Citation
Graduate Piano Recital

Material Information

Title:
Graduate Piano Recital
Creator:
Liu, Jiajun
Place of Publication:
Gainesville, FL
Publisher:
College of Fine Arts; University of Florida
Publication Date:
Physical Description:
Project in lieu of thesis

Thesis/Dissertation Information

Degree:
Master's ( Master of Music (M))
Degree Grantor:
University of Florida
Degree Divisions:
Performance
Degree Disciplines:
Music
Committee Chair:
Sharon, Boaz
Committee Members:
Sharpe, Kevin M
Graham, Elizabeth P

Subjects

Subjects / Keywords:
Allemande ( jstor )
Baroque music ( jstor )
Keyboard music ( jstor )
Music education ( jstor )
Music recitals ( jstor )
Musical performance ( jstor )
Piano sonatas ( jstor )
Sarabande ( jstor )
Sonatas ( jstor )
Suites ( jstor )

Notes

Abstract:
At 5:30pm on the 7th of April, 2014, a recital was presented featuring works that span awide range of style periods within the piano repertoire. Presented in the University Auditorium, the recital opened with a performance of John. Sebastian. Bach’s English Suite No. 3 in G minor, BWV 808, a work that represents the baroque suites music with Prelude, Allemande, Courante, Sarabande, Gavotte and Gigue. This work was followed by Sonata in C minor, K. 457. This is a three movement sonata in fast-slow-fast design, with the specialty in the key of the choice of the key, one of the only two minor sonatas of Mozart and the passion in the flowing of the music. The second half of the performance was opened with Robert Schumann’s G minor sonata, Op.2. This is a example of the two sides of Schumann’s personality- Florestan and Eusebius. The first movement has a summoning theme and very heroic. The second movement is an example of Eusebius and the third movement is a scherzo in large leap. And the last movement is an unrestricted in the alternation of passion and gentleness. The performance encompassed approximately sixty minutes of music. ( en )
General Note:
Music Performance terminal project

Record Information

Source Institution:
University of Florida
Holding Location:
University of Florida
Rights Management:
Copyright [name of dissertation author]. Permission granted to the University of Florida to digitize, archive and distribute this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.
Resource Identifier:
1047962459 ( OCLC )

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Full Text

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A GRADUATE PIANO RECITAL By Jiajun Liu SUPERVISORY COMMITTEE: KEVIN ORR, CHAIR LAURA ELLIS, MEMBER A PERFORMANCE IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF T HE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 201 4

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Summary of Performance in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Music A GRADUATE PIANO RECITAL By J iajun Liu May 201 4 Chair: Kevin Orr Major: Music At 5 : 3 0pm on the 7th of April 201 4 a recital was presented featuring works that span awide range of style periods within the piano repertoire. Presented in the University Auditorium the recital opened with a performance of John. Sebastian. Bach s English Suite No. 3 in G minor, BWV 808, a work that represents the baroque suites music with Prelude, Allemande, Courante, Sarabande, Gavotte and Gigue. This work was followed b y Sonata in C minor, K. 457. This is a three movement sonata in fast slow fast design, with the specialty in the key of the choice of the key, one of the only two minor sonatas of Mozart and the passion in the flowing of the music. The second half of th G minor sonata Op.2. This is a example of the two sides of Schumann s personality Florestan and Eusebius. The first movement has a summoning theme and very heroic. The second movement is an example of Euseb ius and the third movement is a scherzo in large leap. And the last movement is an unrestricted in the alternation of passion and gentleness. The performance encompassed approximately sixty minutes of music.

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Program A Graduate Recital J iajun Liu, Piano April 7 th 5:30pm University Auditorium English Suite No. 3 in gminor, Bwv 808 J. S. Bach Prelude (1685 1750) Allemande Courante Sarabande Gavotte Gigue Sona ta in C minor, K. 457 W. A. Mozart Molto allegro (1756 1791) Adagio Allegro assai Intermission Sonata No. 2 in G minor, Op. 22 Robert Schuman n So rasch wie mglich (1810 1856) Andantino / [getragen] Scherzo / [sehr rasch und markirt] Rondo presto +++++ This recital is presented in partial fulfillment of the degree Master of Music in Pia no Performance. Jiajun Liu is from the studio of Dr. Kevin Robert Orr.

