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Description
As one of the composers living in an era filled with innovations, Anatol Konstantinovich Lyadov (1855-1914) has been relatively ignored by scholars and pianists to date. He is an unusual composer with multiple characteristics: solitary but expressive, talented but indolent. His compositional style never lacked critics—especially with respect to his persistent preference of miniatures. Nonetheless, his piano works embody the breathtaking beauty of the composer’s independent musical ideas and colorful musical language. Compared with the flourishing, dazzling, and nationalized music from other composers living in the same era, these light, flowing musical pieces from Lyadov have irreplaceable value.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
ContributorsZhang, Xiaoyu (Author) / Hamilton, Robert (Thesis advisor) / Creviston, Hannah (Committee member) / DeMars, James (Committee member) / Meir, Baruch (Committee member) / Arizona State University (Publisher)
Created2018
ContributorsHackbarth, Glenn, 1949- (Director) / Brouwer, Monique (Performer) / Starling, Jana (Performer) / Austin, Liana (Performer) / Stein, Derek (Performer) / Waleczek, Jennifer (Performer) / Branch, Sonja (Performer) / Nottingham, Douglas (Performer) / Hodjati, Katayoon (Performer) / Contemporary Music Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2003-12-01
ContributorsLandschoot, Thomas (Performer) / Sellheim, Eckart (Performer) / Spring, Robert (Performer) / Starling, Jana (Performer) / Campbell, Andrew (Pianist) (Performer) / Jiang, Danwen (Performer) / Hamilton, Robert, 1937- (Performer) / Meir, Baruch (Performer) / McLin, Katherine (Performer) / ASU Library. Music Library (Publisher)
Created2007-09-14
ContributorsHackbarth, Glenn, 1949- (Director) / Brouwer, Monique (Performer) / Starling, Jana (Performer) / Wytko, Joseph (Performer) / Peterson, Julian (Performer) / Hodjati, Katayoon (Performer) / Austin, Liana (Performer) / Stein, Derek (Performer) / Contemporary Music Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created2003-10-10
ContributorsUlianitsky, Ilia (Performer) / Sidi, Or (Performer) / Heaton, Dallas (Performer) / Rotaru, Catalin (Performer) / Chen, Chia-I (Performer) / Policar, Rachel (Performer) / Meir, Baruch (Performer) / Schildkret, David (Speaker) / ASU Library. Music Library (Publisher)
Created2009-02-05
ContributorsSpring, Robert (Performer) / Campbell, Andrew (Pianist) (Performer) / Sellheim, Eckart (Performer) / McLin, Katherine (Performer) / Faulkenstein, Greg (Performer) / Simiz, Jan (Performer) / Starling, Jana (Performer) / McAllister, Timothy (Performer) / Smith, J. B., 1957- (Performer) / Bailey, Wayne (Performer) / ASU Library. Music Library (Publisher)
Created2007-09-09
ContributorsMeir, Baruch (Performer) / Barefield, Robert (Performer) / Buck, Nancy (Performer) / Jiang, Danwen (Performer) / Swartz, Jonathan (Performer) / Tescarollo, Hamilton (Performer) / ASU Library. Music Library (Publisher)
Created2004-02-15
ContributorsSpring, Robert (Performer) / Cosand, Walter, 1950- (Performer) / Ferreira, Wesley (Performer) / Martin, Theresa (Performer) / Pascale, Natalie (Performer) / Russell, William (Performer) / Dauphinais, Kristin (Performer) / Campbell, Andrew (Pianist) (Performer) / Starling, Jana (Performer) / ASU Library. Music Library (Publisher)
Created2004-10-25
Description
Korean composer Youngmin Jin (b. 1959) has composed in a wide variety of genres, including works for solo instruments, chamber music ensembles, orchestra, and opera. Jin has written only five solo piano pieces. This paper discusses three of these works for solo piano: Tschum für Klavier (1998), From Childhood for Piano (2014), and A Little Talk for Piano (2016-2017). Prior to the description of these pieces, the document provides a biography of the composer and introduces his compositional features through examples from his music for other genres. Jin has a flexible approach to tonal organization, which he calls SinJoseong. In certain works he employs such Korean elements as pentatonicism, ornamentation, and distinctive Korean rhythms, incorporating them into his music in Western forms and idioms. Jin's later style tends toward clarity and the use of basic elements, a trend that is evident in the two later piano works discussed here, in particular in their formal structures and their sharing and transforming of motives.
The examination of the content and features of these three piano pieces by Youngmin Jin is augmented by information gained through interviews with the composer. A link to my recording of these works is provided in support of the discussion.
ContributorsLee, Eunhwa (Author) / Holbrook, Amy (Thesis advisor) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2022
ContributorsSpring, Robert (Performer) / Campbell, Andrew (Pianist) (Performer) / McAllister, Timothy (Performer) / McLin, Katherine (Performer) / Micklich, Albie (Performer) / Smith, J. B., 1957- (Performer) / Starling, Jana (Performer) / ASU Library. Music Library (Publisher)
Created2009-09-13