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Ferruccio Busoni Biography
Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso. -
S Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski
AN ANALYTICAL STUDY OF THE VARIATIONS ON THE THEME OF PAGANINI’S TWENTY-FOURTH CAPRICE, OP. 1 BY BUSONI, FRIEDMAN, AND MUCZYNSKI, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS BY BACH, BEETHOVEN, CHOPIN, DEBUSSY, HINDEMITH, KODÁLY, PROKOFIEV, SCRIABIN, AND SILOTI Kwang Sun Ahn, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2000 APPROVED: Joseph Banowetz, Major Professor Gene J. Cho, Minor Professor Steven Harlos, Committee Member Adam J. Wodnicki, Committee Member William V. May, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Ahn, Kwang Sun, An Analytical Study of the Variations on the Theme of Paganini’s Twenty-fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski. Doctor of Musical Arts (Performance), May 2000, 94 pp., 66 examples, 9 tables, bibliography, 71 titles. The purpose of this study is to analyze sets of variations on Paganini’s theme by three twentieth-century composers: Ferruccio Busoni, Ignaz Friedman, and Robert Muczynski, in order to examine, identify, and trace different variation techniques and their applications. Chapter 1 presents the purpose and scope of this study. Chapter 2 provides background information on the musical form “theme and variations” and the theme of Paganini’s Twenty-fourth Caprice, Op. 1. Chapter 2 also deals with the question of which elements have made this theme so popular. Chapters 3,4, and 5 examine each of the three sets of variations in detail using the following format: theme, structure of each variation, harmony and key, rhythm and meter, tempo and dynamics, motivic development, grouping of variations, and technical problems. -
Jahresbericht 2019
Medizinische Universität Wien · Allgemeines Krankenhaus Wien Krankenhaus Allgemeines · Wien Universität Medizinische Universitätsklinik für Frauenheilkunde · · Frauenheilkunde für Universitätsklinik JAHRESBERICHT 2019 Universitätsklinik für Frauenheilkunde Medizinische Universität Wien Allgemeines Krankenhaus Wien A-1090 Wien · Währinger Gürtel 18-20 JAHRESBERICHT 2019 JAHRESBERICHT 2019 Universitätsklinik für Frauenheilkunde Medizinische Universität Wien · Allgemeines Krankenhaus Wien A-1090 Wien · Währinger Gürtel 18-20 KLINISCHE ABTEILUNG FÜR ALLGEMEINE GYNÄKOLOGIE UND GYNÄKOLOGISCHE ONKOLOGIE (einschließlich Arbeitsgruppe Brustgesundheit an der UFK) Leiter: UniV.Prof.DDR.hc. HeinZ KÖlbl ........................................................................................................................ 9 KLINISCHE ABTEILUNG FÜR GEBURTSHILFE UND FETO-MATERNALE MEDIZIN Leiter: O.UniV.Prof. DR. Peter Husslein .................................................................................................................. 89 KLINISCHE ABTEILUNG FÜR GYNÄKOLOGISCHE ENDOKRINOLOGIE UND REPRODUKTIONSMEDIZIN Suppl.Leiter: A.O.UniV.Prof. DR. Christian Egarter .......................................................................................... 129 INHALT ABTEILUNG ZUR KOORDINATION DER LEHRE Leiter: A.O.UniV.Prof. DR. Harald Leitich ............................................................................................................. 153 STUDIENZENTRUM DER UNIVERSITÄTSKLINIK FÜR FRAUENHEILKUNDE Leiter: A.O.UniV.Prof. DR. Christian -
Michael Finnissy (Piano)
MICHAEL FINNISSY (b. 1946) THE HISTORY OF PHOTOGRAPHY IN SOUND CD1: 1 Le démon de l’analogie [28.29] 2 Le réveil de l’intraitable réalité [20.39] Total duration [49.11] CD2: 1 North American Spirituals [23.41] 2 My parents’ generation thought War meant something [35.49] Total duration [59.32] CD3: 1 Alkan-Paganini [13.37] 2 Seventeen Immortal Homosexual Poets [34.11] 3 Eadweard Muybridge-Edvard Munch [26.29] Total duration [74.18] CD4: 1 Kapitalistisch Realisme (met Sizilianische Männerakte en Bachsche Nachdichtungen) [67.42] CD5: 1 Wachtend op de volgende uitbarsting van repressie en censuur [17.00] 2 Unsere Afrikareise [30.35] 3 Etched bright with sunlight [28.40] Total duration [76.18] IAN PACE, piano IAN PACE Ian Pace is a pianist of long-established reputation, specialising in the farthest reaches of musical modernism and transcendental virtuosity, as well as a writer and musicologist focusing on issues of performance, music and society and the avant-garde. He was born in Hartlepool, England