An Introduction to Ludwig Van Beethoven
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Symposium Programme
Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J. -
Heralding a New Enlightenment
Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners. -
A Theory of Spatial Acquisition in Twelve-Tone Serial Music
A Theory of Spatial Acquisition in Twelve-Tone Serial Music Ph.D. Dissertation submitted to the University of Cincinnati College-Conservatory of Music in partial fulfillment of the requirements for the degree of Ph.D. in Music Theory by Michael Kelly 1615 Elkton Pl. Cincinnati, OH 45224 [email protected] B.M. in Music Education, the University of Cincinnati College-Conservatory of Music B.M. in Composition, the University of Cincinnati College-Conservatory of Music M.M. in Music Theory, the University of Cincinnati College-Conservatory of Music Committee: Dr. Miguel Roig-Francoli, Dr. David Carson Berry, Dr. Steven Cahn Abstract This study introduces the concept of spatial acquisition and demonstrates its applicability to the analysis of twelve-tone music. This concept was inspired by Krzysztof Penderecki’s dis- tinctly spatial approach to twelve-tone composition in his Passion According to St. Luke. In the most basic terms, the theory of spatial acquisition is based on an understanding of the cycle of twelve pitch classes as contiguous units rather than discrete points. Utilizing this theory, one can track the gradual acquisition of pitch-class space by a twelve-tone row as each of its member pitch classes appears in succession, noting the patterns that the pitch classes exhibit in the pro- cess in terms of directionality, the creation and filling in of gaps, and the like. The first part of this study is an explanation of spatial acquisition theory, while the se- cond part comprises analyses covering portions of seven varied twelve-tone works. The result of these analyses is a deeper understanding of each twelve-tone row’s composition and how each row’s spatial characteristics are manifested on the musical surface. -
UW Symphony David Alexander Rahbee, Music Director and Conductor
~n~~~~~~~~ ~A~~~~GTON 399 dll::>\:f \\-~ UW Symphony David Alexander Rahbee, Music director and conductor With .' -Seattl'e·Symphony Horns 7:30 PM November 3, 2017 Meany Theater UW MUSIC 2017-18 SEASON PROGRAM Symphony no. 8, in FMajor, Op. 93 <1812> ...................?:.§..~.?'t.................................. ludwig van Beethoven I I. Allegro vivace con brio (1770·1827) II. Allegretto scherzando 3> III. Tempo di menuetto t IV. Allegro vivace CD 2 - =1F1T/ ?f90 INTERMISSION I?J ~3r ConcertstUck (Concert piece), for 4Horns and Orchestra, in FMajor, Op. 86 <1849> .............. Robert Schumann I. Lebhaft (1810·1856) II. Romanze: Ziemlich langsam Ill. Sehr lebhaft '? "'" 'A co 'fe.' 12. Jeffre~ Fair I Jenn,a Breen I John Turman I Danielle Kuhlmann, horns ~ ........."1 I ~OW Do-w-vl 1;2'1 :3 rt~Wt k <; I Ro.~k-e. I z.p '53 f The Golden Spinning Wheel, Op. 109 <1896> .........................?::.?.:.!2..b................................. Antonin Dvorak --., (1841·1904) PROGRAM NOTES: Program notes by UWSO oboist logan Esterling Symphony No. 8 in FMaior, Op. 93 LUDWIG VAN BEETHOVEN Beethoven composed the majority of the Eighth Symphony, along with his popular Seventh Symphony, during the summer of 1812. Both of these works premiered on the same concert, similar to the premier concert of the Fifth and Sixth Symphony. The humor and lightness of this symphony is often lost among the towering Seventh and Ninth Symphonies, which are performed much more often. According to various accounts ofthe premiere, audiences were baffled as to why Beethoven chose to include this piece on the program. Beethoven was troubled by how audiences reacted to this piece, to which he commented "That's because it is so much better than the other." Despite such negative responses, Beethoven still thought of his "little symphony in F" as one of his best works. -
San Diego Symphony Orchestra a Jacobs Masterworks Concert
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT December 4, 5 and 6, 2015 LUDWIG VAN BEETHOVEN Leonore Overture No. 3, Op. 72b JEAN SIBELIUS Violin Concerto in D minor, Op. 47 Allegro moderato Adagio di molto Allegro; ma non tanto Karen Gomyo, violin INTERMISSION IGOR STRAVINSKY Le sacre du printemps (The Rite of Spring) PART I: Adoration of the Earth Introduction The Augurs of Spring – Dances of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage The Sage Dance of the Earth PART II: The Sacrifice Introduction Mystic Circle of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance (The Chosen One) Leonore Overture No. 3, Op. 72b LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna (Approx. 14 minutes) No other work gave Beethoven more trouble than his only opera, Leonore, which he retitled Fidelio during its final revision. This tale of political idealism, resistance to tyranny and marital fidelity comes to a climax when the heroine Leonore prepares to sacrifice her life to protect her imprisoned husband Florestan from the evil Pizarro. The couple is saved at the last minute by the arrival of the good minister Don Fernando, who has Pizarro arrested. Beethoven’s problems with the opera, which occupied him over a span of 11 years and took him through three different versions, are reflected in his problems devising a suitable overture: Fidelio is doubtless the only opera in existence to have four different overtures. -
A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten Through Analysis of Their Festival Te Deums
