Alfred Cortot's response to the music for solo piano of Franz Schubert: a study in performance practice

Alfred Cortot and Franz Schubert are two names that are rarely mentioned in the same context. Although Cortot was a renowned pianist and pedagogue of the first half of the twentieth century, his work on Schubert has remained obscure. This can be explained by the fact that his recordings of, and writings on, Schubert’s works comprise only a small sample of his affinity with this repertoire, in comparison to his affiliation to the work of other composers, such as Chopin. This degree of obscurity is also increased by the fact that, to a certain extent, Schubert’s works for piano remained neglected until early in the twentieth century, in contrast to his great reputation as a composer of Lieder. However, the study of Cortot’s recordings and commentary editions of Schubert’s piano music reveals that Cortot can potentially be a relevant source for the performance of this repertoire. Due to his educational background and the roots of his performance style, he can be a link to performance traditions of the late nineteenth century, which comprise important sources for the performance of Schubert’s work, especially given the notable lack of primary evidence specific to this music. Cortot’s editions discuss issues, which are still current regarding the performance of Schubert’s works, and provide answers, which are comparable with modern and updated approaches. On the other hand, Cortot’s editions and recordings of Schubert’s music cover a range of time within the twentieth century (1920-1960) that encompassed some of the greatest changes in performance styles that have ever been documented in writing and in sound. His work therefore also becomes a valuable source for the study of this evolution and the way it might have been realized and influenced by leading artists of the twentieth century. This thesis aims to present Cortot’s work as an inspiring source for the interpretation of Schubert’s music today, and as an important testimony to the history of performance practice

A comparison of two sets of variations on Chopin’s Prelude op. 28, no. 20 in C minor: Ferruccio Busoni’s Ten Variations on a Theme by Chopin, BV 213a and Sergei Rachmaninoff’s Variations on a Theme of Chopin, op. 22

This dissertation explores and compares two sets of variations that use Frédéric Chopin’s Prelude, op. 28, no. 20 as a theme: Sergei Rachmaninoff’s Variations on a Theme by Chopin, op. 22 (1902-1903) and Ferruccio Busoni’s Ten Variations on a Prelude by Chopin, BV 213a (1922). The first primary goal of this paper is to provide a comparative overview of the two variation sets through their different approaches to the use of the same musical theme, including historical, compositional, and performance considerations as well as recording history. While it is impossible to prove theories about a society’s musical tastes, this study will provide a better understanding of culture and history surrounding these works. Through an examination of each composer’s approach to variation form and their development of Chopin’s Prelude, op. 28, no. 20, combined with a catalog of recordings of each work, the secondary goal is to be able to increase the understanding of the reception of both composers’ use of the same work as a theme. This information will allow for greater inferences to be made about the development of musical tastes and history in recent years

Choosing Alternative Repertoire: Pedagogical Considerations for Robert Fuchs\u27s Cello Sonata No. 2, Op. 83

This document serves to promote Robert Fuchs\u27s Cello Sonata No. 2, Op. 83, as a study piece for the cello, piano, and collaborative duo, showing the pedagogical benefits of this Romantic sonata. This project will begin with a biography of Fuchs and background of the work, followed by an analysis that establishes the piece in the Romantic tonal tradition. The next section will discuss the pedagogical benefits of the cello part, the technical accessibility in the piano part, and the collaborative opportunities encountered in the piece, comparing it with other Romantic sonatas in the standard repertoire. Additionally, I will be advocating for programming this sonata as an accessible alternative to the other standard, Romantic duos for cello and piano. An edited cello part with bowings and fingerings for performance will be included at the end of the document

Volume 44, Number 08 (August 1926)

Chronologial Progress in Musical Art (interview with Igor Fedorovitch Stravinsky) Beethoven\u27s Literary Education I Will Backing Up Musical Fundamentals Which Every Student Should Know Bugaboo of Memorizing Enthusiastic and Popular Teacher To Keep Up a Repertoire Teach by Comparisons Competent Chopin Commentaries Music and Morocco Pupils\u27 Time Wasters Paris Grand Opera House Caruso\u27s Meeting with Puccini Research Fascinating Journeys in Music Land, Part 2 Real Chopin Teaching the Sharps and Flats Your Teacher Enjoys Geometric Gymnastics Improving a Pupil\u27s Sense of Rhythm Planting a Musical Garden Helping the Beginner Well-Known Transcriptions and Arrangements for Piano Give Me Little Classics Unique Report Cards Daily Technical Practice (So-Called) Portamento Staccato Reaching by Rotationhttps://digitalcommons.gardner-webb.edu/etude/1736/thumbnail.jp

