DOCSLIB.ORG

Schumann's Orchestration for Das Paradies Und Die Peri and Szenen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Schumann's Orchestration for Das Paradies Und Die Peri and Szenen Schumann’s Orchestration for Das Paradies und die Peri and Szenen aus Goethes Faust Laura Tunbridge Laura Tunbridge is senior lecturer in music at the University of Manchester, UK. She is the author of Schumann's Late Style (Cambridge, 2007) and The Song Cycle (Cambridge, 2011), and co-editor of Rethinking Schumann (Oxford, 2010). [email protected] ecent “historically informed” per- R formances of Robert Schumann’s symphonic works have made a strong case for re-evaluating one of the most contentious aspects of his music: the quality of its orchestration.1 So far, less attention has been paid to the orches- tration of the choral works, although some of them have also benefi ted from the lighter touch of recordings by John El- iot Gardiner and the Orchestre Révolutionnaire et Romantique or Philippe Herreweghe and the Orchestre des Champs Elysées. However, in the scores of Schumann’s Das Paradies und die Peri, Der Rose Pilgerfahrt, Szenen aus Goethes Faust, the four choral ballades. and the Mass and Requiem, we can fi nd multiple examples of inventive and delicate orchestral writing within the Romantic tradition of Carl Maria von Weber, Felix Mendelssohn, and even, to a degree, Hector Berlioz. As can be seen in Table 1, throughout his career, Schumann wrote for a standard classical orches- tra with paired woodwinds, paired horns and trumpets, three trombones, timpani, and fi ve- part strings. The bass end was sometimes bolstered by ophicleide (Das Paradies und die Peri) or its descendant the tuba (the choral ballades). Extra instruments—piccolo, harp or triangle—were included for particular illustra- tive effects. In this, Schumann was little different CHORAL JOURNAL Volume 51 Number 2 7 Schumann's Orchestration for TableTable 1 OrchestrationOrchestration ofof Schumann'sSchumann's ChoralChoral WorksWorks Title Chorus Soloists Picc. Flute Ob Cl. Bsn Hn Tpt Trb Oph Timps Perc Hp Strings Organ Das Paradies SSAA 2 Sop. 1 2 2 22 4 2 3 1 Yes Triangle Yes Violins und die Peri TTBB Mezzo, Bass drum I and II Premiered 2 Alto, Gr. Tr Violas Dec 4,1843, Tenor, Cellos Leipzig. Baritone, Double Piano score Bass bass published 1844 (Breitkopf und Härtel), orch. 1874 Der Rose SSAA 2 Sop. 2 2 2 4 2 3 Yes Violins Pilgerfahrt, TTBB 2 Mezzos, (2 I and II op. 112 2 Alto, Ventilhorn, Violas Premiered in 2 Tenor, 2 Cellos 2 Baritone, piano version 6 Waldhorn) Double July 1851, 2 Bass bass Düsseldorf; orchestral version 5 Feb 1852. Pub 1852 (Kistner). Der Königssohn, SA Alto, 1 2 2 2 2 4 2 3 Tuba Yes Triangle Violins op. 116 TTBB Tenor, (as above) +2 I and II Premiered Baritone, cornets Violas Düsseldorf Bass à Cellos May 6, 1852; piston Double Piano score pub- bass lished 1853. (Whistling), orch 1875 Des Sängers SA Alto, 1 2 3 2 2 4 23TubaYes Yes Violins Fluch, op. 139 TTBB Tenor, (as above) I and II Premiered Baritone, Violas Feb 28, 1857, Bass Cellos Elberfeld. Double Piano score pub- bass lished 1857. (Arnold), orch 1858. Vom Pagen und SA 3 Sop. 1 2 2 2 2 4 23 Yes Yes Violins der König- TTBB Alto, (as above) I and II stochter, op. Tenor, Violas post 140. 4 Basses Cellos Premiered Double Dec 2, 1852, bass Düsseldorf. Piano score published 1857. (Rieter-Bieder- mann) Das Glück von TTBB Tenor, 2 2 2 2 4 33Tuba YesTriangle Yes Violins Edenhall, op. Bass I and II post 143 Violas Premiered Cellos Oct 23, 1854, Double Leipzig. bass Published 1860. (Rieter-Bieder- mann) 8 CHORAL JOURNAL Volume 51 Number 2 Das Paradies und die Peri and Szenen aus Goethes Faust Title Chorus Soloists Picc. Flute Ob Cl. Bsn Hn Tpt Trb Oph Timps Perc Hp Strings Organ Missa sacra, SATB Sop. 2 2 22 2 2 3 Yes Violins op. 147 Tenor I and II Premiered Violas Kyrie and Gloria Cellos in Düsseldorf, Double 1853. bass Published 1863 (Rieter- Biedermann) Requiem, SATB SATB 2 2 2 2 2 3 Yes Violins op. 48 I and II Premiered Violas Nov 19, 1864, Cellos Königsberg. Double Published 1864 bass (Rieter- Biedermann) Szenen aus SSAA 5 Sop. 1 2 2 2 2 4 2 3 Tuba Yes Yes Violins Goethe's Faust, TTBB Alto, I and II WoO 3 Tenor, Violas Part III 3 Baritones, Cellos premiered Bass Double June 25, 1848, bass Dresden; complete work June 14, 1862 published 1858 from Mendelssohn.2 Whereas Mendels- were often detrimental to appreciation of man poets such as Ludwig Uhland, were in sohn’s orchestration is praised, however, the works. For instance, it took 23 years for keeping with the nationalistic impulses of the Schumann’s is not, even though there are an orchestral score of Der Königssohn to be age.4 Schumann, in other words, was writing many instances where he achieved compa- published and the interim piano