A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten through Analysis of Their Festival Te Deums Item Type text; Electronic Dissertation Authors Jensen, Joni Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 21:33:53 Link to Item http://hdl.handle.net/10150/193556 A COMPARISON OF ORIGINS AND INFLUENCES IN THE MUSIC OF VAUGHAN WILLIAMS AND BRITTEN THROUGH ANALYSIS OF THEIR FESTIVAL TE DEUMS by Joni Lynn Jensen Copyright © Joni Lynn Jensen 2005 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 5 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Joni Lynn Jensen entitled A Comparison of Origins and Influences in the Music of Vaughan Williams and Britten through Analysis of Their Festival Te Deums and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: July 29, 2005 Bruce Chamberlain _______________________________________________________________________ Date: July 29, 2005 Elizabeth Schauer _______________________________________________________________________ Date: July 29, 2005 Josef Knott Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
Concerto and Aria Application Fall 2021
FAU Symphony Orchestra 2021-2022 Solo Concerto & Aria Competition Application Soloist’s Name __________________________________________________________________________ Instrument/Voice Type ____________________________ Degree Program _________________________ Circle One: Freshman Sophomore Junior Senior Graduate Student Email address _______________________________ Phone number _______________________________ Collaborative Artist’s name (approved list is in the Music Office) __________________________________ Full Name of Composer __________________________ Composer’s Dates _________________________ Complete title (include opus number and key) _________________________________________________ Movements to be performed (or if this is an aria please list the name of the complete work from which it is drawn) _______________________________________________________________________________________ Publisher/Rental Agent ____________________________________________________________________ Exact total time ________________________ The above student is eligible and recommended for the concerto and aria competition. Applied Instructor’s Signature: _________________________________________________ Area Head’s Signature: _______________________________________________________ I have read the rules for the competition and signify that I am a qualified applicant. Applicant’s Signature: _____________________________________ Date: __________________ This sheet must be fully completed and turned in to Dr. Laura Joella no later than noon on Friday, October -
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. -
Repertoire Guidelines
Repertoire Guidelines Two compositions in contrasting style from the standard solo repertoire are required for the primary audition (instrumentalists may perform two contrasting movements of a sonata or concerto or an advanced etude in place of one of the contrasting solos). An example of contrast may be repertoire that demonstrates technical facility as compared to repertoire that demonstrates lyrical expression. The music faculty members adjudicating your audition are primarily listening for evidence of outstanding musical potential. Therefore, you should choose repertoire that clearly demonstrates your highest level of musical and technical ability. You may choose to perform pieces from the list below, or you can perform repertoire of a similar musical and technical level. If you have a question regarding your repertoire choices, please contact one of the following music faculty members. Prof. Wael Farouk, Director of Keyboard Studies – [email protected] Prof. Eduardo Garcia Novelli, Music Department Chair and Director of Choral Studies – [email protected] Prof. James Ripley, Director of Instrumental Studies – [email protected] Bassoon Galliard Six Sonatas Hindemith Sonate Marcello Sonata in e minor Saint Saens Sonata for Bassoon Cello Bach any Unaccompanied Suite (2 movements) Baroque Sonata: Eccles or Vivaldi One movement from concerto: Boccherini, Haydn, Saint-Saens Etude by Merk, Duport, or Popper Clarinet Mozart Concerto in A Major, K. 622 Poulenc Sonata for Clarinet and Piano Saint-Saens Sonata for Clarinet Schumann -
CUL Keller Archive Catalogue
HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles. -
Winner's Recital
19 July 2021 7.30pm Wigmore Hall Guildhall Wigmore Recital Prize Winner’s Recital Élisabeth Pion piano Guildhall School of Music & Drama Wigmore Hall is a no-smoking venue. No Founded in 1880 by the recording or photographic equipment may City of London Corporation be taken into the auditorium, nor used in any other part of the Hall without the prior Chairman of the Board of Governors written permission of the Hall Graham Packham Management. Wigmore Hall is equipped with a ‘Loop’ to help hearing aid users Principal receive clear sound without background Lynne Williams am noise. Patrons can use the facility by Vice-Principal and Director of Music switching their hearing aids over to ‘T’. Professor Jonathan Vaughan In accordance with the requirements of Please visit our website at gsmd.ac.uk City of Westminster, persons shall not be permitted to stand or sit in any of the gangways intersecting the seating, or to Wigmore Hall sit in any of the other gangways. 36 Wigmore Street, London, W1U 2BP If standing is permitted in the gangways Director at the sides and rear of the seating, it shall John Gilhooly be limited to the numbers indicated in the The Wigmore Hall Trust notices exhibited in those positions. Registered Charity No. 1024838 Facilities for Disabled People: www.wigmore-hall.org.uk For full details please email [email protected] or call 020 7935 2141. Guildhall School is provided by the City of London as part of its contribution to the cultural life of London and the nation. Guildhall Wigmore Recital Prize Winner’s Recital Élisabeth Pion piano Mozart Piano Sonata in F major, K332 Lili Boulanger Prélude in D flat major Lili Boulanger Trois morceaux pour piano Messiaen Le baiser de l’enfant Jésus Ravel Ondine Beethoven Piano Sonata in F minor, Op 57, ‘Appassionata’ (1804–5) Monday 19 July 2021, 7.30pm Wigmore Hall Would patrons please ensure that mobile phones are switched off.