Here I am: Wallace Gallery

Performance of " HERE I AM" for Soprano, Piano & Cello at the Wallace Gallery. Music by David Sidwell and Lyrics by Wayne Senior. Pamela Wallace - Soprano, Alexandra Wiltshire - Piano, Yotam Levy - Cello. SHIFT Exhibition Concer

Concert of Contemporary Lithuanian Chamber Music, Tuesday, November 7, 2000

This is the concert program of the Concert of Contemporary Lithuanian Chamber Music performance on Tuesday, November 7, 2000 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Four Preludes for Piano and String Quartet in D minor by Mikolajus Konstantinus Ciurlionis, Sextet for Piano and Strings by Vytautas Barkauskas, Quintet for Piano and Strings by Mindaugas Urbaitis, and Quintet for Piano and Strings by Remigijus Merkelys. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Faculty Recital: Art of the Sonata V, Trumpet and Piano Music of the 1960s and 70s, September 24, 2013

This is the concert program of the Faculty Recital: Art of the Sonata V, Trumpet and Piano Music of the 1960s and 70s performance on Tuesday, September 24, 2013 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Niels Viggo Bentzon by Sonata Op. 73, Sonata for Trumpet and Piano Op. 51 by Flor Peeters, Sonata for Trumpet and Piano by Vladislav Agafonnikov, Sonatina for Trumpet and Piano by Harald Genzmer, and Sonata for Trumpet and Piano by Theodore Holdheim. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Influences of Chinese Cultural Traditions on Piano Music by Chinese Composers: Analytical Study Of Representative Piano Works Through 1980, With Pedagogical and Performance Considerations

Since the Western piano music culture entered China, Chinese musicians have never stopped exploring the piano. The piano compositions grew up with the new China and have been influenced by different historical periods, from the earliest imitation of Western music structure and harmony, to the later incorporation of Chinese folk music, and finally to the bold fusion of Chinese and Western composition techniques into a Chinese style piano music. The development of Chinese piano music has been recognized by the world in the last one hundred years. More and more musicians are interested in Chinese piano works. Understanding Chinese piano compositions has consequently become important. In line with this interest, this study will examine the style, structure, and imitation of the Chinese instrument sound. Through the analysis of selected transcribed folk music and original composed piano works, this study aims to enhance understanding of the traditional folk idioms in the piano works and to understand the idioms’ influences on modern Chinese piano music and its interpretational possibilities. This study will introduce the different regional styles of Chinese folk music, basic pentatonic theory, and how composers use folk melodies, rhythmic patterns, and modified harmonies to convey Chinese flavor. The focus of this research is the relationship between Chinese piano music and Chinese folk music. For the selection of Chinese works, the author has chosen the most representative transcriptions and original works. The selected seven icompositions consist of different styles and genres of folk songs, folk music ensembles, and original Chinese music. Each has a very important role in Chinese piano history. This document will be beneficial to piano students and scholars as it provides an understanding of how Chinese composers developed their musical language to captivate audiences and listeners to this day. It is offered in the hopes of promoting a wider familiarity with Chinese music and culture

Faculty Recital Series: The Art of the Sonata, Part IV, February 6, 2012

This is the concert program of the Faculty Recital Series: The Art of the Sonata, Part IV performance on Monday, February 6, 2012 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Sonata for Trumpet and Piano by Norman Dello Joio, Chamber Music VIII: A Sonata for Trumpet in C and Piano by Robert Suderburg, Sonata for Trumpet and Piano by Fisher Tull, and Sonata for Trumpet and Piano by Jan Krzywicki. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

My Brother\u27s Recital

The big night had arrived. My eight; year-old brother was to perform on the eighty-eight in his first recital. Tonight was the climax of a month of madness. Four long weeks had seen the rise and fall of the neighbors\u27 patience. Day and night, night and day, all they heard was piano, piano, piano! They, as well as we, almost went mad. It would not have been too bad if Al could have played the piano without making it an instrument of torture .. But his brand of music involved no more than two fingers, one on each hand

Being a good piano accompanist: issues and challenges/ Miyeko Jerikho Jordan Salingun

This study was carried out in March-May 2014 at the Faculty of Music UiTM, Shah Alam. This study focused especially on Bachelor Degree Music student piano accompanists from Music Education Department., Music Composition Department and Music Performance Department as well as experienced piano accompanists from outside UiTM. This study is based on responses from respondents regarding the issues and challenges of being a good piano accompanist. The main objectives of this study are: 1. To clarify what are the characteristics of a good piano accompanist. 2. To find out the problems and challenges often faced by piano accompanists. 3. To describe the differences in demands on piano accompanists between voice and instruments. This study conclude that student piano accompanists at Faculty of Music UiTM and experienced piano accompanists from outside UiTM faced similar issues and challenges to be a good piano accompanist. Though there are some similarities of the solutions, techniques and strategies applied in order to be a good piano accompanist, there are also a lot of other different ways which experienced piano accompanists used that can be helpful for student piano accompanists at Faculty of Music UiTM

18-19-20: three centuries of European piano music

UCL Chamber Music Club concert, 20 January 2009, Haldane Room, University College London. A programme of piano music by J. S. Bach (1685-1750), Samuel Coleridge-Taylor (1875-1912), Claude Debussy (1852-1918), and Ferenc Liszt (1811-86). Performance by: Donat Bayer, Christopher Pluntke, and Andrew Tait

New music ensemble: "Sound Ways"

This is the concert program of the New Music Ensemble "Sound Ways" performance on Monday, October 15, 2001 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Lamento furioso in memoriam Edison Denisov, for Clarinet, Violin, and Piano by Sergey Slonimsky, Scars of March for Piano and Tape by Alexander Knaifel, Trio for Clarinet, Violin, and Piano by Galina Ustvolskaya, An Internal Space for Clarinet, Violin, and Piano by Leonid Rezetdinov, "Hommage a Paganini" for Violin Solo by Alfred Schnittke, and 2-1-3 for Clarinet, Violin, and Piano by Alexander Radvilovich. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund