DOCSLIB.ORG

Antony Beaumont 41

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Antony Beaumont 41 SUPER AUDIO CD Symphony No. 1 Quodlibet Weill Symphony No. 2 Die Deutsche Kammerphilharmonie Bremen CHSA 5046 Antony Beaumont 41 CCHSAHSA 55046046 BBOOK.inddOOK.indd 440-410-41 114/8/064/8/06 115:04:165:04:16 Kurt Weill (1900–1950) Symphony No. 1 (1921) 23:03 ‘Berlin’ Symphony in one movement 1 Grave – 2:55 2 Allegro vivace – Sehr drängend – 3:58 3 Nicht schleppend – [Sehr pathetisch] – 3:05 4 Andante religioso – 4:26 5 Larghetto – Wie ein Choral – Sehr ruhig, mystisch – 6:15 6 Langsam und feierlich – 1:18 7 Andante espressivo 1:05 Quodlibet, Op. 9 22:12 A musical entertainment Suite from the children’s pantomime Zaubernacht (1923) 8 I Andante non troppo – Un poco leggiero e agitato – Allegro molto – Tempo I 5:13 9 II Molto vivace – Allegretto scherzando – Stretta – Ferruccio Busoni, centre, with Kurt Weill, seated left, and other students in Allegro non troppo 3:55 his composition class, c. 1922 10 III Un poco sostenuto – Andantino – Alla marcia funebre 7:11 11 IV Molto agitato – Tempo di marcia – Molto vivo 5:53 3 CCHSAHSA 55046046 BBOOK.inddOOK.indd 22-3-3 114/8/064/8/06 115:04:015:04:01 Die Deutsche Kammerphilharmonie Bremen (1933–34) 26:39 Symphony No. 2 fl ute timpani Symphonic Fantasy Bettina Wild Stefan Rapp 12 I Sonate. Sostenuto – Allegro molto 9:17 Brigitte Schreiner 13 II Largo 10:13 percussion oboe Mathias Breitlow 14 III Rondo. Allegro vivace 7:03 Rodrigo Blumenstock Andreas Heuwagen TT 72:16 Ulrich König Mads Drewsen clarinet violin I * Die Deutsche Kammerphilharmonie Bremen Kilian Herold Thomas Klug Antony Beaumont Marco Thomas Beate Weis Viola Usadel With kind permission of Radio Bremen bassoon Angelika Grossmann-Kippenberg Federico Alufi Susanne Sonntag violin II * Gunther Schwiddessen horn Stefan Latzko Elke Schulze Höckelmann Hanna Nebelung Fabian Borchers Matan Dagan trumpet violin III * Christopher Dicken Jörg Assmann Bernhard Ostertag Timofei Bekassov Andreas Weltzer Hozumi Murata Hannah Zimmer trombone Michael Peuser Barbara Leo 4 5 CCHSAHSA 55046046 BBOOK.inddOOK.indd 44-5-5 114/8/064/8/06 115:04:035:04:03 violin I † viola Thomas Klug Anna Lewis Stefan Latzko Anja Manthey Timofei Bekassov Jürgen Winkler Hozumi Murata Klaus Heidemann Hanna Nebelung Matan Dagan cello Eberhard Hirsch Marc Froncoux violin II † Ulrike Rüben Jörg Assmann Stephan Schrader Gunther Schwiddessen Sebastian Koloski Beate Weis Angelika Grossmann-Kippenberg double-bass Viola Usadel Matthias Beltinger Hannah Zimmer Tatjana Erler Klaus Leopold *Symphony No. 1 †Quodlibet and Symphony No. 2 Die Deutsche Kammerphilharmonie Bremen 6 CCHSAHSA 55046046 BBOOK.inddOOK.indd 66-7-7 114/8/064/8/06 115:04:035:04:03 (She spoke to the troops. They smashed their fi eld of the fallen). The throng kneeling in silent Weill: Symphony No. 1/Quodlibet/Symphony No. 2 rifl es and destroyed the ammunition). prayer. 3 Nicht schleppend (6/8): Procession of 6 Langsam und feierlich (4/4): ‘Es sammelt children. ‘Kommt mit! Kommt mit! Dort oben eine Schar sich. Es ordnet ein Volk sich. Ein Symphony No. 1 from Berlin to Broadway and fi nds expression, wird’s heller!… Wir hoffen dort Kühle, wir Zug beginnt’ (A mighty crowd is gathered. On 17 November 1920 Weill wrote excitedly directly or indirectly, in all three compositions wissen dort Tag’ (Come with us. Come with A nation assembles. The march begins). Two to his family that a young poet named on this disc. us. Above us it’s brighter… We hope it is cool beams of light forming a cross in the sky. The Johannes Robert Becher had invited him The symphony opens with six strident there, we know that it’s light). war-cry of the Gewaltherr transformed into to compose music for an epic play. Its chords, setting the scene for music of almost [Sehr pathetisch]1 (3/4): Fleeting vision of jubilant peals of bells, the swords of Discord title, Arbeiter Bauern Soldaten (Workers unremitting dissonance. These chords recur the Promised Land, allusion to The Star- beaten into the ploughshares of Concord. Peasants Soldiers), refl ected the political in numerous metamorphoses until, at the Spangled Banner. The Holy Man leading the throng towards the convictions of the author (today Becher fi nal climax, they ring out as consonant triads. 4 Andante religioso (12/8): The Holy Man. Promised Land. is best remembered for Aufer standen aus The seven sections of the work run without A Voice – ‘Sie rief mich oft an. Oft sprach ich 7 [Postlude] Andante espressivo (4/4): Ruinen, the national anthem of the former a break, their contours softened – perhaps mit ihr’ (How often it called me; how often I Disillusion and anxiety. Hope and confi dence. GDR), while the subtitle, ‘Der Aufbruch eines even obscured – by a wealth of thematic spoke with it) – prophesying an end to all war. Volkes zu Gott’ (A People’s Awakening to anticipations and reminiscences. Taken as a 5 Larghetto (4/8): Through the desert. For young musicians in Berlin, the return of God), outlined his ‘ecstatic vision’ of a new whole, the form suggests a symphonic poem A throng of workers, peasants and soldiers. Busoni from his voluntary exile in Switzerland society. Weill’s sketches for the project have rather than a symphony. Many of the themes ‘Dahin! Dorthin! Wir marschieren…’ (Hither, was an event of major signifi cance, indeed not survived, and though Becher later aligned match Becher’s speech-rhythms so closely that thither, we are marching…). many hailed him as prophet of the new music. his drama with Marxist-Leninist dogma, it it is possible, drawing on the play’s words and Wie ein Choral (4/8): Voices approaching He arrived in the last week of September was never staged. In April–June 1921, when images, to sketch out a detailed scenario: from the distance. ‘Komm Hirt der Wandlung! 1920; Weill met him on 18 November, was Weill composed his Symphony No. 1, there Schon füllt deine Nähe! Dein Frieden er accepted for his composition class and – as can be little doubt that he drew on material 1 [Prelude] Grave (4/4): The Sixfold wässert die Schlucht unseres Kriegs’ (Come, Busoni reported to his son Raffaello – soon originally intended for the play. According Discord. Chaos and revolution. Anguish and shepherd of change, suffusing is your became ‘something of a factotum around the to a contemporary account, he inscribed the longing. nearness. Your peace waters the parched land house’. By the following June, when tuition score with a quotation from it, but the title 2 Allegro vivace (4/4): The Gewaltherr of our war). offi cially commenced, Weill had completed page – and with it the motto – is lost. ‘Auf! Ins (Warlord, Despot). ‘Stunde des Angriffs! Letzte Sehr ruhig, mystisch (4/4, two solo violins, the fair copy of his Symphony No. 1 and Land der Verheißung!’ (Arise! Make haste to Schlacht!’ (Time for the onslaught! The last chorale theme as dirge, distant tolling of arranged it for piano duet, presumably for the Promised Land!) is the leitmotiv of Becher’s attack!). Vision of total war. bells): ‘Ein Wind strich über das weite Feld der presentation at one of Busoni’s weekly tea drama. I can well imagine that Weill wrote Sehr drängend (5/4): The Old Woman. ‘Sie Gebeine’ (A gentle wind blows across the vast afternoons. A handsome young Greek named these same words at the head of his score, for hat mit den Truppen gesprochen: Sie haben Dimitri Mitropoulos had recently performed 1 Weill’s tempo marking is not included in the published they convey a message that pervades his music ihre Gewehre und die Geschütze zerschlagen’ score. his hour-long piano sonata to the assembled 8 9 CCHSAHSA 55046046 BBOOK.inddOOK.indd 88-9-9 114/8/064/8/06 115:04:055:04:05 company. As the last, thunderous chords died ensemble of nine players. He would have the fairy and her incantation (‘All rigid Symphony No. 2 away, Busoni frowned at him and exclaimed: preferred a ‘Mozart orchestra’, as he told things then stir, and tired bodies whir, by Ten years passed before Weill again wrote for ‘Too much passion! Go back to Mozart and Busoni, and in April 1923 a commission from day they may be dumb, but now’s a cheerful symphony orchestra. By now he had become learn purity of form!’ Weill’s symphony came in his former teacher in Dessau, Albert Bing, gave hum’); a graceful merry-go-round of toys; a darling of the left-wing intelligentsia, an for similar criticism. ‘The so-called “new ways” him the opportunity to re-score some of the children waking in a sun-fi lled room. The outrage to bourgeois theatre-goers and an are no longer new’, Busoni declared. ‘The music for just such forces. The title of the new second movement centres on a quarrelsome object of repeated harassment from brown- age of experiment at the expense of artistic work, Quodlibet, is intriguing. According to jumping jack and a frolicsome hobby-horse. shirt extremists. Nevertheless, when Princess durability is drawing rapidly to a close.’ While The Oxford English Dictionary it signifi es a The eventful third, framed by a timpani Edmond de Polignac commissioned him to disparaging the pathos of Weill’s music, he did ‘Fantasia’ or ‘medley’; ‘Lat.: “what you please”’, ostinato inspired by Busoni’s Turandot, and write a symphony, she scarcely expected that fi nd appreciative words for the fugal Larghetto, explains The New Grove, adding that interspersed with cadenzas for fl ute, clarinet, it would be completed in exile. The opening with its distant echo of the Two Armed Men in generally the quodlibet serves no higher bassoon and cello, culminates in a funky Sonate2 was composed and orchestrated in Die Zauberfl öte.
Load more

Recommended publications
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L.
    [Show full text]
  • “Tragic” Mistake
    UNDOING A “TRAGIC” MISTAKE DETERMINING THE INNER-MOVEMENT ORDER OF MAHLER’S SIXTH SYMPHONY A critical examination of the evidence by Jerry Bruck New York City October 19th, 2002 A publication of THE KAPLAN FOUNDATION 450 Park Avenue New York City © Jerry Bruck, 2002 I. OVERVIEW Nearly a century has passed since Gustav Mahler composed his Sixth Symphony, yet confusion still persists among conductors, scholars and biographers regarding the order of its inner movements. Mahler began work on the symphony in 1903, first composing a Scherzo and an Andante as the central pair of its eventual four-movement structure, framing them with the remaining movements the following year. He then reversed this “S-A” order of inner movements before the symphony’s premiere in 1906, and thereafter never reverted to their previous arrangement. It was not until 1919, almost a decade after Mahler’s death, that the conductor Willem Mengelberg queried Mahler’s widow about the order of these inner movements. Her response: “First Scherzo, then Andante” prompted him to alter the “A-S” order of his conductor’s score, igniting a controversy that has spanned the decades since. With the publication in 1963 of the first Critical Edition of the Sixth by the Internationale Gustav Mahler Gesellschaft (IGMG), the matter seemed settled at last. In his introduction, IGMG founder-editor Erwin Ratz stated that the thematic similarities between the symphony’s opening movement and its Scherzo, commented upon during rehearsals for its premiere, had prompted Mahler to succumb to the advice of “outside influences” to transpose the Sixth’s inner movements.
    [Show full text]
  • 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.
    [Show full text]
  • Journal of the Conductors Guild
    Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F.