in 1968, and studied at Chetham's School of Music, The Queen's College, Oxford and, as a Fulbright Scholar, at the Juilliard School in New York. His main teacher, and a major influence upon his work, was the Hungarian pianist György Sándor, a student of Bartók. Based in London since 1993, he has pursued an active international career, performing in 24 countries and at most major European venues and festivals. His absolutely vast repertoire of all periods focuses particularly upon music of the 20th and 21st Century. He has given world premieres of over 150 pieces for solo piano, including works by Julian Anderson, Richard Barrett, James Clarke, James Dillon, Pascal Dusapin, Brian Ferneyhough, Michael Finnissy (whose complete piano works he performed in a landmark 6- concert series in 1996), Christopher Fox, Volker Heyn, Hilda Paredes, Horatiu Radulescu, Frederic Rzewski, Howard Skempton, Gerhard Stäbler and Walter Zimmermann. -
5144 Booklet:Layout 1 22.05.2014 12:39 Uhr Seite 1
5144 booklet:Layout 1 22.05.2014 12:39 Uhr Seite 1 MELANCHOLY Ernest Chausson (1855-1899) [1] Chanson Perpétuelle Op. 37 (Cros) …………………………………………… 6:38 Walter Rabl (1873-1940) [2] Zu spät Op. 5 No. 1 (Born) …………………………………………………….. 2:28 Johannes Brahms (1833-1897) /Aribert Reimann (*1936) Fünf Ophelia-Lieder, WoO22 (Text: William Shakespeare) [3] No. 1: Wie erkenn‘ ich dein Treulieb ………………………………………….. 0:41 [4] No. 2: Sein Leichenhemd weiss wie Schnee …………………………………. 0:29 [5] No. 3: Auf morgen ist Sankt Valentins Tag …………………………………… 0:49 [6] No. 4: Sie trugen Ihn auf der Bahre bloss ……………………………………. 0:58 [7] No. 5: Und kommt er nicht mehr zurück? …………………………………….. 1:24 Paul Hindemith (1895-1963) Melancholie Op. 13 (Text: Christian Morgenstern) [8] No. 3: Dunkler Tropfe …………………………………………………………. 2:49 [9] No. 4: Traumwald …………………………………………………………….. 4:05 Alexander Tichonowitsch Gretschaninow (1864-1956) Tote Blätter - Drei Naturbilder für Altstimme mit Streichquartett Op. 52 (Text: Nikolai Maximovich Minsky) [10] No. 1: Blätterfall ………………………………………………………………. 2:53 [11] No. 2: Im Wirbelwind …………………………………………………………. 2:38 [12] No. 3: Beruhigung ……………………………………………………………. 3:16 Adolf Busch (1891-1952) Drei Lieder Op. 3a [13] No. 1: Nun die Schatten dunkeln (Geibel) ………………………………….…. 2:23 [14] No. 2: Wonne der Wehmut (Goethe) ………………………………………….. 1:53 [15] No. 3: Aus den Himmelsaugen droben (Heine) ……………………………….. 2:17 2 5144 booklet:Layout 1 22.05.2014 12:39 Uhr Seite 2 Joseph Canteloube (1879-1957) [16] Colloque sentimental (1903) (Verlaine) ………………………………………. 4:03 Max von Schillings (1868-1933) [17] Abenddämmerung (Heine) …………………………………………………… 3:44 Richard Strauss (1864-1949) [18] Stiller Gang Op. 31 No. 4 (Dehmel) …………………………………………… 1:40 Guillaume Lekeu (1870-1894) [19] Nocturne (1892) ………………………………………….……………………. -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
A Discography by Claus Nyvang Kristensen - Cds and Dvds Cnk.Dk Latest Update: 10 April 2021 Label and ID-Number Available; Not Shown
A discography by Claus Nyvang Kristensen - CDs and DVDs cnk.dk Latest update: 10 April 2021 Label and ID-number available; not shown Alain, Jean (1911-1940) Deuxième Fantaisie Marie-Claire Alain (1972) Intermezzo Marie-Claire Alain (1972) Le jardin suspendu Marie-Claire Alain (1972) Litanies Marie-Claire Alain (1972) Suite pour orgue Marie-Claire Alain (1972) Trois danses Marie-Claire Alain (1972) Variations sur un thème de Janequin Marie-Claire Alain (1972) Albéniz, Isaac (1860-1909) España, op. 165: No. 2 Tango in D major Leopold Godowsky (1920) España, op. 165: No. 2 Tango in D major (Godowsky arrangement) Carlo Crante (2011) Emanuele Delucchi (2015) Marc-André Hamelin (1987) Wilhelm Backhaus (1928) Iberia, Book 2: No. 3 Triana (Godowsky arrangement) Carlo Crante (2011) David Saperton (1957) Albinoni, Tomaso (1671-1751) Adagio in G minor (Giazotto completion) (transcription for trumpet and organ) Maurice André, Jane Parker-Smith (1977) Violin Sonata in A minor, op. 6/6: 3rd movement, Adagio (transcription for trumpet and organ) Maurice André, Hedwig Bilgram (1980) Alkan, Charles-Valentin (1813-1888) 11 Grands Préludes et 1 Transcription du Messie de Hændel, op. 66 Kevin Bowyer (2005) 11 Grands Préludes et 1 Transcription du Messie de Hændel, op. 66: No. 1 Andantino Nicholas King (1992) 11 Grands Préludes et 1 Transcription du Messie de Hændel, op. 66: Nos. 2, 3, 4, 5, 6, 7, 8, 9, 11 (da Motta transcription for piano four hands) Vincenzo Maltempo, Emanuele Delucchi (2013) 11 Pièces dans le Style Religieux et 1 Transcription du Messie de Hændel, op. 72 Kevin Bowyer (2005) 13 Prières pour Orgue, op. -
