th and 18th-century dances, relatively detailed information on the performance practice of these dances has been obtained. This project aims to generate new ideas for interpreting the harpsichord repertoire through an artistic study incorporating multiple methodologies. These include the study of baroque treatises, the analysis of baroque dance notation, the practice of baroque dances, and the comparative study of baroque dance notation and music. The validity of the research findings has been judged through practical application, both as a dancer and as a musician accompanying dancers, effectively using practice as a research tool. Furthermore, numerous new interpretive ideas have been discovered during the practice process.

A presente pesquisa investiga duas práticas de performance da obra Variationen für Klavier, Op. 27 de Anton Webern através da comparação de duas edições da obra e da comparação de três gravações realizadas por Peter Stadlen (1948), Yvonne Loriod (1961) e Charles Rosen (1969). Foram comparadas a primeira edição da obra (a edição Urtext de 1937) e a edição Prática elaborada por Peter Stadlen (1979), resultado de sua interação com o compositor durante o período que antecedeu a estreia do Op. 27. Os aspectos estéticos e interpretativos da obra foram considerados a partir dos textos de Stadlen e da literatura recente. Utilizando o software Sonic Visualiser foram mapeadas as flutuações de tempo nas três gravações do Op. 27. Os resultados evidenciaram dois estilos diferentes de performance. De um lado, o estilo pós-guerra (Cook, 2016) de Loriod e Rosen, marcado pela influência da vanguarda de Darmstadt; de outro lado, o estilo pré-guerra de Stadlen, o qual lança questionamentos sobre o cânone interpretativo estabelecido pelo estilo do pós-guerra. / This research investigates two performance practices of Anton Webern’s Variationen für Klavier, Op. 27 through a comparison between two editions and three recordings of the work. The first edition (the Urtext edition of 1937) and Stadlen’s practical edition of 1979 were compared in regards to the expressive markings added by the composer and the performer, and interpretive aspects of recente literature as well as Stadlen’s texts were considered. Using the software Sonic Visualiser tempo fluctuations were analysed in the recordings by Peter Stadlen (1948), Yvonne Loriod (1961) and Charles Rosen (1969). The results brought to evidence two contrasting performance styles. On the one hand, the post-war style (Cook, 2016) of Loriod and Rosen, marked by the influence of the Darmstadt avant-garde, and, on the other hand, the pre-war style of Peter Stadlen, which calls into question the interpretive canon of the work established by the post-war style of performance.

A presente pesquisa investiga duas práticas de performance da obra Variationen für Klavier, Op. 27 de Anton Webern através da comparação de duas edições da obra e da comparação de três gravações realizadas por Peter Stadlen (1948), Yvonne Loriod (1961) e Charles Rosen (1969). Foram comparadas a primeira edição da obra (a edição Urtext de 1937) e a edição Prática elaborada por Peter Stadlen (1979), resultado de sua interação com o compositor durante o período que antecedeu a estreia do Op. 27. Os aspectos estéticos e interpretativos da obra foram considerados a partir dos textos de Stadlen e da literatura recente. Utilizando o software Sonic Visualiser foram mapeadas as flutuações de tempo nas três gravações do Op. 27. Os resultados evidenciaram dois estilos diferentes de performance. De um lado, o estilo pós-guerra (Cook, 2016) de Loriod e Rosen, marcado pela influência da vanguarda de Darmstadt; de outro lado, o estilo pré-guerra de Stadlen, o qual lança questionamentos sobre o cânone interpretativo estabelecido pelo estilo do pós-guerra. / This research investigates two performance practices of Anton Webern’s Variationen für Klavier, Op. 27 through a comparison between two editions and three recordings of the work. The first edition (the Urtext edition of 1937) and Stadlen’s practical edition of 1979 were compared in regards to the expressive markings added by the composer and the performer, and interpretive aspects of recente literature as well as Stadlen’s texts were considered. Using the software Sonic Visualiser tempo fluctuations were analysed in the recordings by Peter Stadlen (1948), Yvonne Loriod (1961) and Charles Rosen (1969). The results brought to evidence two contrasting performance styles. On the one hand, the post-war style (Cook, 2016) of Loriod and Rosen, marked by the influence of the Darmstadt avant-garde, and, on the other hand, the pre-war style of Peter Stadlen, which calls into question the interpretive canon of the work established by the post-war style of performance.