Tag: Sonata

How to choose a piano diploma exam program (I)

My first trial of (this) Haydn


My students have been working on this sonata.

Many have played this but I frankly do not enjoy the sonata as a whole that much and I am not a big fan of Haydn’s piano sonatas.

But this movement, is simply, gorgeous. No words.


Teresa Wong plays Haydn’s Piano Sonata in C, Hob.XVI/50 second movement, “Adagio” :




Teresa Wong



Teresa Wong’s Piano Studio Presents: Student Concert 2012 (Rundown) 黄穎妍與學生鋼琴音樂會 2012

[anti-rclick]December 14, 2011


Dear Students and Parents,

This is the rundown of our concert:


Teresa Wong’s Piano Studio Presents: Student Concert 2012
黄穎妍與學生鋼琴音樂會 2012

Venue: Hong Kong Arts Centre
地點: 香港藝術中心

Date: January 8, 2012 (Sunday)
Time: 3.30pm (-5.30pm)



— 1st half —


Solo Performance
Alexandra Uy-Tioco
– A Glorious Race (F.X. Chwatal)
– Little Playmates (F.X. Chwatal)
– A Tender Flower (Felix Swinstead)


Bryan Miu
– Tarantella (Pauline Hall)
-Military Minuet (Pauline Hall)


Karim Chan
– Melody (Le Couppey)
-Tarantella (Pauline Hall)
– Camptown Races (Stephen Foster)


Katherine Cheng
– Forget-Me-Not (Pamela Wedgwood)
– Sonatina in C, Op. 36 No.1, First Movement, “Spiritoso” (Muzio Clementi)


Julian Cheng
– Joyous March (Ernest Bloch)
– Mazurka (Mikhail Glinka)


Jeremy Chan
-Sonata in C, KV 545, First Movement, “Allegro” (W.A. Mozart)


Joy Chan
-Prelude in C (J.S. Bach)


Cordelia Wong
-Easy Does it (Pamela Wedgwood)
-Stroll On (Alan Haughton)


Yanie Wong
-Miniature in D minor (A.F. Gedike)
-Flood time (Eric Thiman)


Shanie Wong
-Sonatina in C, Op.36 No.3, First Movement, “Spiritoso” (Muzio Clementi)
– Sonata in F, K.280, Third Movement , “Presto” (W. A. Mozart)


Yan Phu
-Black Coffee (Paul Francis Webster & Sonny Burke)
-Sonatina, Op. 13 No.1, Third Movement, “Presto” (Kabalevsky)


Anisia Wong
-Sonata in B minor, Kp. 27 (D. Scarlatti)


Mae-Z Fam
-Sonata in C minor, Op. 13 (“Grande Sonaté pathétique”), Third Movement, “Rondo” (Beethoven)


—Intermission—


—- 2nd half —-


Guest Performance

Guest Performer:
Mr. Richard Bamping, Principal Cellist of the Hong Kong Philharmonic Orchestra


Pianist:
Teresa Wong


Performance of Teresa Wong’s Compositions
Joy Chan
– Strollin’ Along


Bryan Miu
– Silly Billy


Jeremy Chan
-Twist & Dance


Anisia Wong
-Farewell


Mae-Z Fam & Teresa Wong
-The First Duet


Duet
Anisia Wong & Yan Phu
-Military March (Franz Schubert)


Performance of Diploma Students

Annie Yeung & Teresa Wong
– Symphony No.5, First Movement (Beethoven) (piano duet arrangement)


Gillian Li
– Impromptu in Ab, D.899, No.4 (Franz Schubert)


Jeannette Liu
– Études Op.25 No.7 (Frédéric Chopin)


Clive Ngai
– Hungarian Rhapsody No. 11 in A minor (Franz Liszt)


—Finale—
Anisia Wong & Teresa Wong
– CS Theme & Variations, Op. 6 (Randall Compton)


Prize Giving Ceremony


— End of Concert —

For those who are not performing in the concert this year, please still come and support us! Tickets are available for sale from December 15, 2011 at any Urbtix ticketing office. Or you can purchase them through me, thank you.




Teresa Wong

Reference Books For Specific Topics: Beethoven

[anti-rclick]November 29, 2011


For those who are interested in attaining more in-depth knowledge (history, composer, performance (practice), genre) about Beethoven and his piano works, I suggest you read the following to start with:


Beethoven: the first biography, 1827 (“Beethoven: Eine Biographe”)

– by Johann Aloys Schlosser, Barry A. R. Cooper


Beethoven’s letters

– by Ludwig van Beethoven, Alfred Christlieb Kalischer (Dover Edition, 1972)


Beethoven: The Last Decade, 1817-1827

– by Martin Cooper (London: Oxford University Press, 1985)

includes analysis of piano works


A Companion to Beethoven’s Pianoforte Sonatas

– by Donald Francis Tovey, Barry Cooper (Associated Board of the Royal Schools of Music, 1998)


Beethoven: the music and the life

– by Lewis Lockwood (W W Norton & Co Inc, 2005)


Beethoven

– by Barry Cooper (Oxford University Press, 2000)


Beethoven, the Man and the Artist as Revealed in His Own Words

– by Ludwig van Beethoven, Friedrich Kerst, Henry Edward Krehbiel (Dover edition, 1964)


Beethoven’s piano sonatas: a short companion, Volume 1

– by Charles Rosen (Yale University Press, 2002)


Beethoven: Piano Sonatas, Volume 3: Issues 16-24

– by Ludwig van Beethoven, Stewart Gordon (Alfred Music Publishing, 2008)


Beethoven: Piano Sonatas, Vol 2: Issues 9-15

– by Ludwig van Beethoven, Stewart Gordon (Alfred Music Publishing, 2005)


Sonata Forms

– by Charles Rosen (Norton, 1988)


The Classical style: Haydn, Mozart, Beethoven

– by Charles Rosen (WW NORTON, 2009)


Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven

– by William E. Caplin (Oxford University Press, 1998)


Harvard dictionary of music

– by Willi Apel (Harvard University Press, 1969)

Link for “Sonata Form” (incomplete): p.791-796

The Harvard dictionary of music (2003) – Don Michael Randel

Link for “Sonata Form” (incomplete): p.799-802


It’s not necessary that you read the whole book(s). Often you can find the chapters relevant to the specific pieces you are working on / specific information that you are looking for.