2013, Umaine News Press Releases
The University of Maine DigitalCommons@UMaine General University of Maine Publications University of Maine Publications 2013 2013, UMaine News Press Releases Division of Marketing and Communications Margaret Nagle University of Maine George Manlove University of Maine Monique Hashey University of Maine Follow this and additional works at: https://digitalcommons.library.umaine.edu/univ_publications Part of the Higher Education Commons, and the History Commons Repository Citation Division of Marketing and Communications; Nagle, Margaret; Manlove, George; and Hashey, Monique, "2013, UMaine News Press Releases" (2013). General University of Maine Publications. 1095. https://digitalcommons.library.umaine.edu/univ_publications/1095 This Monograph is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in General University of Maine Publications by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. UMaine News Press Releases from Word Press XML export 2013 Article Features Student Nurses’ Belize Mission 02 Jan 2013 An article in The Weekly, a supplement to the Bangor Daily News, included comments from several University of Maine School of Nursing students and a faculty member who are raising money for a March trip to the country of Belize in Central American to provide health care services to underprivileged families. UMaine Geologist Grew Featured in News Reports 02 Jan 2013 Maine Public Broadcasting Network and the Bangor Daily News recently interviewed University of Maine geologist and research professor Ed Grew about his work studying rocks and minerals in remote parts of the world, including Antarctica and Russia. Grew has been recognized for his work with two newly discovered minerals, edgrewite and hydroxledgrewite, named in his honor by two Russian geologists. -
Bach-Busoni Chaconne: a Piano Transcription Analysis
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of May 2006 Bach-Busoni Chaconne: A Piano Transcription Analysis Marina Fabrikant University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Fabrikant, Marina, "Bach-Busoni Chaconne: A Piano Transcription Analysis" (2006). Student Research, Creative Activity, and Performance - School of Music. 3. https://digitalcommons.unl.edu/musicstudent/3 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Bach-Busoni Chaconne. A Piano Transcription Analysis by Marina Fabrikant A Dissertation Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor. Mark K. Clinton Lincoln, Nebraska May, 2006 Acknowledgements The development of this document could not have been achieved without the help in many forms, provided to me by several individuals. Therefore, I wish to thank my adviser, Dr. Mark Clinton, for his guidance and discussions of my performance of the Chaconne, and for his editing help during the development of this document. His assistance during the development of this document was invaluable. I am indebted to Dr. Joseph Kraus, for his understanding and valuable insight, which provided much inspiration for this work. -
The Pivotal Role of Messiaen's Quartet for the End of Time in The
KEEN HOCK, RENA CATHERINE, D.M.A. The Pivotal Role of Messiaen’s Quartet for the End of Time in the Establishment of the Clarinet-Piano Quartet Genre. (2012) Directed by Dr. Kelly J. Burke. 109 pp. Messiaen’s Quartet for the End of Time played a pivotal role in the development of the clarinet-piano quartet genre. Messiaen’s Quartet for the End of Time and the subsequent rise of the clarinet-piano quartet genre exemplify a modernist shift in genre identity in twentieth century chamber music. Contributing factors to this identity include the success of professional quartets in performing, promoting, and expanding the repertoire, the quality of work within the genre, and the ability of ensembles who promote this genre to sustain themselves in a changing socioeconomic environment. In this study I examine the different factors of genre identity that relate to the clarinet-piano quartet. These factors include: the problem of genre identity in the twentieth century; a historical account of the development of the clarinet-piano quartet genre from the first performance of Quartet for the End of Time through