Elissa Miller-Kay | Princess Galyani Vadhana Institute of Music (original) (raw)

Papers by Elissa Miller-Kay

Research paper thumbnail of Four-Hand Piano Transcriptions and the Reception of Symphonic Repertoire in Nineteenth-Century Europe

Malaysian Journal of Music, 2018

Research paper thumbnail of The virtuosity of interpretation: The performance history of Beethoven's piano sonatas in London, 1800-1880

Research paper thumbnail of Four-Hand Piano Transcriptions and the Reception of Symphonic Repertoire in Nineteenth-Century Europe

Malaysian Journal of Music, 2018

In the nineteenth century, listening to a symphony was a rare and precious treat. Few could affor... more In the nineteenth century, listening to a symphony was a rare and precious treat. Few could afford to attend the symphony regularly, and even those who could would be lucky to hear a favourite work once every few years. There was, however, one way for nineteenth-century music lovers to hear their favourite symphonies anytime on demand: by playing arrangements. Arrangements of symphonies, particularly those for piano four-hands, were phenomenally popular. Amateur musicians would play through arrangements before a concert to familiarise themselves with unknown works and after to re-experience the music they enjoyed. In the twentieth century, recordings took over this function. Today, it is not the sonic magnificence of the orchestra that is rare and precious; it is the act of music-making.

This paper examines the roles that four-hand piano transcriptions played in the reception of symphonic repertoire during the nineteenth century and, by way of conclusion, suggests some pedagogical applications of the findings. The history of four-hand piano transcriptions demonstrates the crucial role that active participation in music-making plays in the understanding and enjoyment of symphonic repertoire.

Research paper thumbnail of Moonlight Reflections: A Performance History of the First Movement of Beethoven’s Piano Sonata Quasi Una Fantasia, Op. 27 No. 2

Proceedings of PGVIM’s International Symposium, “Music and Socio-Cultural Developments of the ASEAN”, 2016

The popularity of Beethoven's Sonata Quasi una Fantasia, Op. 27 no. 2, commonly known as the " Mo... more The popularity of Beethoven's Sonata Quasi una Fantasia, Op. 27 no. 2, commonly known as the " Moonlight Sonata, " traces back to Beethoven's day. In the roughly 200 years since its composition, the culture of piano performance has changed dramatically. The sonata, for example, was an exclusively domestic genre in Beethoven's day and is now a cornerstone of the public recital. Due to its unwavering popularity, the performance history of the Moonlight Sonata is remarkably rich and well documented. Through an analysis of written documents, editions, and audio recordings, this study examines the evolution of piano performance as focused through the lens of this perennial favorite. This analysis reveals the development of what we may call a textual approach to performance and concomitant narrowing of the parameters of interpretation. While this textual approach has resulted in some phenomenal artistry, the authority with which it is presented has discouraged many performers from exploring new ways of engaging with canonic repertoire. Performance practices are dependent on aesthetic and social values and are thus always mutable. The author hopes that the results of this study will bolster the efforts of artists and scholars who are interested in exploring new ways of presenting and performing canonic repertoire such as the Moonlight Sonata.

Research paper thumbnail of Four-Hand Piano Transcriptions and the Reception of Symphonic Repertoire in Nineteenth-Century Europe

Malaysian Journal of Music, 2018

Research paper thumbnail of The virtuosity of interpretation: The performance history of Beethoven's piano sonatas in London, 1800-1880

Research paper thumbnail of Four-Hand Piano Transcriptions and the Reception of Symphonic Repertoire in Nineteenth-Century Europe

Malaysian Journal of Music, 2018

In the nineteenth century, listening to a symphony was a rare and precious treat. Few could affor... more In the nineteenth century, listening to a symphony was a rare and precious treat. Few could afford to attend the symphony regularly, and even those who could would be lucky to hear a favourite work once every few years. There was, however, one way for nineteenth-century music lovers to hear their favourite symphonies anytime on demand: by playing arrangements. Arrangements of symphonies, particularly those for piano four-hands, were phenomenally popular. Amateur musicians would play through arrangements before a concert to familiarise themselves with unknown works and after to re-experience the music they enjoyed. In the twentieth century, recordings took over this function. Today, it is not the sonic magnificence of the orchestra that is rare and precious; it is the act of music-making.

This paper examines the roles that four-hand piano transcriptions played in the reception of symphonic repertoire during the nineteenth century and, by way of conclusion, suggests some pedagogical applications of the findings. The history of four-hand piano transcriptions demonstrates the crucial role that active participation in music-making plays in the understanding and enjoyment of symphonic repertoire.

Research paper thumbnail of Moonlight Reflections: A Performance History of the First Movement of Beethoven’s Piano Sonata Quasi Una Fantasia, Op. 27 No. 2

Proceedings of PGVIM’s International Symposium, “Music and Socio-Cultural Developments of the ASEAN”, 2016

The popularity of Beethoven's Sonata Quasi una Fantasia, Op. 27 no. 2, commonly known as the " Mo... more The popularity of Beethoven's Sonata Quasi una Fantasia, Op. 27 no. 2, commonly known as the " Moonlight Sonata, " traces back to Beethoven's day. In the roughly 200 years since its composition, the culture of piano performance has changed dramatically. The sonata, for example, was an exclusively domestic genre in Beethoven's day and is now a cornerstone of the public recital. Due to its unwavering popularity, the performance history of the Moonlight Sonata is remarkably rich and well documented. Through an analysis of written documents, editions, and audio recordings, this study examines the evolution of piano performance as focused through the lens of this perennial favorite. This analysis reveals the development of what we may call a textual approach to performance and concomitant narrowing of the parameters of interpretation. While this textual approach has resulted in some phenomenal artistry, the authority with which it is presented has discouraged many performers from exploring new ways of engaging with canonic repertoire. Performance practices are dependent on aesthetic and social values and are thus always mutable. The author hopes that the results of this study will bolster the efforts of artists and scholars who are interested in exploring new ways of presenting and performing canonic repertoire such as the Moonlight Sonata.