Crossing paths: revisiting Schumann in history and performance, March 18-April 12, 2006

This is the concert program of Crossing Paths: Revisiting Schumann in History and Performance festival running from Saturday, March 18- Wednesday, April 12, 2006 , at the College of Fine Arts, 855 Commonwealth Avenue. Festival performers included the Boston University Women's Chorale and Chamber Chorus, Yuri Mazurkevich, violin, Michael Reynolds, cello, Maria Clodes, piano, Robert Merfeld, piano, Penelope Bitzas, mezzo-soprano, James Demler, baritone, Yuri Mazurkevich, violin, Shiela Kibbe, piano, Peter Sykes, organ, Eric Ruske, horn, Ji-Eun Kim, piano, Sunah Lee, piano, Nathan Bello, piano, Ian Hobson, piano, Ian Greitzer, clarinet, and the Muir String Quartet. Lectures were given by William Kinderman, David Morochnik, and Deborah Stein. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Faculty Concert: Leslie Parnas, cello and Tong-Il Han, piano, April 9, 1998

This is the concert program of the Faculty Concert: Leslie Parnas, cello and Tong-Il Han, piano performance on Thursday, April 9, 1998 at 8:00 p.m., at Tsai Performance Center, 685 Commonwealth Avenue. Works performed were the following by Ludwig van Beethoven: Sonata in F major for Cello and Piano, Op. 5 No. 1, Sonata in G minor for Cello and Piano, Op. 5 No. 2, Sonata in A major for Cello and Piano, Op. 69, Sonata in C major for Cello and Piano, Op. 102 No. 1 and Sonata in D major for Cello and Piano, Op. 102 No. 2. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Collaborative Piano Department Master Class, April 18, 1995

This is the concert program of the Collaborative Piano Department Master Class performance on Tuesday, April 18, 1995 at 10:00 a.m., at the Marshall Room, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Sonatina for Flute and Piano by Henri Dutilleux, Sonata in G major for Piano and Violin, Op. 30, No. 3 by Ludwig van Beethoven, Sonata for Clarinet and Piano by Francis Poulenc, Sonata in G minor for Piano and Cello, Op. 5, No. 2 by Ludwig van Beethoven, and Sonata in A major for Violin and Piano, Op. 100 by Johannes Brahms. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Faculty recital series: Linda Toote, flute, Laura Ahlbeck, oboe, Shiela Kibbe, piano, October 18, 2004

This is the concert program of the Faculty recital series: Linda Toote, flute, Laura Ahlbeck, oboe, Shiela Kibbe, piano performance on Monday, October 18, 2004 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Quartet in D minor, TWV 43:d I by Georg Philip Telemann, "Three Water Colors" for flute, cello and piano by Philippe Gaubert, Sonate for oboe and piano by Henri Dutilleaux, Sonata for piccolo and piano, Op. 61 by John La Montaine, Improvization for oboe and piano by Mátyás Seiber, and Trio for flute, oboe and piano by Madeleine Dring. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Vocal piano accompaniment: A constant research towards emancipation (2)

This is the second and last article in the series dedicated to the investigation of the evolution of vocal piano accompaniment through history and the role-played by the piano in its relationship with the voice. If the previous chapter focused from the beginnings of piano accompaniment to Franz Schubert, this one will take up again the analysis of the piano part from the last lieder of Franz Schubert to Arnold Schoenberg. The research method used continues to be based on the musical analysis of the piano part, addressing both issues of the piano itself and its link with the text and the vocal part. By means of musical examples of different composers, the article investigates all those aspects that provide evidence of the change in the role of the piano in the correspondence of the piano with the voice and its repercussion on the final result of the work. In this way, we will look at the history of piano accompaniment for voice and see how the influence of Schubert's conception of vocal piano accompaniment materializes in contemporary and later composers, as well as the crucial change in the history of the piano as an accompanying instrument introduced by Schubert. The results and conclusions drawn from the evolution presented in these two articles are presented at the end of the article, based on the different aspects involved in the musical event, such as rhythm, harmony or texture

The Cycle-Concert of Nikos Skalkottas, September 25, 2006

This is the concert program of the The Cycle-Concert of Nikos Skalkottas performance on Monday, September 25, 2006 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Quartet No. 1 for Oboe, Trumpet, Bassoon and Piano, Concertino for Oboe and Piano, Sonata Concertante for Bassoon and Piano, Concertino for Trumpet and Piano, and Quartet No. 2 for Oboe, Trumpet, Bassoon and Piano by Nikos Skalkottas. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

A Guest Artists Concert: James Winn, flute Martin Amlin, piano

This is the concert program of the A Guest Artists Concert: James Winn, flute Martin Amlin, piano performance on Tuesday, April 4, 2000 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Sonatina for Flute and Piano, Op. 76 by Darius Milhaud, Sonata for Flute and Piano by Cesar Franck, Sonata for Flute and Piano by Paul Hindemith, and Sonata for Flute and Piano by Martin Amlin. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Indefatigable

17 short moments for piano and electronics. Inspired by the practice of ink painting, this gestural piano piece explores angular piano writing, combined with sound recordings of ink painting

Piano Genie

We present Piano Genie, an intelligent controller which allows non-musicians to improvise on the piano. With Piano Genie, a user performs on a simple interface with eight buttons, and their performance is decoded into the space of plausible piano music in real time. To learn a suitable mapping procedure for this problem, we train recurrent neural network autoencoders with discrete bottlenecks: an encoder learns an appropriate sequence of buttons corresponding to a piano piece, and a decoder learns to map this sequence back to the original piece. During performance, we substitute a user's input for the encoder output, and play the decoder's prediction each time the user presses a button. To improve the intuitiveness of Piano Genie's performance behavior, we impose musically meaningful constraints over the encoder's outputs.Comment: Published as a conference paper at ACM IUI 201