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Spring 2011
CHAMBERIADES
Coaching will be provided by selected applied teachers this semester.
All students enrolled in the classes below will be notified about whose
teacher they will study with. Dr. Elisi will coordinate the assignments and
will administer both mid-term and a final examinations.
Ara Koh, the new Chamber Music Coordinator, will be assisting Dr. Elisi
in the coordination of the examination schedule.
In addition, mandatory performances with vocalists and/or instrumentalists
during the final juries will take place between May 2 and 6, 2011. These juried performances will
represent the culmination of your class' experience, along with the mid-term and final examinations.
Other performances at Bach's Lunch, Common Hour, and the like may take place.
(duration of the class: 50 minutes)
Class required for students enrolled in
Music 193, 493, 523, 194, 489, 565
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PSU Piano Ensemble (PE)
This class is not in session in spring 2011
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| March 1, from 7:30 to 9:30 p.m. -- Mid-Term Performance
| | April 25, from 7:30 to 9:30 p.m. -- Final Performance Examination
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| | | See Studio Class Dates / See Applied Lessons | See Studio Class Dates / See Applied Lessons |
Previous semester below:
Fall 2010 Calendar
Required Textbook Katz, Martin. The
Complete Collaborator: the Pianist as Partner. New York: Oxford University
Press, 2009. Suggested Textbook Price, Deon Nielsen. Accompanying
Skills for Pianists. 2nd edition. Culver City: Culver Crest
Publications, 2005. CHAMBERIADES
This class usually
meets in building II, room 122
every Tuesday at 7 p.m.
(duration of the class: 50 minutes)
Class required for students enrolled in
Music 193, 493, 523, 194, 489, 565
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PSU Piano Ensemble (PE)
This class usually meets in
building II, Dr. Elisi's office
on selected Tuesdays at 5 p.m.
(duration of the class: 50 minutes).
Class required for selected students
enrolled in Music 193, 493, 523, 194, 489, 565
and selected piano majors even if they
aren't enrolled in the classes above
GROUPS ARE SELECTED AND FORMED BY
THE PIANO AREA
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August 31, First Meeting
(syllabus, other details, etc.)
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| September 7-14-21-28
| | October 5-12-19-26
SIGN UP NOW
| October 5-12-19-26
SEE DETAILS ON COACHING AND GROUPS
| November 2
November 9, Mid-Term Exam (performance)
November 16-30 SIGN UP NOW | November 2, 9, 16
SEE DETAILS ON COACHING AND GROUPS
Wednesday, November 17
Palmer Museum Performance
| | | | | See Studio Class Dates / See Applied Lessons | See Studio Class Dates / See Applied Lessons |
Mandatory performances with vocalists and instrumentalists during the final juries will take place between December 13 and 17, 2010 and will represent the culmination of your class experience, along with the mid-term and final exam, respectively on November 9 and December 7. Other performances at Bach's Lunch, Common Hour, and the like will be scheduled by your partner's applied teacher. You will mostly coach (nearly on a weekly basis) with your partner's applied teacher (i.e., if you play with a violinist, you will probably either coach with Prof. Lyon or Zorin). In addition, you will meet with Dr. Enrico Elisi on a weekly basis according to the calendar above.
Chamberiades is a general term applied to the following classes:
Prerequisite: permission of instructor
Prerequisite: admission by audition
Prerequisite: MUSIC 194 or permission of instructor
Prerequisite: MUSIC193 or equivalent; permission of instructor
Prerequisite: MUSIC194 or permission of instructor The word Chamberiades (plural of Chamberiade) is derived from the word Schubertiades – a word used to describe the well-known social gatherings whose primary purpose was the performance of the music of Schubert. During the Schubertiades both vocal andinstrumental music took place for pleasure. I would like to stress the fact that, in the beginning, chamber music was performed for pure pleasure. Why should this be any different today? Chamber music has been described "the music of friends," because of its intimate nature. For a couple of centuries, it was played primarily by amateur musicians in their homes, and even today, when most chamber music performance has migrated from the home to the concert hall, there are still many musicians, amateur and professional, who continue to play chamber music for their own pleasure. Playing together requires special skills, both musical and social, which are different from the skills required for playing solo. It is my hope that collaborations with other musicians will become a very important part of your active musical lives and that you will study and enjoy chamber music without ever forgetting the simple fact that you ought to derive pleasure from playing with others just as, I hope, you do when you play solo music. In the mind of a composer, music was never “sandwiched” into categories; composers cultivated all types of music (orchestral, ensemble, vocal, solo, etc.) not just a specific piece for your instrument. Solo music is just one aspect of your musicianship.
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