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Program note s The English Suites, BWV 806 811, comprise a set of six suites written by Johann Sebastian Bach, generally thought to be the earliest of Bach's nineteen suites for keyboar d. It follows the tradition of Baroque dance music, on the order of allemande, courante, sarabande and gigue. Suite no. 3 begins with a prelude. A gavotte appears between the middle of Sarabande and Gigue. The opening prelude is in concerto form with tri ple meter. The Allemande is thought to have originat ed in Germany in 2/2 meter; the arpeggio in it is a common feature that expresses elegance. The Courante following the allemande literally Sarabande. It was brought from the New World to spain and then introduced into Italy and France. A sarabande uses an accentuated second beat in triple meter. The Gavotte is in the characteristic duple meter, starts with upbeat. The last movement is Gigue, in triple meter, jig in English, it may have come from the old french giquer, means to leap. The Piano Sonata No. 14 in C minor, K. 457, by Wolfgang Amadeus Mozart was composed in 1784. This Sonata No. 14 in C minor is only one of two sonatas that Mozart wrote in a minor key; the other one is, Piano Sonata No. 8 in A minor, K. 310. Ludwig Khel said about this work. Without question this is the most important of p assion which, to its last note, breathe through it, it foreshadows the pianoforte sonata, as it was destined to become in the hands of Beethoven. The work has three movements. Molto allegro. The first movement is written in sonata form.It begins with a fi ery Mannheim rocket figure. This motive was later used by Beethoven in his first piano sonata, which appears twice in the theme. The second subject, in E flat major, the relative major of C minor, is more jolly and lyrical in composition. Adagio The second movement is written in rondo form and in E flat major. It is slow but includes graceful and tranquil features that provides a contrast with the first and third

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movements. The Adagio movement is an operatic movement, with a highly ornamented melody that br ings out the restless quality that appears later in this movement. Allegro assai is in sonata rondo form, and returns to the dramatic quality of the first movement. The Piano Sonata No. 2 in G minor, Op. 22 was composed by Robert Schumann from 1831 to 18 performed works, offering the listener a great variety in musical character and requiring from performer a high level of virtuosity. Schumann was influenced by Jean Paul Friedrich Rich ter (1763 1825) and E.T.A Hoffmann (1776 1822) because of these writers, Schumann gradually divided his ego into two personalities: Florestan, his passive, romantic side. The first movement is So rasch wie mlich ("As quickly as possible" how ever, Schumann writes "Schneller" and then "Noch schneller," meaning "Faster" and "Still faster" in the end).The first theme is a demonstration of the Florestan, the dynamic right h and melody with the flowing left hand creates passion. The chorale like second theme brings out the Eusebius side of his character, creating a dremy atmosphere; tender and melodic. Andantino is a wonderful showing of the Eusebius, the melodious lyrical and sweet melody based on constant triple notes of the left hand, calling to mind a romantic image of Clara Schumann. Scherzo has an energetic rhythm with large leaps on the keyboard. And the fourth movement is Rondo. A powerful trend of the melody starts fro m the very first measure, while later

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Biographical sketch Jiajun Liu, a native from Wuhan, China, received his bachelor of Arts and bachelor of Management in 2011 and Master of Arts in 2013 from Wuhan University. He started his Study at University of Florida in 2012 and received a Grauate Assistantship. He received several piano awards in China such as the third award from the third Television Piano competit ion of Wuhan, the first prize of National Youth Artists Competion Hubei division. And he was Selected as a master student directly from Bachelor exempted from taking the National Entrance Test in 2011 as No.1 in the class. Besides playing solo piano, he is also enthusiastic in chamber music, he has played both piano and Celesta in the orchestra of University of Florida for three semesters and participated in several other ensembles such as harpsichord ensemble r 2013, he played in a Korean Percussion ensemble and performed in Gainesville Bo Diddley Community Plaza for the public. He also cooperated with several string and Brass wind players for their recitals. Jiajun Liu has received piano instruction from dist inguished teachers and artists such as Guangren Zhou ChengGang Yang, Hong Xv, Hee Jung Kang, Alexander Tutunov, Robert Roux, Jullian Martin and Kevin Orr. He has given private music lessons for the piano, and he currently teaches undergraduate piano skill s courses at UF. Thesecourses provide functional piano skills to undergraduate non keyboard music majors. Jiajun Liu and he plans t o explore future career opportunities in both teaching and performance.


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