- Performer:Susan Kagan
- Title:Beethoven and His Pupils
- Date of release:2001
- Size FLAC version1319 megabytes
- Size MP3 version1742 megabytes
- Size WMA version1762 megabytes
- Formats:APE DTS MP1 XM RA MPC
11. Eleven Bagatelles, O. 19: Andante, Ma Non Troppo (C; B flat). 13. Forty Variations On A Theme By Beethoven. Performer: Susan Kagan. Composer: Ludwig van Beethoven, Archduke Rudolph, Ferdinand Ries. Audio CD (March 27, 2001).
Pianist Susan Kagan has pursued a multi-faceted career in music, as a performer, scholar, and critic. She has earned praise throughout the United States and Europe for her versatility and sensitive musicianship. Her career has included appointments as orchestra pianist with the St. Louis and Pittsburgh Symphonies and appearances with both orchestras as soloist in concertos by Mozart, Beethoven, Grieg, Ravel, and Bartók. Ms. Kagan was pianist of the St. Louis New Music Circle, the Nieuw Amsterdam Trio, and is currently pianist of the New York-based chamber music group Colleagues in Concert. The duo performed sonatas by Beethoven and the premiere performance of a sonata by Beethoven s student, Archduke Rudolph. This program was repeated in New York at The Sylvia and Danny Kaye Playhouse at Hunter College in 1994.
AT THE SECOND BIENNIAL CONVENTION of The American Beethoven Society co-sponsored with The Ira F. Brilliant Center for Beethoven Studies at San José State University, the Society and Center presented Dr. Susan Kagan, emeritus faculty at Hunter College, with a Lifetime Achievement Award for Outstanding Performance, Scholarship, and Leadership in Beethoven Studies on July 27, 2007. Dr. Kagan has enjoyed a long career as a scholar, pianist, critic, educator, and administrator. Kagan taught in the music history program of Hunter College from 1977 until December 2006. She has recorded two sets of Mozart concertos on the Vox and Koch Discover labels with the Suk Chamber Orchestra; a CD of solo fortepiano music by Beethoven and his two pupils, Ferdinand Ries, and Archduke Rudolph; and a premiere recording of Ries's first two sonatas, Opus 1, for Raptus Records.
WHEN BEETHOVEN LEFT BONN IN 1792 TO TAKE UP PERMANENT RESIDENCE IN VIENNA, he carried with him the good wishes of many members of Bonn's music-loving aristocracy, and an entrée into the homes of their counterparts in Viennese society . For the Archduke, this relationship brought him into close musical contact with the most famous composer of his time, and a unique position as his only student in composition.
Ludwig van Beethoven was a German composer whose Symphony 5 is a beloved classic. Some of his greatest works were composed while Beethoven was going deaf. As he put it himself, "Music comes to me more readily than words. In 1781, at the age of 10, Beethoven withdrew from school to study music full time with Christian Gottlob Neefe, the newly appointed Court Organist. Neefe introduced Beethoven to Johann Sebastian Bach, and at the age of 12 Beethoven published his first composition, a set of piano variations on a theme by an obscure classical composer named Dressler.
During the course of his lifetime (1770–1827), Ludwig van Beethoven enjoyed relationships with many of his musical contemporaries. Beethoven was famously difficult to get along with, and the history of his relationships with contemporaries is littered with arguments, misunderstandings, and reconciliations. Beethoven had well-known fallings out with his one-time teacher, Joseph Haydn, with the piano virtuoso and composer Johann Nepomuk Hummel, and the German composer Carl Maria von Weber.
Beethoven and His Royal DiscipleLewis by Jessie Ann Owens. This presentation was given at the 1877th Stated Meeting, held in Cambridge on December 3,2003. Reformation has yet to be superseded. The Composer and his Royal Pupil. What was the nature of Beethovens relation-ship to Rudolph?
Don’t let the bland opus numbers on the front of the disc put you off – they are merely a convenient way of identifying 10 of the piano’s greatest works. And in Paul Lewis they have found a truly outstanding champion
Their pupils in turn carried on the work of teaching with yet another generation of pupils. This dissertation examines the sources of Arraus principles in nineteenth-century piano pedagogy. From Arrau, attention shifts to the larger group of his pupils. Using interviews with teachers and transcriptions of lessons given by them and by Arrau, it describes how Arraus principles have traveled from Arraus pupils and their pupils. And finally, the scope narrows again to a select group of pupils of German Diez and their work with children at a community music school on Manhattans Lower East Side. Weaver writes, Since Liszt was a pupil of Czerny and Czerny of Beethoven, Arrau grew up in a world of unbroken tradition. Arrau himself alluded to this lineage: That was what Krause must have received from Liszt. I often like to say that Liszt got it all from Czerny, who received it from Beethoven.
CreditsMichael Fine - Producer
Susan Kagan - Liner Notes, Piano, Primary Artist
David Merrill - Engineer
Carl Schubert - Cover Art
|Bagatelles (11) for piano, Op. 119|
|2||Andante con moto||Susan Kagan||1:11|
|3||à l'Allemand||Susan Kagan||1:30|
|4||Andante cantabile||Susan Kagan||1:44|
|6||Andante - Allegretto||Susan Kagan||1:46|
|7||Allegro, ma non troppo||Susan Kagan||0:57|
|8||Moderato cantabile||Susan Kagan||1:32|
|9||Vivace moderato||Susan Kagan||0:43|
|11||Andante, ma non troppo||Susan Kagan||1:52|
|12||The Dream (Le Songe), for piano, Op. 49||Susan Kagan||18:14|
|13||Variations (40) for piano on a Theme by Beethoven, WoO200||Susan Kagan||30:08|