reduction for the musicians and audiences around him. rable effects to the scores of A Midsummer does not give many clues to the work’s Yet, when we look back on Schumann’s Night’s Dream or St. Paul. distinctive low-voiced sonorities. time in Düsseldorf, our vision tends to be Inevitably, the evaluation of Schumann’s There is also the issue of where the clouded by awareness of his fi nal illness: orchestration does not simply depend on choral and orchestral works fit within of his incarceration in an asylum in 1854 whether or not he could compete with Schumann’s career. Das Paradies und die Peri and his death two years later. What with Mendelssohn. There are several other factors was composed in the early 1840s, but most hindsight we call Schumann’s late style has in play. Some have to do with the challenge of the choral music comes from the next typically been associated with a falling off in of talking about orchestration altogether. decade. One of the reasons for Schumann’s his creative powers, even if that judgment Julian Rushton has pointed out that, as for increased interest in choral music then was is sometimes queried by how his composi- any aspect of musical creativity, there are that he took up the post of music director no eternal laws for successful orchestra- in Düsseldorf in September 1850, duties for tion.3 What is more, it is almost impossible which included conducting and composing to disentangle orchestration from other for the town choir and orchestra. (His revi- features such as a composer’s treatment sions to what became known as the Fourth *ODGGH0XVLF3XEOLFDWLRQV of texts, themes, harmony, and form. There Symphony—the most notorious example 7KH&KRUDO0XVLFRI%UDGOH\1HOVRQ are practical problems too. The table shows of his “bad” orchestration, with all those 1HZ6WUHDPLQJYLGHR frequent delays between the publication of doubled winds—were perhaps intended ³$JQXV'HL´ Schumann’s choral works with piano reduc- to suit the forces and abilities of his players *ODGGH0XVLFFRPDJQXVGHL VVD KWP tions as accompaniments and orchestral in Düsseldorf.) The chivalric, nostalgic, and a6HHWKHVFRUHDQGKHDUDUHFRUGLQJa scores becoming available. Such delays sentimental texts he chose to set, by Ger- CHORAL JOURNAL Volume 51 Number 2 9 Schumann's Orchestration for titionsons wewerere rreceivedeceived at tthehe ttime.ime 5 NegativeNegative betrothed.betrothed SSchumannchumann eveventuallyen decided on die Peri was fi rst performed at the Leipzig assessments of Schumann’s orchestration, the second story from Lalla Rookh, about Gewandhaus on December 4 and 11, 1843, therefore, need to be considered against a a peri’s quest to fi nd a gift with which to with Livia Frege as the peri. It was an im- complex historical backdrop of not only mu- regain entry to paradise, from which she mediate success and was Schumann’s best sical but also personal and practical concerns. is excluded because she is the offspring of known work during his lifetime: there were In order to attempt this, we will here focus a fallen angel and a mortal. ( A peri is one performances throughout Germany, Europe, on two works: Das Paradies und die Peri, in of a race of beautiful fairy-like beings from and even in New York.6 many ways, the composer’s greatest suc- Persian mythology.) His friend Adolf Böttger In musical and formal terms, Schumann’s cess during his lifetime; and Die Szenen aus devised a libretto (rather than dealing with score for Das Paradies und die Peri was Goethes Faust, of particular interest because Moore directly, it drew on translations by unusual on two counts. First, it represented its three parts and Overture have been J. L. Witthaus (1822) and Theodor Oelker what the composer called “a new genre for seen to document changes in Schumann’s (1839)), which Schumann freely edited. Das the concert hall,” that aimed to sit squarely compositional approach in the last decade Paradies und die Peri is in three tableaux. In between oratorio and opera.7 Second, of his creative life. the fi rst, the Peri offers blood from a young Schumann pursued Heinrich Marschner’s warrior killed by the tyrant Gazna, but that practice of linking numbers so that they ran gift is rejected. In the second, she takes the virtually continuously. However, this was far Paradise and the Peri sighs of a maiden who dies in the arms of from an amorphous structure: each tableau Schumann had fi rst considered using her plague-stricken beloved. Those did not is clearly framed by changes in thematic sections from Thomas Moore’s extended suffi ce either. It is a criminal’s tears at the material, harmonic area, ensemble (chorus, poem Lalla Rookh (1817) as a source for an sight of a boy at prayer, discovered in part recitative, aria), and, importantly for our opera or concert pieces in 1841.