    [Show full text]
  • Lotte Klemperer Obit by Martin Anderson
    This obituary first appeared in The Independent and is reproduced with the author's permission. Lotte Klemperer Lotte Klemperer’s life was one of quiet dignity and self-effacement. Thrust into the limelight as the daughter of her famous father, the conductor Otto Klemperer, she sought no part of it for her own advantage, contenting herself with facilitating his often thorny path through the world. For Jon Tolansky, who played under Klemperer in the orchestra of the Royal Opera House, Covent Garden, In her almost life-long devotion to her father, both when he was alive and since his death 30 years ago, she was completely concerned with the preservation and protection of the truth about him. In her he had a very remarkable guardian of his spirit. The conductor and musicologist Antony Beaumont put it more strongly: “My personal conviction is that the miracle of Otto Klemperer’s late flowering as an international conductor was largely her achievement”. At the time of Lotte’s birth, Klemperer was chief conductor in Cologne, soon to move, via Wiesbaden, to take over the Kroll Oper in Berlin, where his anti-Romantic readings of the standard repertoire and eagerness to perform new music soon marked him out as one of the most important figures in German musical life. Her mother, Johanna, née Geissler, wound down a career as an operatic soprano to look after her children. Both Lotte and her elder brother Werner (later to achieve fame in his own right as the Nazi Colonel Klink in the TV comedy series Hogan’s Heroes) were shielded from their father’s celebrity, as from outside politics: when, after the Nazi take-over in 1933, Klemperer explained to the nine-year-old Lotte that he had to flee the country because he was Jewish, she didn’t know what he meant.
    [Show full text]
  • Producing Evidence for the Beatification of a Composer: Sorabji’S Deijication of Busoni’
    Producing Evidence for the Beatification of a Composer: Sorabji’s DeiJication of Busoni’ BY MARC-ANDRÉ ROBERGE There has been in recent years an upsurge of interest in the music of a number of nineteenth and twentieth-century composer-pianists who have long been considered outsiders in European music history, such as Charles-Valentin Alkan (1813-88), Ferruccio Busoni (1866-1924), Leopold Godowsky (1870-1938) and Kaikhosru Shapurji Sorabji (1892-1988). Their status as outsiders resulted mainly from the length and complexity of several of their works and from the lack of clear boundaries between original composition and transcription, in which they had a marked interest. Their works, even though they still appear but rarely on concert programmes, are now performed with increasing frequency. First editions or reprints of their music are issued with some regularity, as are books and articles; furthermore, several enterprising pianists are now recording interesting works and masterpieces long kept in the shadow for lack of suitable performers. As I have shown elsewhere,* all these composers are part of an extensive “Busoni network”, i.e. a group of composers and performers who can be linked in one or more ways to Busoni and, to a lesser extent, to Sorabji: they had studied with Busoni or with one of his pupils; they had performed works by Busoni or Sorabji; they had written about either composer; they had transcribed or edited one or more of their works; finally, they incorporated quotations from their works into their own compositions or used them as models. To this core group of (mostly English- speaking) composers could be added numerous editors, musicologists and writers (also mostly English-speaking) as well as friends and disciples of the composers of the network.
    [Show full text]
  • Gustav Mahler to Alma
    Part Three: Reviews for the Times Literary Supplement 189 7 Gustav Mahler to Alma The Mahler literature is huge, and many of Mahler’s letters have already appeared in print. But what has come fully to light during the last decade adds greatly to our understanding of Mahler and his marriage. Henry-Louis de La Grange has masterminded this volume; and while we wait eagerly for the appearance in English of the completion of his monumental biography, this contribution allows us not only to fill in some gaps but also to gain a vivid and telling portrayal of Mahler’s personality in his own voice. The book is the work of several hands and derives from a number of sources. After Alma Mahler’s death in 1964, her papers, including all Mahler’s letters to her, passed to her daughter, Anna. She in turn sold the letters to Hans Moldenhauer, and his celebrated archive passed them on the Bavarian State Library. They published a catalogue of their holdings and also held an exhibition of them in 2003. The initial German edition of Gustav Mahler: Letters to his Wife came out in 1995, but it did not include consideration of Alma’s early diaries (from January 1898 to March 1902). They were published only in 1997. Copies of both the letters and Alma’s diaries have been collected from the 1960s onwards in de La Grange’s médiathèque musicale, Mahler in Paris. The third major source is Alma’s writings, published and unpublished. Two books will be familiar to the older generation of Mahler enthusiasts.
