Sharon Levy > Piano Literature Offerings > Piano Literature II >
Piano Literature II
Piano Literature II- Fall 2006, Spring 2007
Monday- 11-12:45- Dr. Sharon Levy
Email: redon@peabody.jhu.edu; slevy@juilliard.edu
Course Description: This course is designed to help broaden and deepen your knowledge and understanding of the music in your major field, piano. Repertoire will be essentially the 19th-century, from primarily Beethoven and Schubert in the first semester, to Schumann, Chopin, Brahms, etc. in the second. Our focus will be on listening and discussion of the important piano works of this century.
Grading: Your grade will be based on participation, assignments, and exams.
Participation: Participation is composed of attendance, alertness, and activity. These make up a significant component of your final grade. Showing up is important, but even more important is what you do while you’re in class. Your ideas and questions are always extremely welcome. I also encourage you to volunteer to play in class the works or sections of works which we are studying, should you know them. While this is not a requirement, it does count as one component of your participation grade. In this way, you may choose how you can best contribute to our learning together, whether through playing in class, through questions, or through your comments and ideas.
Assignments: There will be a written project each semester, one a listening review, and one involving repertoire. NOTE: Assignments must be turned in on time in order to receive full credit, and will not be accepted more than a week late without instructor permission.
Fall Semester:
Option a) Imagine you have decided to present the Beethoven cycle. Decide upon your concert programs, and write an accompanying essay in which you explain what motivated your choices of organizing the cycle in the way that you did. OR
Option b) Imagine you are planning a festival (between 4 and 6 concerts- more or less) of keyboard music from this period [c. 1800-1830]. Come up with concert programs, and write an essay explaining your choices, e.g. why these particular composers, pieces, programs, etc. Consider the types of issues you would in organizing any concert programs (e.g., key relationships, balance of modes, tempi, character; use of beginning, middle, or ending-type pieces, etc.) You will be graded on the originality and thoughtfulness of your choices, and your explanation/discussion of them.
Due date: TBA
Spring semester:
1) Write a listening review, i.e., a comparative analysis of at least 3 contrasting recordings of a single 19th-century keyboard work from between 1830-1899, in which you state what you think is effective and what isn’t, and why or why not. You may consider things such as tempi, dynamics, articulation, level of rubato, tone color, fidelity to score, feeling of beginning, middle, and end, balance of unifying and contrasting features, or whatever else you think matters in the performances. You may choose any keyboard work within the time period being studied, but aim for contrasting performances. Be as specific as you can in your discussion of the work in question and your reasons behind your views.
Due date: February 19
Spring semester presentation: Choose a short Romantic work or section of a work from the time period c. 1830-1900 to present. Two weeks before the presentation [4/9], email me some brief information about the work, such as its time and place of composition, its genre, why it interests you, or anything which you think would enhance our understanding and appreciation of it. I will then be able to compile these and hand them out to your classmates. Please aim to keep your total presentation to approx 9 minutes total. Presentation date: TBA (but probably 4/23- subject to modification depending on our in-class progress)
Exams: Exams will be primarily though not exclusively listening, with the goal of identifying specific works, composers, and/or styles, based on our work in class. There may also be one or two thought questions based on class discussions and music covered.
You should be able to recognize by ear or by score and identify any work which we’ve studied in class or which is on your reserve and for which I have told you that you are responsible. There are also degrees of identification: by composer, title, movt, possibly even section, if relevant. You may receive partial credit for what you do know, depending upon the nature of the question. You are also responsible for concepts presented during classroom discussion.
Very approximate breakdown of points (always subject to instructor modification)
-Participation- 20%
-Assignments/projects- 20%
-Midterm/ short exams- 30%
-Final- 30%
Note: You may use outside sources in any of your written work, but all must be completely acknowledged in bibliography and/or footnotes. This includes not only exact quotations, but also free paraphrase and even ideas. Always err on the side of over-annotating. Any instances of unacknowledged use of outside sources will result in an automatic failure for the project/exam, and very likely for the course itself.