Load more

Recommended publications
  • A Dichterliebe by Robert Schumann
    ,A DICHTERLIEBE BY ROBERT SCHUMANN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Hubert Neil Davidson, B. M. Denton, Texas August, 1957 PREFACE The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 1+8) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and perform- ance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal lit.- erature of the Romantic period. An acquaintance with the life of the poet, Heinrich Heine, as well as the life of the composer of these songs and their relationship to each other contributes toward an understanding of the cycle. Each of the sixteen songs in the cycle is analyzed according to its most important characteristics, including text setting, general harmonic structure, important role of the accompaniment, expressive techniques, mood, tempo, rhythm, and dynamics. It is not the aim of this work to offer an extensive formal or harmonic analysis of this song cycle. iii TABLE OF CONTENTS Page PREFACE . iii LIST OF ILLUSTRATIONS.... ..... .v Chapter I. BACKGROUND OF THE DICHTERLIEBE . .1 Biographical Sketch of Robert Schumann The Life and Work of Heinrich Heine Robert Schumann's Relationship with Heinrich Heine History of Song Cycles up to and Past the Dichterliebe II. ANALYSIS OF THE DICHTERLIEBE . 18 I Im wundersch8ne Monat Mai II lus meinen Thranen spriessen III Die Rose, die Lilie, die Taube IV Wenn ich in!~deine Augen~seh1' V IhwiT miieine Seele tauchen VI Im Rhein, im heiligen Strome VII Ich rolle nicht VIII Und, ssten's die Blumen, die kleinen IX Das ist ein Fl8ten und Geigen x 'Tich das Liedchen~klingen XI Emn J17ling liebt ein Mdchen XII Am leuchtenden Sommemorgen XIII Ich hablimTTraum geweinet XIV llnHEhtlich im Traume seh' ich dich XV Aus alten Murchen Winkt es XVI Die alten b6sen Leider BIBLIOGRAPHY 0.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip
    INFANTRY HALL • PROVIDENCE Thirty-second Season, J9J2—X9J3 Dr. KARL MUCK, Conductor Programme of % THIRD CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, DECEMBER 31 AT 8.15 COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER — " After the Symphony Concert 9J a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. Sole Representative MRS. LUCY H. MILLER 28 GEORGE STREET - - PROVIDENCE, R.I. Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W. Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler, B. Marble, E. Hayne, E. Tischer-Zeitz, H Kurth, R. Grunberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H. Kluge, M. Van Wynbergen, C Gietzen, A.
    [Show full text]
  • R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
    Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research.