    [Show full text]
  • John Field's Piano Concerto No. 1.Pdf (6.285Mb)
    JOHN FIELD’S PIANO CONCERTO NO. 1 A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Mary Ermel Walker In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music September 2014 Fargo, North Dakota North Dakota State University Graduate School Title John Field’s Piano Concerto No. 1 By Mary Ermel Walker The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Andrew Froelich Chair Robert Groves Virginia Sublett John Helgeland Approved: 11/16/15 John Miller Date Department Chair ABSTRACT While there are recordings of all seven of John Field’s piano concertos, there are no two- piano versions published that include the transcribed orchestra in the second piano part, with the exception of the second concerto. This paper reviews the life and music of John Field with particular attention on his first concerto and on the creation of an orchestral reduction for performance on two pianos. iii ACKNOWLEDGEMENTS I would like to thank my professors at North Dakota State University for their patience and support throughout my coursework and the writing of this paper, especially Dr. Andrew Froelich for his invaluable input on the orchestra reduction, Dr. Robert Groves for his help with the composition of this paper, and Dr. Virginia Sublett for her support and encouragement along the way. The orchestra reduction is based on a publication provided courtesy of the Edwin A Fleisher Collection of Orchestral Music at the Free Library of Philadelphia.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • MS 370 GUSTAV MAHLER and TURN-OF-THE-CENTURY VIENNA IES Abroad Vienna
    MS 370 GUSTAV MAHLER AND TURN-OF-THE-CENTURY VIENNA IES Abroad Vienna DESCRIPTION: A look at Gustav Mahler from the perspective of his cultural surroundings. Students will explore the musical works, aesthetic goals, and personal philosophy of the composer within the setting in Vienna from 1875 to 1911. We will consider examples of the literature, philosophy, science, art, music, drama, and politics that surrounded Mahler and ask how these may have influenced his approach to musical composition. Excursions to historic sites will complement course material. CREDITS: 3 credits CONTACT HOURS: 45 hours LANGUAGE OF INSTRUCTION: English PREREQUISITES: Prior studies in music history Basic skills in music analysis METHOD OF PRESENTATION: Lectures Discussions Excursions REQUIRED WORK AND FORM OF ASSESSMENT: Reading and listening assignments are listed below. CDs of the required listening will be made available for borrowing and copies of the required readings will be provided in reading packets. Readings will be accompanied by study questions that will help you prepare for class discussion. All participants are required to purchase an orchestral score of Mahler’s Third Symphony (these can be acquired from IES). There will be a midterm and a final exam as well as a journal. The journal consists of assignments relevant to the topic at hand; participation in class discussions is also evaluated. The course is graded as follows: Class participation - 20% Journal - 20% Mid-term exam - 30% Final exam - 30% ATTENDANCE POLICY: See IES Abroad Vienna handbook. CONTENT: Week Content Readings Week 1 Course Introduction VA: 9-17 Background BL: excerpts Mahler’s Vienna Gustav Mahler (1860-1911): Symphony No.
    [Show full text]
  • News and Events
    Volume 23 Number 1 topical Weill Spring 2005 A supplement to the Kurt Weill Newsletter Weill/Brecht Works Take the Stage. &news events A bevy of productions of Weill’s collaborations with Bertolt Brecht are in the works, partially inspired by the upcoming 50th anniversary of the death of Brecht in 2006. Aufstieg und Fall der Stadt Mahagonny is currently playing in Nuremberg, Darmstadt, and Pforzheim, and Harry Kupfer’s new staging of the work opens at the Dresden Semperoper on 6 May 2005 (Sebastian Weigle, conductor). In the autumn, addition- al Mahagonnys premiere at Theater Basel (Marko Letonja, conductor) on 14 September; on 12 November at Saarländisches Staatstheater, Saarbrücken (Leonid Grin, conductor), in a co-production with Stadttheater Ulm; and in Madrid at Teatro Español on 1 December. Two Berlin productions are planned: a revival of the 1999 Günter Krämer production at Deutsche Oper Berlin beginning 30 October 2005, and a new one at the Komische Oper opening in September 2006. Mahagonny will also Bertolt Brecht and Kurt Weill, ca. 1928 highlight the 2006 Kurt Weill Fest in Dessau. Spring 2005 and the 2005/2006 season are filled with productions of Die Dreigroschenoper worldwide. The work is ubiquitous in Germany, and U.S. outings are led by a Broadway revival of The Threepenny Opera scheduled by the Roundabout Theatre Company for early 2006. Directed by Scott Elliott, the Roundabout production will feature a new translation by Wallace Shawn. An increasing number of North American opera companies are choosing the work: after recent productions at Opera Omaha and Vancouver Opera, future venues include Long Beach Opera (11–15 June 2005), Arizona Opera (premiere 11 November 2005), and Opera Columbus (13–15 January 2006).
    [Show full text]