Reasonable accommodations will be provided for students with disabilities who have been certified by the Office of Academic Support Services. Please contact Joan Warren, Associate Dean for Academic Support Services (Room 235, e-mail jwarren@juilliard.edu, phone # 212- 799- 5000, ext. 213) for more information and assistance.
Approximate List of Topics (works in parenthesis are representative but not all-inconclusive; specifics always subject to instructor modification):
First half of semester- focus on Beethoven
1) Youthful energy; strong passions; humor (Op. 2; Op. 10, Op. 13)
2) Movement to a “middle” period (Op. 27, #1; Op. 31)
3) Organicism and drama (Op. 57, Op. 58)
4) Late style, I- (Op. 101, Op. 106)
5) Late style, II- (Op. 110)
6) The post-sonata period (Diabelli variations, Bagatelles)
7) Clementi (1752-1832) Interlude: Sonata in fm (Op 13, 1785); Diddone Abbandonata in gm (Op. 50, 1821)
Second half- focus on Schubert
9) Schubert sonatas- D. 537/Op. 164 in a; Op. 42 in a, Op. 78 in G
10) Schubert-Late sonatas, I- A Major sonata, D. 959
11) Schubert- Late sonatas, II- Bb Major sonata, D. 960; c minor sonata, D. 958
12) Impromtus, Op. 90 and 142; Moments-musicaux
Second semester topics (as ever, subject to instructor modification):
1) Schumann Characterstucke
2) Schumann Sonata forms (focus on first sonata, Op. 11)
3) Schumann Fantasie and Fantasiestucke
4) Chopin early short works (principally Mazurkas and Nocturnes)
5) Chopin later short works (principally Mazurkas)
6) Chopin extended works (principally 4th ballade and barcarolle)
7) Liszt b-minor sonata
8) Liszt- Annees de Pelerinage and late works
9) Brahms- early style
10) Brahms- middle and late styles
11) Twilight of romanticism
Piano Literature II- Fall 2007, Spring 2008
Monday- 11-12:45- Dr. Sharon Levy
Email: redon@peabody.jhu.edu; slevy@juilliard.edu
Course Description: This course is designed to help broaden and deepen your knowledge and understanding of the music in your major field, piano. Repertoire will be essentially the 19th-century, from primarily Beethoven and Schubert in the first semester, to Schumann, Chopin, Brahms, etc. in the second. Our focus will be on listening and discussion of the important piano works of this century.
Grading: Your grade will be based on participation, assignments, and exams.
Participation: Participation is composed of attendance, alertness, and activity. These make up a significant component of your final grade. Showing up is important, but even more important is what you do while you’re in class. Your ideas and questions are always extremely welcome. I also encourage you to volunteer to play in class the works or sections of works which we are studying, should you know them. While this is not a requirement, it does count as one component of your participation grade. In this way, you may choose how you can best contribute to our learning together, whether through playing in class, through questions, or through your comments and ideas.
Assignments: There will be a written project each semester, one a listening review, and one involving repertoire. NOTE: Assignments must be turned in on time in order to receive full credit, and will not be accepted more than a week late without instructor permission. Late assignments will receive a grade deduction.
Fall Semester:
Option a) Imagine you have decided to present the Beethoven cycle. Decide upon your concert programs, and write an accompanying essay in which you explain what motivated your choices of organizing the cycle in the way that you did. OR
Option b) Imagine you are planning a festival (between 4 and 6 concerts- more or less) of keyboard music from this period [c. 1800-1830]. Come up with concert programs, and write an essay explaining your choices, e.g. why these particular composers, pieces, programs, etc. Consider the types of issues you would in organizing any concert programs (e.g., key relationships, balance of modes, tempi, character; use of beginning, middle, or ending-type pieces, etc.) You will be graded on the originality and thoughtfulness of your choices, and your explanation/discussion of them.