    [Show full text]
  • Boston Symphony Orchestra Archives
    Boston Symphony Orchestra PERSONNEL F Perfection m Piano Makmcf 5 feet long THE <Ps.(#^>0 -6^rafxrRmn Quarter Grand Style V, m figured Makogany, price ^650 It IS out nve reet long and in Tonal Proportions a Masterpiece or piano building. It IS Cnickermg CT* Sons most recent triumpn, tke exponent of EIGHTY-SEVEN YEARS experience m artistic piano tuildmg, and tlie keir to all the qualities tkat tke name of its makers implies. CHICKERING &> SONS THIRTIETH SEASON, NINETEEN HUNDRED TEN AND ELEVEN FRIDAY AFTERNOON, OCTOBER 7, at 2.30 o'clock SATURDAY EVENING, OCTOBER 8, at 8 o'clock PROGRAMME In commemoration o{ the one hundredth anniversary of the birth of ROBERT SCHUMANN Born at Zwickau, June 8, 18 tO Schumann .... Overture to Byron's "Manfred," Op. 115 Schumann . Symphony in E-flat major, No. 3, "Rhenish," Op. 97 I. Lebhaft. II. Sehr massig. III. Nicht schnell. IV. Feierlich. V. Lebhaft. Schumann . Concerto for Violoncello with Orchestral Accompaniment in A minor. Op. 129 Nicht schnell.— Langsam.— Sehr lebhaft. Schumann . Overture to "Genoveva," Op. 81 SOLOIST Mr. ALWIN SCHROEDER There will be an intermission of ten minutes after the symphony The doors of the hall will be closed during the performance of each number on the prograinme. Those who wish to leave before the end of the concert are requested to do so in an interval be-- tween the numbers. city of Boston. Revised Regulation of August 5, 1898.— Chapter 3, relatinii to (he covering of the head In places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the headfarcoverlng which obstructs the view of the exhibition or performance in such place of any person seatetl in anyjseat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn.
    [Show full text]
  • Schumann-Journal Begründet 2012 Von Dr
    Schumann-Journal Begründet 2012 von Dr. Ingrid Bodsch Publikation des Schumann-Netzwerks / Schumann-Forums A Publication of the Schumann Network / Schumann Forum Herausgegeben im Auftrag der Projektleitung des Schumann-Netzwerks von Irmgard Knechtges-Obrecht Nr. 3 / Frühjahr 2014 Mit Unterstützung der Beauftragten der Bundesregierung für Kultur und Medien Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d.-nb.de abrufbar. Herausgegeben im Auftrag der Projektleitung des Schumann-Netzwerks (Ingrid Bodsch) von Irmgard Knechtges-Obrecht Redaktion Dr. Irmgard Knechtges-Obrecht Horbacher Straße 366A . D 52072 Aachen Tel.: 0049 (0) 2407 / 90 26 39 Fax: 0049 (0) 3212 / 1 02 12 55 E-Mail: [email protected] Satz und Lektorat Dr. Ingrid Bodsch und Dr. Sigrid Lange Bildredaktion, Bearbeitung und druckfertiges Layout Dr. Ingrid Bodsch Umschlaggestaltung: phVision, Christa Polch Druck: medienHaus Plump GmbH, Rheinbreitbach © Verlag StadtMuseum Bonn 2014 Alle Rechte, auch das des auszugsweisen Nachdruckes, der auszugsweisen oder vollständigen Wiedergabe, der Speicherung in Datenverarbeitungsan- lagen und der Übersetzung, vorbehalten. Printed in Germany by medienHaus Plump GmbH, Rheinbreitbach ISBN 978-3-931878-43-6 Verlag StadtMuseum Bonn . Stadt Bonn, Amt 41-5 . D 53103 Bonn Tel.: 0049 (0) 772094, Fax: 0049 (0) 774298 E-Mail: [email protected]
    [Show full text]
  • Tournament 17 Round 15 Tossups 1
    Tournament 17 Round 15 Tossups 1. Larry Layton was the only person prosecuted for this event. The man responsible for this event had previously been appointed by Mayor George Moscone as Chairman of the San Francisco Housing Authority. Leo Ryan became the only member of Congress to die in the line of duty when he was murdered prior to this event. The people who died in this event were (*) members of the People's Temple. For 10 points, name this 1978 event in Guyana in which 913 cult members drank cyanide-laced Flavor-Aid in a mass suicide. ANSWER: Jonestown massacre [or reasonable equivalents mentioningJonestown] 030-11-29-15102 2. When these entities are extremely weak, their strength is often measure using a device called a SQUID. NMR spectroscopy involves chemical shift when a sample is placed in one of these entities. A current that is perpendicular to one of those entities produces a potential difference known as the Hall Effect. According to Ampere’s law their strength is proportional to the electrical current. Their strength, which is a measured in a unit called (*) Teslas, can be determined using the Biot-Savart law. For 10 points, name this type of vector field caused by moving electric charges. ANSWER: magnetic fields 064-11-29-15103 3. The protagonist of this book becomes President of the Lions Club and is killed by Paul Lazzaro during a speech he gives in Chicago. Other characters in this book include the narrator’s friend Bernard V. O’Hare and Eliot Rosewater, who introduces the protagonist to the books of Kilgore Trout.