Teresa Wong


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Student Gathering (October 30) : Amy

[anti-rclick]November 10, 2011

Amy plays Beethoven’s Sonata in F minor, Op.2 No.1, first movement, “Allegro”.

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Teresa Wong


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Samuel Barber’s Piano Sonata Op. 26

[anti-rclick]September 4, 2011

Note: This was written some 10 years back. (which means the information is correct while the writing is old)

Samuel Barber (1910-81) is one of the few most prominent composers in the American musical world in the 20th century. He received his formal musical training in the famous Curtis Institute of Music in Philadelphia between 1924 and 1932. He early works, known for such Romanticism, achieved much acclaim and brought important awards for him such as the Pulitzer Prize of 1958 for his opera “Vanessa”, as well as the second Pulitzer Prize of 1963 for his first piano concerto. His most well-known orchestral piece “Adagio for Strings”, premiered by the conducting maestro Toscanini in 1938, remains to be an ever popular classics nowadays. The Piano Sonata Op.26, premiered by the legendary pianist Horowitz, is still regarded as an essential work in the twentieth-century piano repertoire.

Piano Sonata Op.26 was composed for the commission in the fall of 1947 by Irving Berlin and Richard Rogers in honor of the 25th anniversary of the League of Composers. It had a stunning impact on the American musical world: it was the first piano piece of America, it was to be played by Horowitz who presented the New York premiere in 1949 and scheduled the piece as one of the works performed in his concert season of 1949-50 in which there were twenty-one performances of the sonata. Question remains unanswered whether Barber wrote this piece especially for the pianist maestro or not. They both denied it, but it was clear that the latter did throw many ideas and much advice on composing the piece such as the suggestion of adding the fourth movement and changing the last bar of the second movement (from 8th notes into 32nd notes).

The sonata is comprised of four movements. There are evidences of using twelve-tone row technique, as later analyzed by the theorists. The first movement, being the longest of all movements, was once said to be difficult to be understood by Horowitz. It is composed with an economical use of thematic material, and the sonata form is outlined by melodic design rather than by harmonic structure. The home key, though stated to be E minor, is hardly found until the coda and the whole movement is tonally ambiguous, somehow between Cb major and Eb minor, The half-step feature is significant here as in the second and third movement. The dotted rhythm with emphasis on a shift to the dotted note that follows behind the shorter one (16th/32rd) than the usual pattern that is to emphasize the dominant one before the short one.

The frequent change of time signature does note give a feeling of interruption in the duration but instead helps to keep the move go smoothly along particularly when the music changes from a slower rhythmic motion to a quicker one (e.g. 5/8 – 3/8 to have a more intense feeling of restlessness on the motion of all 16th notes after “stringendo” is indicated).

The second movement is a quasi-scherzo dance movement, but in a rondo form. It is light in character, with a little reminiscence of the half-step feature. It changes from a playful 6/8 to the waltz-like 3/4 in elegant style, a sudden shift of mood and emotion. After phrases of chaos – with time signature shift among 3/4, 4/4 and 5/4 then back to 6/8 again, like having wrong steps in having the waltz dance and quarreling along – the music goes back to the usual pattern like that in the beginning. The last bar as suggested by Horowitz as 32nd notes instead of 8th notes by the composer, makes a light ending flying towards the sky after a little mess.

The third movement has an ostinato bass (presented in the first and second bars) which consists of six dyads, i.e. a vertical statement of twelve tones. It is the arpeggiation in bars 3 and 4 and appears recurringly in its original form or in transposition. The form of the whole movement is similar to an ABA form.

The fourth movement is a four-part fugue, which is the most famous movement of the whole sonata and played so frequently right after its publication. Every pianist was eager to play and to the most extreme extent Barber was urged to compose a new movement to replace it because the pianists felt sick of it. The fugue is structured in traditional form, with an exposition with subject in Eb minor and answer in the dominant, gradually growing through the development and the episode to the coda in bravura style. Devices like augmentation, retrograde inversion and stretto are commonly found in the fugue.


Teresa Wong

Mae-Z Fam: Beethoven’s “Rondo” (Pathetique)

[anti-rclick]August 25, 2011

Mae-Z Fam plays Beethoven’s Sonata Op.13 in C minor (Pathetique), 3rd movement, “Rondo”.

[qt:http://teresawong.dyndns.org:9001/video/maezbee.m4v 640 360]



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Shanie Wong: Mozart’s Piano Sonata K.280, Presto

[anti-rclick]July 9, 2011

Shanie Wong plays Mozart’s Piano Sonata K.280, third movement, “Presto” (1st half).

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Good improvement, Shanie! Keep it up!


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Anisia Wong: Scarlatti’s Sonata in B minor, L.449

[anti-rclick]Anisia Wong plays Scarlatti’s Sonata in B minor, L.449 (1st half) .


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Pretty good, Anisia! Very pleased to see your improvement week by week!

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