the work of current professional ensembles; the quality of literature for this genre, represented by the analysis of Toru Takemitsu’s Quatrain (1978) and Paul Moravec’s Tempest Fantasy (2002); and how this new genre meets the social and economic demands of the current information age. The appendices provided with this study are reference tools designed to help musicians discover works within this genre, and to collect the available literature in one location. They include an annotated list of influential or most recently published quartets, a complete list of all clarinet-piano quartets arranged by composition date, and a list of commissioned quartets organized by their commissioning ensemble. -
The Busoni Network and the Art of Creative Transcription*
THE BUSONI NETWORK AND THE ART OF CREATIVE TRANSCRIPTION* Marc-André Roberge Recent research in the field of early twentieth-century music and musical life in Germany and Austria has shown that Schoenberg, Webern, and Berg were not 8 active in a$ vacuum but part of a wider cultural context which included composers such as (to mention only two names) Alexander Zemlinsky and Franz Schreker, and that this group of composers had links with numerous artists and writers.’ It is now possible to see them in a much wider perspective or, in other words, as part of a network. This idea can also be applied to a number of fascinating figures of the nineteenth and twentieth centuries whose music, for a variety of reasons, has long been neglected: namely, Liszt, Alkan, Busoni, Godowsky, and Sorabji-al1 of them, except for Sorabji, keyboard giants.* Their contribution has been progressively rediscovered (or even discovered) in the last twenty years or so, as is evident in the explosion in the field of literature and discography.An indication of the existence of links between these composers is that, in most cases, anyone Who plays, writes about, or simply listens to the music of one of these composers has also a strong interest in the music of the others. This would probably not be the case if they were not part of one and the same “family” of artists. It is the purpose of this article to draw attention to the fact that a number of major figures in the history of piano music and transcription since the 1850s form a closely knit group, even though they may appear to many people to be isolated eccentrics Who distinguish themselves by works which, in terms of length and virtuosity, often go far beyond anything in the standard repertoire and which, for these reasons, have remained the province of a few enterprising artists. -
Von Und Über Brahms Hinweg Feininger-Trio, 22.1. 2020 „Gewiß
Von und über Brahms hinweg Feininger-Trio, 22.1. 2020 „Gewiß, keiner schreibt mehr die lastenden Sexten über nachschlagenden Triolen; wenige die treulichen Reprisen (…) und der Brahmsische 'Ton', die mühsam gelöste Stummheit, das schwere Atemholen eines gleichsam unablässigen Alterns der Musik, wird als Nachahmung kenntlich, wann immer ihn einer versuchte – eben, weil er so tief dem Brahmsischen Ursprung, und das sagt zugleich: seiner Verfahrensweise, verschwistert ist.“1 Theodor W. Adorno, dem wir den Aufsatz Brahms aktuell verdanken, mit dem er 1934 die Brahms- Rezeption Revue passieren ließ, weist uns zugleich auf den Komponisten selbst wie auf seine Nachfolger hin, die sich, so der strenge Musikkritiker, stets in Brahms' Schatten aufhielten. Wir haben es heute mit drei Werken zu tun, die beides umfassen: Brahms selbst und seine unmittelbare Wirkung, aber auch die allmähliche Emanzipation zweier junger Komponisten der vorletzten Jahrhundertwende. Als Johannes Brahms sein C-Dur-Trio op. 87 den Freunden vorspielte, war man nicht begeistert. Clara Schumann vermerkte in ihrem Tagebuch missmutig: „So sehr ich aber bei einzelnem schwärme, so habe ich vom Ganzen keinen befriedigenden Eindruck, außer vom Andante, das wundervoll ist. Schade doch, dass er zuweilen nicht mehr feilt, flaue Stellen herauswirft.” Auch die Art des Vortrags kam bei der kritischen Freundin nicht gut an: „Leider nur spielt Brahms immer schrecklicher – es ist nichts mehr als ein Schlagen, Stoßen, Grabbeln!” Flaue Stellen? Wer heute das Trio hört, das Brahms im sommerlichen Bad Ischl, in seiner Erntezeit der 1880er Jahre schrieb, muss sich wundern. Das Werk besitzt einige der sensibelsten Passagen, die Brahms jemals für die Kammermusik geschrieben hat: nicht allein im Andante.