    [Show full text]
  • San Francisco Conservatory of Music Aug 18, 2021 Catalog Music And
    r_catalog San Francisco Conservatory of Music Aug 18, 2021 Catalog APP 100 Music for Dancers Music and dance are closely aligned in almost every cultural tradition and enjoy an especially close relationship in ballet, modern dance, opera and musical theater. In this course students will deepen their understanding of music and learn about significant works of music and dance through group viewing and listening sessions accompanied by lectures and discussions. This course will meet twice a month. Once a month students will attend a live or virtual performance by Bay Area arts partners including SFCM, SF Symphony, SF Opera, and CalPerformances. In a second session each month students will view a filmed work of music and dance. Evaluation will be based on attendance and active participation in these sessions. Session topics will include the work by choreographers Martha Graham, Katherine Dunham, George Balanchine, Alvin Ailey, Merce Cunningham, Mark Morris, and Cathy Marston and composers J. S. Bach, Felix Mendelssohn, Fanny Hensel, P. I. Tchaikovsky, Leonard Bernstein, John Cage, and Laurie Anderson. Credits: .50 APP 202 Vocal Physiology (2 hours, 2 credits) A study of the anatomy and physiology of the vocal instrument, including respiration, phonation, resonance, vowel acoustics and vocal hygiene. Voice classification, compilation of exercises, and teaching methods are introduced. Credits: 2.00 APP 203 Undergraduate Vocal Pedagogy (2 hours, 2 credits) This class offers practical applications of materials studied in Vocal Physiology. Students will be assigned to teach one private student for the semester and will maintain a lesson journal. Teaching will be monitored through in-class lesson demonstrations.
    [Show full text]
  • Science & Technology
    ROBERT SCHUMANN: taken that same day Herald of a ‘New Poetic Age.’ to an asylum, where By John Daverio. Oxford University Press. he died two years 624 pp. $45 later. Eccentric, Although he gave us such indisputably great dark, and often re- works as his Piano Quintet (1842) and Cello petitive, the compo- Concerto (1850), few composers have been sitions dating from subject to as many unfounded charges as has this period have Robert Schumann (1810–56). Scholars claim been dismissed as that he was unable to orchestrate, that he the products of a de- couldn’t handle larger musical forms, and that caying intelligence. his later pieces, composed when he was suffer- But Daverio finds in ing from mental illness, are gloomy failures them “a heightened devoid of the freshness and lyricism found in intensity of expression” and an inventiveness his earlier work. presaging the music of Anton Bruckner, Max The shade of the German romanticist Reger, and Arnold Schönberg. Daverio insists may now rest more easily, thanks to this that the economical use of thematic material authoritative new biography. To defend and masterful handling of form in pieces such Schumann’s skill in orchestration, Daverio, as the Fourth Symphony (1851), the Faust a musicologist at Boston University, shows overture, and the Violin Concerto (1853) how the rich programmatic content of such could have come only from an artist “in full works as Scenes from Goethe’s Faust (1844- command of his or her rational powers.” 53) is conveyed through inventive instru- What Daverio fails to note is that perform- mental combinations.
    [Show full text]
  • Rebecca Dirichlet's Development of the Complex Domain
    EIR Feature THE MUSICAL SOUL OF SCIENTIFIC CREATIVITY Rebecca Dirichlet’s Development of the Complex Domain by David Shavin The famous American philosopher Yogi Berra, whose day job was as a catcher for the New York Yankees, once analyzed the key to the intricacies of hitting a baseball: “It’s 90% half-mental.” Surprisingly enough, it is a complex domain that combines the visual mapping of the incoming base- ball with the required inverse, curved arc of the bat’s trajectory. Whether or not Yogi had in mind the drawing at the end of Carl Gauss’s 1799 “Funda- mental Theorem of Algebra,” Yogi’s maxim holds. Gauss re-organized his own mind, along the lines of the non-visible geometry of the complex domain at the core of causality expressed in the material world. It was, to say the least, 90% half-mental! Gauss’s most distinguished followers, Lejeune Dirichlet and his student Bernhard Riemann, further developed this power of the mind, to embody the causal features of the non-visible complex domain.1 Rigorous and fruit- ful analysis proceeded, but not as dictated by numbers. The reality of the so-called subjective processes of the mind (and not so-called hard particles of reality), conveying a rigorous causality, was now primary: Mathematics had been taught how to sing. In the early 1950s, another famous American philosopher, Lyndon La- Rouche (who never played catcher for the Yankees) worked intensively upon Riemann’s contributions to causality in developing what is now 1. See Lyndon LaRouche’s “Leibniz from Riemann’s Standpoint,” at http://www.schiller institute.org/fid_91-96/963A_lieb_rieman.html; “The Ontological Matter: The Substance of Ten- sors,” at http://www.larouchepub.com/lar/2009/3622tensors_ontological.html; and Bruce Direc- tor’s “Bernard Riemann’s ‘Dirichlet’s Principle’ “ at http://www.schillerinstitute.org/fid_02- 06/2004/044_riemann_dirichlet.html 30 Feature EIR June 4, 2010 vestigating the undeniably subjective qual- ity of science, but a subjectivity in the com- municable, social form of the works of Bach, Mozart and Beethoven.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 105, 1985-1986
    Boston Symphony Orchestra SEIJI OZAWA, Music Director ORCI SEIJI OZ/ 1985-86 Out of the wood comes the perfect smoothness of the world's first barrel-blended 12 year-old ?ORTE Canadian whisky. ' >v. ^^^tf*^* "" : -- wl^Bg^" ; : Mrtrfljr.' i i" iT Barrel-Blending is the final process of blending selected whiskies as they are poured into oak barrels to marry prior to bottling. Imported in bottle by Hiram Walker Importers Inc., Detroit Ml © 1985. Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J.P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Frances W Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Administration of the Boston Symphony Orchestra, Inc. Thomas W Morris, General Manager Daniel R. Gustin, Assistant Manager Anne H.
    [Show full text]
  • Robert Schumann's Part-Songs for Men's Chorus and a Detailed Analysis of Fü F Gesä Ge
    ROBERT SCHUMANN'S PART-SONGS FOR MEN'S CHORUS AND A DETAILED ANALYSIS OF FÜF GESÄGE (JAGDLIEDER), OPUS 137 D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University by Timothy David Sarsany, B.M., M.M. Graduate Program in Music The Ohio State University 2010 Document Committee: Professor Hilary Apfelstadt, Advisor Professor Arved Ashby Professor Russel Mikkelson Professor Robert Ward Copyright by Timothy David Sarsany 2010 ABSTRACT In 1840, Schumann turned to the voice after writing much for piano in the previous decade. As editor of the eue Zeitschrift für Musik , a journal launched in 1834, Schumann was aware of the rise of male choirs in Germany. Male song at the time was a part of his social scene at night in the pubs, so Schumann took it upon himself to tackle the new challenge of writing for male voices. The result was a body of works comprising 26 part-songs. This document is intended for conductors and scholars interested in discovering Schumann's lesser known works for male chorus in hopes that conductors will choose to include them in their chorus' repertoire. This document includes discussions of the 26 part-songs for men's chorus. It also contains a detailed discussion, including translations, and pronunciation guides of the Fünf Gesänge (Jagdlieder) , op. 137, which were included as part of a lecture-recital presented on May 22, 2010, featuring The Ohio State University Men's Glee Club and players from the OSU Horn Studio.
    [Show full text]
  • Robert Schumann: Life and Death of a Musician Ebook
    ROBERT SCHUMANN: LIFE AND DEATH OF A MUSICIAN PDF, EPUB, EBOOK John Worthen | 496 pages | 18 May 2010 | Yale University Press | 9780300163988 | English | New Haven, United States Robert Schumann: Life and Death of a Musician PDF Book Len rated it really liked it Jun 14, After Robert's death, Clara continued her career as a concert pianist, which supported the family. Therefore Worthen makes a concerted effort to read Schumann's life forwards, and gives a new appraisal to the details of his correspondence, diaries, musical career, etc. This is an excellent and provocative biography that is sure to spark fierce debate among musicians and psychologists. He never surpassed the searching beauty of the slow movements Nos. Death Paperback Books. You could not be signed in. Schonberg , in his The Great Conductors : "The great composer was impossible on the platform Open Preview See a Problem? Piano Concerto in A minor, Op. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. There were definitely some fascinating gems, and the overall picture was worthwhile, but it wasn't a page turner, and unless this subject is your specialty, you might find the depth a little overwhelming and perhaps unnecessary. Fantasie C major , Op. Apr 20, Bob Williams rated it really liked it. He also began to seriously study piano with Friedrick Wieck, a well-known piano teacher. Even though he often disregarded the principles of musical composition, he created works regarded as admirable for his age. Buy at Local Store Enter your zip code below to purchase from an indie close to you.
    [Show full text]