Robert McDonald, İTÜ MİAM 1st PhD piano performance recital скачать в хорошем качестве

Robert McDonald, İTÜ MİAM 1st PhD piano performance recital

This unedited recital recording was made on the 24th of May, 2021 in lieu of a live recital to fulfill the first solo recital requirement for the PhD in Performance at MİAM in Istanbul. My deepest thanks go to my teachers, Ayşegül Sarıca and Dr. Jerfi Aji, sound engineer Mert Alperten, videographers Sevinj Yusifova and Kutay Akyurek, as well as the help of my friends Dirun Ergin, Elif Esin, Ceren Tosun, and Can Erdoğan. This recital is dedicated in loving memory to Ann Macurak (1925-2020), my grandmother, who would have loved everything on the program apart from the Messiaen. 0:00 Introduction 1:27 Dobrinka Tabakova (1980–), Nocturne (2008) 4:00 Olivier Messiaen (1908-1992), Vingt regards sur l'enfant-Jésus (1944), XIII. Noël 8:21 XIV. Regard des anges 13:15 XV. Le baiser de l'enfant-Jésus 24:31 XVI. Regard des prophètes, des bergers et des Mages 27:36 Samuel Barber (1910-1981), Nocturne (Homage to John Field), Op. 33 (1959) 31:23 Robert Schumann (1810-1856), Fantasie in C major, Op. 17, Durchaus phantastisch und leidenschaftlich vorzutragen—Im Legendenton 43:25 Mäßig; Durchaus energisch 51:10 Langsam getragen; Durchweg leise zu halten 1:01:24 Franz Liszt (1811-1886), Années de pèlerinage: Première année (Suisse), Les cloches de Genève (Nocturne) Oliver Messiaen’s Vingt regards sur l'enfant-Jésus (“Twenty gazes of the child Jesus”) was conceived in Nazi-occupied Paris and just three years following his release from Stalag VIII-A. The larger work is reflective of Messiaen’s devout Catholic faith, at two hours of thorough consideration of Jesus, the Son of God, born into darkness, alongside a chorus of birds, a rainbow of colors, and a set of specific leitmotifs. These four pieces form a chronological narrative, with the angels’ proclamation, the birth of Christ, and the visit of astronomers from the East happening in the same order as in the gospels of St. Luke and Matthew. The beating heart of this set, and perhaps Vingt Regards as a whole, is No. XV. where the Theme de Dieu leitmotif circulates in a tender berceuse, and later erupts into a shower of love. Schumann’s singular Fantasie is many things at once: a multi-movement piece resembling and refusing to be a sonata, a work that owes something to Beethoven (whose music it quotes) and Liszt (its dedicatee), but also there exists coded musical material directed at the younger Clara Wieck, the father of whom had temporarily succeeded in physically separating the couple. The music features a breathlessness that is spurred by the opening movement’s refusal to settle down and cadence in the tonic key of C— that is until its final page. All throughout the work, Schumann’s dual personalities of Florestan (passionate, bold, daring) and Eusebius (unassuming, meek, naive) share a stage and alternate in the spotlight. The heartfelt third movement most certainly belongs solely to Eusebius, and remains among the most hauntingly beautiful musical poetry of the troubled composer. Nocturnes, literally “night pieces”, are traced back to Irish composer John Field (1782-1837), though it was Chopin who gave the introspective medium greater popularity. I wanted to find a recently composed nocturne by a living composer, and was fortunate to discover Bulgarian Dobrinka Tabakova’s short piece cut from a minimalist cloth. In American Samuel Barber’s rendition he uses his lyrical gifting in an interesting way: the right hand plays tone row melodies over bass arpeggios that frequently return to A flat major. Liszt’s piece concludes the first of his volumes of pilgrimage, an earlier version having been dedicated to his newborn daughter Blandine with the Countess Marie d’Agoult. The three nocturnes bookend this program, and can represent markers of time in a prolonged season of lockdowns and Covid-19, which have upended our most normal daily rhythms and left us all waiting for what follows. my soul waits for the Lord more than watchmen for the morning, more than watchmen for the morning. — Psalm 130:6 Türkçe çevirisi için: https://docs.google.com/document/d/1A...