51 Results for : xiamen

  • Thumbnail
    Complete Works for Cello & Piano
    Ludwig van Beethoven Complete Works for Piano and Cello Sonata in F Major, Op. 5 No. 1 Adagio sostenuto - Allegro RONDO: Allegro vivace Sonata in C Major, Op. 102 No. 1 Andante - Allegro vivace Adagio - Allegro vivace Variations on Mozart's "Ein Mädchen oder Weibchen" from Die Zauberflöte, Op. 66 Sonata in A Major, Op. 69 Allegro ma non tanto SCHERZO: Allegro molto Adagio - Allegro vivace Variations on Handel's "See, the Conquering Hero Comes" from Judas Maccabeus, WoO 45 Sonata in G minor, Op. 5 No. 2 Adagio sostenuto e espressivo Allegro molto più tosto presto Rondo: Allegro Variations on Mozart's 'Bei Männern welche Liebe Fühlen' from Die Zauberflöte, WoO 46 Sonata in D Major, Op. 102 No. 2 Allegro con brio Adagio con molto sentimento d'affeto The Florestan Duo - Stefan Kartman, cello and Jeannie Yu, piano Stefan Kartman, cello, and Jeannie Yu, piano, are two brilliant soloists whose passion for chamber music brought them together in 1987 during their studies at the Juilliard School of Music. Like-minded musicians who share the same concept of an ideal sound, musical expressiveness, and excellence, they carry on a tra-dition whose lineage reaches directly back to the romantic period of Johannes Brahms. This tradition is the basis of inspiration for these shared ideals. Their first meeting occurred in the studio of violinist Joseph Fuchs as they studied Mendelssohn's Piano Trio in C minor. They continued to study chamber music with Fuchs and sonatas with cellist Harvey Shapiro and pia-nist Martin Canin until their graduation in 1989. Both members of the Florestan Duo have since earned their Doctor of Musical Arts degrees and have also worked with cellists Bernard Greenhouse and Zara Nelsova and pianists Susan Starr and Ann Schein, among others. Kartman and Yu have performed to critical acclaim in concert halls and educational institutions throughout the United States, Europe, and the Far East. Recordings of their performances have been aired on WQXR in New York, WFMT in Chicago, and WOI in Ames, Iowa. Most recently they have returned from critically acclaimed tours of Korea, Taiwan, Holland, Italy, and China, including solo performances with the Xiamen Symphony and recitals as a duo in Xiamen, Jinmei, Shanghai, Soest, and Verona. Both members of the Florestan Duo are accomplished teachers of chamber music and solo repertoire, having served on the faculties of Drake University, Illinois Wesleyan University, the Wisconsin Conservatory of Music, the MidAmerica Chamber Music Institute at Ohio Wesleyan University, the Alfred University Summer Chamber Music Institute under the artistic directorship of Joseph Fuchs, the Milwaukee Chamber Music Festival, and the Green Mountain Chamber Music Festival under the artistic directorship of Kevin Lawrence. Kartman is associate professor of cello and chamber music at the University of Wisconsin-Milwaukee and Yu freelances in the Milwaukee and Chicago metropolitan areas. Sonata No. 1 in F Major, Op. 5 No. 1 Beethoven's First Cello Sonata begins with a large slow introduction. While it wanders tonally somewhat, it fulfills the essential role of the introduction-to state the main key at the beginning, and to prepare for a return to that key as the Allegro begins. Scholars have pointed to Mozart's Violin Sonata in G major, K. 379, as a pos-sible model for this introduction. To be sure, Mozart's introduction is of similar breadth and tonal plan, and we must remember that Beethoven's principal models for writing cello sonatas-lacking earlier works for cello with a written-out (i.e., not basso continuo) keyboard part-were Mozart's sonatas for violin and piano, which number around twenty. Beethoven's Allegro begins with a long theme, reminiscent to the large theme in the same position in his Septet in E-flat, Op. 20, presented first by the piano and them taken up by the cello. The two sonatas of Op. 5 are vehicles for Beethoven as a young piano virtuoso, written during his stay in Berlin during