To Prelude (v.): The Art of Preluding and Applications for the Modern Classical Guitarist

In Western classical music, there are many types of compositions; some examples include sonatas, symphonies, fugues, and motets, each with a particular form. The prelude stands out as one of the few classical music forms in which the title can also be used as a verb. This is not frequently seen with other compositional types; there is never a case of “sonata-ing,” and an orchestra cannot suddenly burst into “symphony-ing.” However, there is a practice known as preluding. Historically, preluding was a common improvisational practice although many musicians today are unfamiliar with the tradition. Generally unexplored, preluding has played an influential role in the evolution of Western classical compositions and music education. In these pages, the history of preluding will be revealed, starting from the Middle Ages and continuing through the twenty-first century. In the Renaissance and Baroque periods, preluding was especially important to plucked-stringed instruments such as the lute, an ancestor of the guitar. Lutenists would prelude in order to tune their strings and adjust their frets before a performance. Many of today’s guitarists are unaware of this practice but creating and performing preludes in concert can help their performances acquire aspects of immediacy and spontaneity. This study will look at the history of preluding with the goal of helping modern guitarists practice this art and be able to implement these ideas into performance situations

\u3ci\u3eSoundboard Scholar\u3c/i\u3e no. 7 (Complete)

This PDF is a compilation of all articles from Soundboard Scholar no. 7, provided for convenience. Please visit https://digitalcommons.du.edu/sbs/vol7/iss1/ for individual PDFs, which should be used for citation. This PDF was updated on March 4, 2022 to include Robert Ferguson\u27s obituary of Thomas Heck

Volume 34, Number 12 (December 1916)

Locating the Notes on the Keyboard Make Your Circular Hit the Mark Keeping the Voice in Prime Condition Some Truths about Touch and Tone Famous Legends of Famous Music: And Incidentally Some Famous Lies About Well-Known Pieces Beethoven\u27s Appearance and Personality If I Had to Begin All Over Again: A Remarkably Interesting Symposium with Contributions from Distinguished Musicians What an Olden Time Bard Looked Like Composer: A Powerful and Fascinating Romance of Modern Musical Life849 Tempo: The Ruling Force in Music Teaching Ideals of Three Master Violinists Teaching Expression to Children Danger in Tuning the Piano Too High Four Roads to Memorizing Master Lesson by a Famous Virtuoso: Chopin\u27s Polonaise in C Sharp Minor Analyzed and Interpreted Fable of the Pupil, the Pianist, and the Pocketbook Some Facts About Our Favorite Operashttps://digitalcommons.gardner-webb.edu/etude/1034/thumbnail.jp

Volume 12, Number 04 (April 1894)

Philadelphia Summer Music School Technique and Feeling Devitalized Wrist Very Much to the Point Valuable Contribution to Musical Criticism Good Enough to Practice On Classses in Biography and Musical History Art Versus Prize-Getting Women\u27s Amateur Musical Clubs Musical Taste Public v. Private Pupils\u27 Recitals Review Reason Why Origin(?) of Certain Compositions Some Secrets of Practice Encourgting Young Musicians What is Musical Intelligence? Beethoven Sonatas Wanted, in the Musical Profession, More Brains and Better Morals Hints and Helps In Jest My Morning\u27s Work Let All Be Worthy and Well Tried Necessary Reform in Charging Tuition Extracts from Handy Music-Lexicon Genius and Poverty About Encores Units How to Keep Pianos in Hot Weather Edvard Grieg Good Listeners Concise Chronological History of the Chief Musicians and Musical events from A.D. 1380-1885 Courtesy to Pupilshttps://digitalcommons.gardner-webb.edu/etude/1380/thumbnail.jp

Chopin in Great Britain, 1830 to 1930: reception, performance, recordings

This thesis focuses on three principal areas: the reception of Chopin's music in Great Britain, both during his lifetime and following his death; early sound recordings of Chopin's music, particularly those from the end of the nineteenth and the beginning of the twentieth centuries; and differing approaches to the performance of Chopin's music, including those by the composer himself, and interpretations by some of his contemporaries, students and 'grandstudents'. These three areas are presented in four chapters, which complement one another by exploring links between cultural, social and historical contexts of Chopin's music in Great Britain in the period from 1830 to 1930. The thesis addresses some of the varied features that contribute to an understanding of historically-informed performance practice, and ultimately demonstrates how these features - which allow for greater comprehension of nineteenth-century pianistic styles and techniques - have enriched the author's own interpretations. The written thesis is accompanied by the author's own performance of several of Chopin's works informed by late nineteenth-century expressive techniques