DOCSLIB.ORG

Franz Schubert's Use of Harmony to Express The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Franz Schubert's Use of Harmony to Express The Franz Schubert’s Use of Harmony To Express the Texts in His Musical Settings of Franz Grillparzer's Poetry Item Type text; Electronic Dissertation Authors Crosby, Matthew Citation Crosby, Matthew. (2020). Franz Schubert’s Use of Harmony To Express the Texts in His Musical Settings of Franz Grillparzer’s Poetry (Doctoral dissertation, University of Arizona, Tucson, USA). 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 04:10:38 Link to Item http://hdl.handle.net/10150/650869 FRANZ SCHUBERT’S USE OF HARMONY TO EXPRESS THE TEXTS IN HIS MUSICAL SETTINGS OF FRANZ GRILLPARZER’S POETRY by Matthew Mark Crosby _____________________ Copyright © Matthew Mark Crosby 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 Acknowledgements To the members of my committee, Dr. Chamberlain, Dr. Brobeck, and Dr. Schauer: your unparalleled devotion to your students as teachers, musicians, and artists is accompanied by your genuine interest in them as people. I am astounded and truly grateful. To my friends and family: thank you for your encouragement, love, and support, especially my wife Amber and five children, Simon, Phoebe, Sophia, Jude, and Chloe. To follow the practice of J.S. Bach, soli Deo gloria (glory to God alone). 3 Contents Musical Examples.............................................................................................................................5 Abstract.............................................................................................................................................7 Intent and Scope................................................................................................................................8 Review of the Scholarly Literature.................................................................................................15 Methodology...................................................................................................................................27 Harmonic Analysis of Bertha’s Lied in der Nacht , D 653............................................................. 31 Harmonic Analysis of Ständchen, D 920........................................................................................40 Harmonic Analysis of Mirjams Siegesegesang , D 942.................................................................. 48 Section 1, (mm. 1-77).................................................................................................................48 Section 2, (mm. 78-165).............................................................................................................53 Section 3, (mm. 166-229)...........................................................................................................62 Section 4, (mm. 230-269)...........................................................................................................70 Section 5, (mm. 270-368)...........................................................................................................75 Section 6, (mm. 369-486)...........................................................................................................83 Conclusion...................................................................................................................................... 90 Bibliography................................................................................................................................... 92 4 Musical Examples Musical Example 1. Bertha’s Lied in der Nacht , D 653, mm. 1-2................................................ 32 Musical Example 2. Bertha’s Lied in der Nacht , D 653, mm. 1-2, 12-13.....................................33 Musical Example 3. Bertha’s Lied in der Nacht , D 653, mm. 1-2, 18-27.....................................35 Musical Example 4. Bertha’s Lied in der Nacht , D 653, mm. 1-2, 21-22.....................................36 Musical Example 5. Bertha’s Lied in der Nacht , D 653, mm. 21-27............................................ 38 Musical Example 6. Bertha’s Lied in der Nacht , D 653, mm. 2, 18, 21, 26..................................39 Musical Example 7. Ständchen , D 920, mm. 1-6...........................................................................41 Musical Example 8. Ständchen , D 920, mm. 45-48.......................................................................43 Musical Example 9. Ständchen , D 920, mm. 52-54.......................................................................44 Musical Example 10. Harmonic Reduction of Ständchen , D 920, mm. 2, 45, 48, 50, 52............. 45 Musical Example 11. Ständchen , D 920, mm. 82-88.................................................................... 46 Musical Example 12. Mirjams Siegesgesang , D 942, mm. 1-6..................................................... 49 Musical Example 13. Mirjams Siegesgesang , D 942, mm. 20-23................................................. 50 Musical Example 14. Mirjams Siegesgesang , D 942, mm. 27-32................................................. 50 Musical Example 15. Mirjams Siegesgesang , D 942, mm. 13-18................................................. 51 Musical Example 16. Mirjams Siegesgesang , D 942, mm. 35-42................................................. 52 Musical Example 17. Mirjams Siegesgesang , D 942, mm. 78-79................................................. 53 Musical Example 18. Mirjams Siegesgesang , D 942, mm. 88-96................................................. 55 Musical Example 19. Mirjams Siegesgesang, D 942, mm. 97-99................................................. 56 Musical Example 20. Mirjams Siegesgesang , D 942, mm. 107-118............................................. 57 Musical Example 21. Mirjams Siegesgesang , D 942, mm. 126-130............................................. 58 Musical Example 22. Mirjams Siegesgesang , D 942, mm. 137-145............................................. 