a concert tour in the spring and summer of 1796. He has given himself, as well as the cellist with whom he was working, Jean Louis Duport, passages of considerable virtuosity. The astute listener will notice pas-sages strikingly similar to portions of Mozart's piano sonatas K. 333 and 570. The movement concludes with a substantial coda which, after the tempo slows to Adagio, turns to a cadenza-like passage, ending with the traditional trill, and reinforcing the virtuoso nature of the work. There is no slow movement. Perhaps the large slow introduction rendered one unnecessary, or perhaps Mozart's several two-movement violin sonatas served as models. The second and final movement, a rondo, begins without stating it's main key clearly, an approach Beethoven also utilized in both movements of the Second Sonata, Op. 5 No. 2 (and Mozart did similarly in the Violin Sonata in C, K. 303, first movement, in the Molto allegro). The writing, again, calls for virtuoso players, and there are marvelous passages in which the cello sustains an open fifth drone while the piano plays an arpeggiated idea. Slower tempos near the end lead to a brilliant conclusion. Sonata No. 4 in C Major, Op. 102 No. 1 "It is so original that no one can understand it on first hearing." So wrote Michael Frey, Hofkapellmeister at Mannheim, about Beethoven's Fourth Cello Sonata. The autograph manuscript of the sonata is dated "toward the end of July 1815," and he titled the work a "free sonata." That it is freer than it's companion, Op. 102 No. 2 (titled simply "sonata"), is evident in the respective layout of the sonatas' movements. While no. 2 is a conventional fast-slow-fast cycle, no. 1 is organized most distinctively. The sonata begins with the cello alone, like the Third Sonata, Op. 69, presenting an idea that comes to take on considerable significance in the totality of the work. The tempo is Andante, and the passage gives way to a concise Allegro vivace in sonata form. Yet the introduction is tonally very unconventional. It ostensibly begins in the home key, though the key of C is not stated explicitly at the beginning. And the introduction ends in the tonic, not the conventional dominant-but the Allegro vivace that follows is in A minor, not C major, and the structure that ensues is in keeping with the traditional treatment of A minor. The music that follows appears initially to be the slow movement. Marked Adagio, it is replete with ornamental gestures, and proves to be more an interlude than a full slow movement. (The only true slow movement in Beethoven's cello sonatas is in the Fifth Sonata, Op. 102 No. 2.) This Adagio, only nine measures long, gives way to a return of the material that began the sonata, a cyclic return of seven measures that leads to the finale, a lighthearted sonata form movement in the home key of C. It's fugal development section might be viewed as a counterpart to the fugal finale of Op. 102 No. 2. Further, the overall shape of the Fourth Sonata, including the cyclic return of it's opening idea, is also to be found in the Piano Sonata in A major, Op. 101, written in the same period, and it has been suggested that the works that comprise Beethoven's Opp. 101 and 102 comprise a trilogy. Variations on Mozart's "Ein Mädchen oder Weibchen" from Die Zauberflöte, Op. 66 Beethoven composed this first of his two sets of variations on a theme from Mozart's Die Zauberflöte in 1796, in the same period when he wrote the two cello sonatas Op. 5, and it was published in Vienna in 1798. The passage from the opera that he selected appears late in the second and final act. It is a catchy, strophic song for Papageno, the bucolic and comic figure of a bird-catcher who is an amusing and gently annoying character during the opera, ever since his initial appearance in the second number of act I ("Der Vogelfänger bin ich ja"). In "Ein Mädchen oder Weibchen," Papageno pines for a girlfriend-and it works, as Papagena enters just as the aria concludes, appearin
    • Shop: odax
    • Price: 32.56 EUR excl. shipping

Similar searches: