Kéler Béla (1820-1882) had an interesting career which included turns as a law student, farmer, violinist, composer, and conductor. Born in Hungary, Kéler spent much of his musical career in Austria and Germany, but remained a Hungarian patriot at heart. The csárdás, a Hungarian folk dance, was a form favored by the composer, and while many today may not be familiar with Kéler’s name, they may be familiar with his op. 31 Csárdás Bártfai Emlek. This piece was used as the basis for Brahms’s 5th Hungarian Dance, and comparing the piano, 4 hands versions of both compositions shows them to be strikingly similar.
To see for yourself, compare Kéler’s Csárdás Bártfai Emlek (no. IV in this collection), available through Sibley’s NEH project, and Brahms’s 5th Hungarian Dance, available via IMSLP.
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Starting today, you can subscribe to an RSS feed of all materials added to Sibley’s Digital Scores Collection. This means access to real-time alerts for all new scores as they’re posted.
To start following our Digital Scores Collection through RSS, head over to our collection page at UR Research. Click on the new Recent Submissions RSS button, and add the feed to your RSS reader.
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Nadezhda Nikolayevna Rimskaya-Korsakova (1848-1919) was a pianist, composer, arranger, author, and the wife of Nikolay Rimsky-Korsakov. Born into a musical family, she began playing the piano at age 9, and went on to study at the St. Petersburg Conservatory. Though she gave up most of her compositional work after her 1872 marriage to Rimsky-Korsakov, instead dedidicating her energies towards supporting his musical career and caring for their large family, she continued to arrange reduced versions of orchestral scores, a skill she had learned under the tutelage of Alexander Dargomyzhsky. She arranged a number of vocal scores and piano, 4 hands transcriptions of works by Russian composers such as Borodin, Glazunov, Dargomyzhsky, and even her husband.
A number of her arrangements are being digitized here at Sibley, as we progress through the piano, 4 hands materials, including a version of Tchaikovsky’s Romeo and Juliet Fantasy Overture.
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Nelia Casella was part of a generation of female sculptors who rose to prominence at the start of the 20th century. Long seen as an art form reserved for men, sculpture became much more accessible around the turn of the century, thanks in part to the popularization of mediums such as clay and wax. During her career, Casella exhibited numerous wax and enameled glass works at the Royal Academy, and other arts and crafts exhibitions in and around London.
Though known more for sculpture, Casella’s works also included watercolors and illustrations. She collaborated with her fellow artist and sister Ella Casella on illustrations for works of children’s poetry, including Dreams, Dances, and Disappointments, by G.A. Konstam. A digitized copy of this work has been made available via the University of Florida’s Digital Collections.
In 1900, Casella completed illustrations of the fairy tale Cinderella to accompany a programmatic piece by Percy Pitt for piano, 4 hands. Sibley Library may be the only institution in the United States to hold a copy of this edition, but thanks to our current digitization project, it’s now available as a full-color scan.
Download the score to Percy Pitt’s Cinderella, as illustrated by Casella
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Inside Higher Ed recently ran a story about University of Rochester’s online repository software, which hosts Sibley’s digital scores and many digital resources from the University. In addition to providing digital content to the public, UR Research also serves as a virtual workspace for students and faculty.
Read more about it here
Read the University’s recent press release here
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Leonardo De Lorenzo (1875-1962), was an Italian born flutist, and the first flute instructor at the Eastman School of Music. De Lorenzo began playing the flute at a young age, but spent several years in the Italian military before completing his formal education at the conservatory in Naples. In 1910, he came to America as the principal flutist for the New York Philharmonic. He subsequently played with the Minneapolis Symphony and Los Angeles Symphony before landing in Rochester as a member of the Eastman Theatre Orchestra. In 1924, the Eastman School of Music added orchestral instrument programs, and took in De Lorenzo and other ETO members as the first instructors.
After his retirement in 1935, De Lorenzo focused on his own writings and compositions, publishing his book, My Complete Story of the Flute, in 1951.
Download his Six Easy Pieces for flute and piano
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