• Examples of program music in piano literature: storm, ocean, devil, ghosts

      Stavrianou, Eleni-Persefoni; Zilberkant, Eduard; Post, William; Celaire, Jaunelle (2016-05)
      The purpose of this paper is to present background information on the author's graduate piano recital program, namely extended program notes on the music performed. It should be mentioned that, although not intended, the whole recital is, in a way or another, program music. It is divided in two parts: the first is about Storms and Water (with "The Tempest" by Beethoven and Une barque sur l' ocean by Ravel), and the second about Spirits (with Faust Waltz by Liszt and the Three Ghost Rags by William Bolcom). Alborada del gracioso by Ravel falls somehow in between these two parts - a gracioso (jester) is a character, thus a spirit; an entertaining one. In this paper, I will attempt to explain what inspired composers to add titles to their music - this extramusical aspect has always been very intriguing to me. In the case of Beethoven, the title was most probably given by someone else, therefore the "Tempest" is not intended to be programmatic. In the case of Liszt, the piece is a transcription of an opera, which can be considered a programmatic genre. Ravel's and Bolcom's compositions are undoubtedly program music, since the composers gave them descriptive titles and were inspired certainly by extramusical factors.
    • An overview on the author's graduate recital program

      Koukakis, Dimitrios Paganos; Zilberkant, Eduard; Post, William; Celaire, Jaunelle (2016-05)
      The following project paper consists of three chapters, examining the works in my Graduate Recital Program. The first chapter analyzes the form, structure and particular interesting elements that Aram Khachaturian uses in his Sonata for Piano. The second chapter gives a brief historical information of the term Fantasy and examines two examples of the genre, Chopin's Fantasy in F minor op. 49 and Carl Vine's Sonata no. 3 "Fantasia". The third chapter covers some biographical information of Elliott Carter and examines the form and structure of his work for solo piano, 90+.
    • Program notes of graduate recital

      Maniatopoulou, Evanthia; Ziberkant, Eduard; Celaire, Jaunelle; Post, William (2017-05)
      This paper discusses the four pieces of the graduate recital of student Evanthia Maniatopoulou; Johann Sebastian Bach's Prelude and Fugue in F minor, Well-Tempered Clavier Book II, BWV 881; Ludwig van Beethoven's Piano Sonata No. 30, Op. 109; Frederic Chopin's Scherzo No. 3, Op. 39; and Sergei Prokofiev's Piano Sonata No. 7, Op. 83. It is divided into four chapters, with one chapter dedicated to each piece. In each chapter there is a discussion about the composer's background, then some comments about his compositional style in general, then some information about the genre in which every piece falls into, and finally a brief analysis and discussion about the specific piece that was in the graduate recital.
    • A review of selected works by J.S. Bach, Franz Schubert, and Alberto E. Ginastera

      Gyulamiryan, Ani; Zilberkant, Eduard; Cee, Vincent; Post, William (2014-12)