Dianne Goolkasian Rahbee - Piano Sonata, Op. 25 (1986) скачать в хорошем качестве

Dianne Goolkasian Rahbee - Piano Sonata, Op. 25 (1986)

Composer: Dianne Goolkasian Rahbee / (Orchestrated by David Rahbee) Ensemble: Orchestra Book Club Notes from Score: Dianne Goolkasian Rahbee, born in Somerville, Massachusetts, February 9, 1938, is a first generation Armenian-American whose father was a survivor of the genocide, and much of her music reflects a deep-rooted ethnic background. The strong influences of her first spoken language, Armenian, and of the folk music in the home where she grew up, are important elements in her musical language. Her early love for music was sparked by her mother, a talented violinist. Dianne began her musical training as a pianist in Boston with Antoine Louis Moeldner, who studied with two of Leschetitzky's most illustrious pupils, Helen Hopekirk and Paderewski. The Moeldner-Hopekirk connection would have particular impact: Moeldner had been a teaching assistant to Ossip Gabrilovich, while Helen Hopekirk was herself a highly respected composer and pianist, and served as an early role model for Goolkasian Rahbee. The influence of this distinguished lineage was a powerful inspiration. She continued her studies at Juilliard as a piano major and at Mozarteum in Salzburg, Austria studying chamber music with Enrico Mainardi. In later years, Dianne studied piano privately with David Saperton in New York and Lily Dumont, Russell Sherman, and Veronica Jochum in Boston. As a self-taught composer, she began writing pieces for her piano students and received encouragement to continue this work from Constance Keene and David Saperton. At age 40, Goolkasian Rahbee began concentrating on composing, and has since produced a large body of works for piano solo, orchestra, instrumental ensembles, percussion, and voice. Her music is performed internationally, and many large festivals have featured her works in the U.S. and abroad. Forward from the Orchestrator: My mother’s First Piano Sonata was commissioned by Angel Ramón Rivera at the Rivers School in Weston, Massachusetts in 1986, for their annual contemporary music seminar. I heard the piece performed many times since I was a child. I remembered the last movement most vividly, in which the pianist plays clusters with both forearms. During the COVID-19 pandemic I made the decision to orchestrate this piece, as a gift to my mother and as a challenge to myself. The four movements are as contrasting as they are economical. They are based on traditional forms such as sonata and rondo, include a 12-tone row, and are cast in a post-romantic language; this is not surprising considering that she was strongly influenced by the sonatas of Barber and Ginastera. I dedicate this orchestration to her, and hope that any talent she may have passed on to me has done her work the justice it deserves.