60 5 Musical Example 23. Mirjams Siegesgesang , D 942, mm. 166-170.............................................63 Musical Example 24. Mirjams Siegesgesang , D 942, mm. 171-173.............................................64 Musical Example 25. Mirjams Siegesgesang , D 942, mm. 189-192.............................................65 Musical Example 26. Mirjams Siegesgesang , D 942, mm. 175-188.............................................66 Musical Example 27. Mirjams Siegesgesang , D 942, mm. 204-216.............................................68 Musical Example 28. Mirjams Siegesgesang , D 942, mm. 225-233.............................................71 Musical Example 29. Mirjams Siegesgesang , D 942, mm. 255-269.............................................73 Musical Example 30. Mirjams Siegesgesang , D 942, mm. 1-6, 270-275......................................76 Musical Example 31. Mirjams Siegesgesang , D 942, mm. 270-293.............................................78 Musical Example 32. Mirjams Siegesgesang , D 942, mm. 292-298.............................................79 Musical Example 33. Mirjams Siegesgesang , D 942, mm. 299-314.............................................81 Musical Example 34. Mirjams Siegesgesang , D 942, mm. 352-368.............................................82 Musical Example 35. Mirjams Siegesgesang , D 942, mm. 424-437.............................................84 Musical Example 36. Mirjams Siegesgesang , D 942, mm. 456-467.............................................86 Musical Example 37. Mirjams Siegesgesang , D 942, mm. 468-486.............................................88 6 Abstract Franz Schubert (1797-1828) is perhaps best known for his artistic development of German Lieder. Schubert’s choral songs with poetic texts, however, have been given little attention, especially with regard to his treatment of harmony. Three vocal works, the art song Bertha’s Lied in der Nacht, D 653, the part-song Ständchen, D 920, and the cantata Mirjams Siegesgesang, D 942, are Schubert’s only musical settings of the texts of the Austrian poet Franz Grillparzer (1791-1872). This paper will focus on the harmonic elements in these works and their abilities to express the text. Harmonic motives, as discussed in the analysis of Brian Black, serve as descriptors for Schubert’s harmonic expression of text on the micro and macro levels. Schubert has been both lauded and berated for his incorporation of chromatic harmony. This document suggests that the study of the relationship between Schubert’s choice of harmony and his text setting is key to understanding his artistry as a composer and essential to interpreting these works as a performer. 7 Intent and Scope Although the music and life of Franz Peter Schubert have generated an abundance of research, relatively little has been written about his German-texted secular choral settings. Unlike the other three members of the first Viennese school, Wolfgang Amadeus Mozart (1756-1791), Franz Joseph Haydn (1732-1809), and Ludwig van Beethoven (1770-1827), Schubert was not a Viennese transplant. This fact alone has given musicologists much to ponder, as his experiences growing up in Vienna had major
Load more

Recommended publications
  • The String Quartets of George Onslow First Edition
    The String Quartets of George Onslow First Edition All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Edition Silvertrust a division of Silvertrust and Company Edition Silvertrust 601 Timber Trail Riverwoods, Illinois 60015 USA Website: www.editionsilvertrust.com For Loren, Skyler and Joyce—Onslow Fans All © 2005 R.H.R. Silvertrust 1 Table of Contents Introduction & Acknowledgements ...................................................................................................................3 The Early Years 1784-1805 ...............................................................................................................................5 String Quartet Nos.1-3 .......................................................................................................................................6 The Years between 1806-1813 ..........................................................................................................................10 String Quartet Nos.4-6 .......................................................................................................................................12 String Quartet Nos. 7-9 ......................................................................................................................................15 String Quartet Nos.10-12 ...................................................................................................................................19 The Years from 1813-1822 ...............................................................................................................................22
    [Show full text]
  • My Musical Lineage Since the 1600S
    Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent
    [Show full text]
  • Espressivo Program Notes April 2018 the Evolution of Chamber Music For
    Espressivo Program Notes April 2018 The evolution of chamber music for a mixed ensemble of winds and strings coincides with the domestication of the double bass. Previously used as an orchestral instrument or in dance music, the instrument was admitted into the salon in the late eighteenth century. The granddaddy of the genre is Beethoven’s Septet of 1800, for four strings, clarinet, horn and bassoon. Beethoven seems to have discovered that the largest string instrument, essentially doubling the cello an octave lower and with the capability to play six notes below the lowest note on the bassoon, provided overtones that enhanced the vibrations of the higher instruments. In any case, the popularity of the Septet, which sustains to this day, caused the original players to have a similar work commissioned from Franz Schubert, who added a second violin for his Octet (1824). (Espressivo performed it last season.) It is possible, if not probable, that Schubert’s good friend Franz Lachner wrote his Nonet for the same group, adding a flute, but the origins, and even the date of the composition are in dispute. An indicator might be the highlighting of the virtuosic violin part, as it would have been played by Ignaz Schuppanzigh, who had premiered both the Septet and the Octet. All three works, Septet, Octet and Nonet, have slow introductions to the first and last uptempo movements, and all include a minuet. All seem intended to please rather than to challenge. Beethoven’s Septet was commissioned by a noble patron for the delectation of his guests, as was Schubert’s Octet.
    [Show full text]
  • Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution.
    [Show full text]
  • THROUGH LIFE and LOVE Richard Strauss
    THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles
    UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism.