Due date: Monday, 10/15
Spring semester:
1) Write a listening review, i.e., a comparative analysis of at least 3 contrasting recordings of a single 19th-century keyboard work from between 1830-1899, in which you state what you think is effective and what isn’t, and why or why not. You may consider things such as tempi, dynamics, articulation, level of rubato, tone color, fidelity to score, feeling of beginning, middle, and end, balance of unifying and contrasting features, or whatever else you think matters in the performances. You may choose any keyboard work within the time period being studied, but aim for contrasting performances. Be as specific as you can in your discussion of the work in question and your reasons behind your views. Due date: Monday, February 18
Presentations: Choose a short work or section of a work from the time period (fall, c.1795-1828; spring, c. 1830-1900) to present. A movement from a larger composition would be fine, as would a shorter work from a larger collection. Please be prepared with some brief information about your piece, such as its date and place of composition, its genre and form, why it interests you, or anything which you think would enhance our understanding and appreciation of it. We will discuss approximate timing in class. Presentations generally occur in the final week or two of the semester, so if you know of a conflict for that time, please let me know ahead of time.
Exams: Exams will be primarily listening, with the goal of identifying specific works, composers, and/or styles, based on our work in class. There may also be one or two thought questions based on class discussions and music covered.
You should be able to recognize by ear or by score and identify any work which we’ve studied in class or which is on your reserve and for which you are responsible. There are also degrees of identification: by composer, title, movt, possibly even section, if relevant. You may receive partial credit for what you do know, depending upon the nature of the question. You are also responsible for concepts presented during classroom discussion.
Very approximate breakdown of points (always subject to instructor modification)
-Participation- 20%
-Presentations/assignments- 20%
-Midterm/ short exams- 30%
-Final- 30%
Note: You may use outside sources in any of your written work, but all must be completely acknowledged in bibliography and/or footnotes. This includes not only exact quotations, but also free paraphrase and even ideas. Always err on the side of over-annotating. Any instances of unacknowledged use of outside sources will result in an automatic failure for the project/exam, and very likely for the course itself.
Reasonable accommodations will be provided for students with disabilities who have been certified by the Office of Academic Support Services. Please contact Joan Warren, Associate Dean for Academic Support Services (Room 235, e-mail jwarren@juilliard.edu, phone # 212- 799- 5000, ext. 213) for more information and assistance.
First semester: First half of semester- focus on Beethoven sonatas with Clementi interlude; Second half of semester- focus on Schubert
Approximate List of Topics (works in parenthesis are representative of a particular focus but not all-inconclusive; specifics always subject to instructor modification. Each topic does not necessarily correspond to a single week):
1) Early Beethoven (Op. 2- Op. 22- focus on Op. 2, 10, 13)
2) Transition to mid-period (Op. 26- Op. 31- focus on Op. 27, #1; Op. 31, #1)
3) Midperiod Beethoven (Op. 54-58- focus on Op. 57, Op. 58)
4) Beginnings of a late style (Op. 78-106, focus on Op. 101, 106)
5) Late style confirmed (focus on Op. 110)
6) Shorter works and variations (focus on Op. 119 and Diabellis)
7) Clementi interlude (focus on fm, f#m, and Bb sonatas)
8) Early Schubert sonatas (focus on am, Op. 164 and B major)
9) Emergence to maturity (focus on am, Op. 42)
10) Movt to Late style, I (focus on GM; BbM, D960)
11) Late style, II (focus on AM, D959)
12) Shorter works (focus on Op. 90, #1; Moment-musicaux #2 and #5)
13) Presentations
Second semester topics (as ever, subject to instructor modification):
1) Schumann- Characterstucke (Papillons, Carnaval, Fantasiestucke, Kreisleriana)
2) Schumann Sonata forms (focus on first sonata, Op. 11)
3) Schumann, Fantasie; possibly Faschingschwank; possibly Clara Schumann
4) Chopin earlier style- short works (esp mazurkas, nocturnes)
5) Chopin later style- short works (focus on Op. 50, 56, 59)
6) Chopin extended works (esp Barcarolle, Fantasie, Ballades)
7) Nationalists and lyricists
8) Liszt b-minor sonata
9) Liszt- Annees de Pelerinage and late works
10) Brahms- early and middle-period style (sonatas, ballades, variations)
11) Brahms- middle-period and late styles (variations, Klavierstucke)
12) Twilight of romanticism (Faure, Glazunov, early Scriabin)
13) Presentations