    [Show full text]
  • 9914396.PDF (12.18Mb)
    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 fece, 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 afreet 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, b^inning at the upper left-hand comer 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 o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher 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 Infonnaticn Compare 300 North Zeeb Road, Aim Arbor NO 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR’S GUIDE TO THREE SACRED CHORAL/ ORCHESTRAL WORKS BY ANTONIO CALDARA: Magnificat in C.
    [Show full text]
  • Franz Schubert: Inside, out (Mus 7903)
    FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E.
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • The Lied of Five German Composers.Pdf
    The Lied of Five German Composers A Senior Project presented to the Faculty of the Music Department of California Polytechnic State University, San Luis Obispo In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts by Whitney Laine Westbrook June 2010 © 2010 Whitney Laine Westbrook The Lied of Five German Composers: List of Repertoire 1. “Fussreise” (2:54)…...………………………………..Hugo Wolf (1860-1903) 2. “Sapphische Ode” (2:30)………………………Johannes Brahms (1833-1897) 3. “Urlicht” (5:13)...…………………………………Gustav Mahler (1860-1911) 4. “Erhebung”(1:13)............................................Arnold Schoenberg (1874-1951) 5. “Morgen” (3:50).………………………………...Richard Strauss (1864-1949) Fussreise Hugo Filipp Jakob Wolf, born on March 13, 1860, in modern day Yugoslavia, experienced an early musical upbringing under the guidance of his father and later on studied with his local school teacher, Sebastian Weixler. Wolf displayed much musical promise, primarily within the realms of violin and piano. Although music exerted an influence over Wolf, school did not. Throughout his life, Wolf exercised a rebellion against many scholastic institutions, including the Conservatory of Vienna; this was his third school from which he withdrew. Having escaped school, Hugo Wolf attempted to make a living in many trades, including teaching piano and accompanying various other artists. Although he became a “Jack of All Trades,” a steady income was not reaching Wolf, and he continued on living in poverty. Wolf did excel as a music critic, a profession that did supply a small income and yet Wolf earned resentment from his musical colleagues. The harsh criticisms that flew from the quick-witted critic alienated certain musicians who in return refused Wolf any help.
    [Show full text]
  • Where Words Leave Off, Music Begins”
    CG1009 Degree Project, Bachelor, Classical Music, 15 credits 2017 Degree of Bachelor in Music Department of Classical Music Supervisor: David Thyrén Examiner: Peter Berlind Carlson Philip Sherman ”Where words leave off, music begins” A comparison of how Henry Purcell and Franz Schubert convey text through their music in the compositions Music for a while and Erlkönig Skriftlig reflektion inom självständigt, konstnärligt arbete Inspelning av det självständiga, konstnärliga arbetet finns dokumenterat i det tryckta exemplaret av denna text på KMH:s bibliotek. Summary ”The singer is always working through a text that in some way or another inspired the vocal line and its texture,” wrote American pianist, pedagogue, and author Thomas Grubb. But exactly how does a text inspire a composer to create this synergy between words and music? During the course of my studies at the Royal College of Music in Stockholm, I gradually began to deepen my knowledge and awareness of Henry Purcell and Franz Schubert. I was at once astounded by their ability to seemlessly amalgamate the chosen texts to their music, and decided that this connection required greater research. The purpose of this study was thus to gain a deeper understanding of how Purcell and Schubert approached the relationship between text and music by studying the two pieces Music for a while and Erlkönig. I also wished to discover any similarities and differences between the composers’ approaches to word painting, in addition to discerning the role of the accompaniment to further illustrate the narrative. I began by reading literature about the two composers as well as John Dryden and Johann Wolfgang von Goethe, the poets whose texts were set to music.
    [Show full text]
  • NEE 2015 2 FINAL.Pdf
    ADVERTISEMENT NEW EASTERN EUROPE IS A COLLABORATIVE PROJECT BETWEEN THREE POLISH PARTNERS The City of Gdańsk www.gdansk.pl A city with over a thousand years of history, Gdańsk has been a melting pot of cultures and ethnic groups. The air of tolerance and wealth built on trade has enabled culture, science, and the Arts to flourish in the city for centuries. Today, Gdańsk remains a key meeting place and major tourist attraction in Poland. While the city boasts historic sites of enchanting beauty, it also has a major historic and social importance. In addition to its 1000-year history, the city is the place where the Second World War broke out as well as the birthplace of Solidarność, the Solidarity movement, which led to the fall of Communism in Central and Eastern Europe. The European Solidarity Centre www.ecs.gda.pl The European Solidarity Centre is a multifunctional institution combining scientific, cultural and educational activities with a modern museum and archive, which documents freedom movements in the modern history of Poland and Europe. The Centre was established in Gdańsk on November 8th 2007. Its new building was opened in 2014 on the anniversary of the August Accords signed in Gdańsk between the worker’s union “Solidarność” and communist authorities in 1980. The Centre is meant to be an agora, a space for people and ideas that build and develop a civic society, a meeting place for people who hold the world’s future dear. The mission of the Centre is to commemorate, maintain and popularise the heritage and message of the Solidarity movement and the anti-communist democratic op- position in Poland and throughout the world.
    [Show full text]