DOCSLIB.ORG

19131907 Felix Mottl Today Playing His 1907 Interpretations Selected

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
19131907 Felix Mottl Today Playing His 1907 Interpretations Selected 19071913 The Welte Mignon Mystery Vol. II Felix Mottl today playing his 1907 interpretations TODAY Selected works by Wagner The Welte-Mignon Mystery Vol. II Further releases: Impressum playing selected works by TACET 139: Granados plays Granados Recorded: 2004 Felix Mottl Richard Wagner Instrument: Steinway D Tuning and maintenance of the piano: CD 1: E. C. Kochsiek 1 Welte-Vorsetzer-Technik: H.- W. Schmitz Lohengrin, Introduction ( Vorspiel ) 10'25 Technical equipment: TACET No. 1345 ( Welte-Mignon Catalogue No.) 2 Parsifal, Introduction ( Vorspiel ) 13'01 Für die Aufnahme wurden freundlicherweise No. 1346 Rollen zur Verfügung gestellt von: H.- W. Schmitz, Stuttgart 3 Tristan und Isolde, Introduction ( Vorspiel ) 10'02 No. 1347 Photos 2, 3, 5, 6, 8, 9 : Jochen Trabant 4 Lohengrin, The Bridal Chorus ( Brautchor ) 6'06 Photos 1, 4, 7 : H.- W. Schmitz No. 1348 Booklet layout: Toms Spogis Cover design: Julia Zancker 5 Lohengrin, Elsa’s dream ( Elsas Traum ) 7'52 No. 1349 Recording: Roland Kistner, Andreas Spreer TACET 137: Strauss plays Strauss 6 Parsifal, Good Friday Music ( Karfreitagszauber ) 10'27 Produced by Andreas Spreer No. 1350 c 2005 TACET CD 2: p 2005 TACET 1 Tristan und Isolde, Act II, Duet „O sink hernieder Nacht“ & „Brangänens Warnungsruf “ No. 1351 9'53 2 Die Meistersinger von Nürnberg, “The quieter Hearth at Winter” 5'28 ( „Am stillen Herd zur Winterszeit“ ) No. 1352 3 Die Meistersinger von Nürnberg, Quintet ( Quintett ) 4'43 No. 1353 4 Parsifal, Transformation Music & Entry of the Knigths of the Holy Grail 10'12 ( Verwandlungsszenen & Einzug der Gralsritter ) No. 1354 2 27 TACET-T135_Seite_2 TACET-T135_Seite_27 que nous connaissons surtout des enregis- What is Welte-Mignon ? trements de Bayreuth sous la direction de This is not an historical At a time when the recording and reproduc- Hans Knappertsbusch : extrêmement large, recording: tion of music was in its infancy, the factory mais toujours satisfaisant. Quelle différence “M. Welte and Sons, Freiburg i. Br.”, famous in quite the opposite. TACET’s recording tech- avec les enregistrements de disque qui nous its time, caused a sensation with a new inven- niques, renowned for their crystal clarity sont parvenus de l’époque de Cosima : les tion. A procedure had been developed by and spaciousness, score another triumph quelques musiciens agglutinés avec les which “all nuances of the personal perform- here. Yet the music is heard in its original chanteurs devant le pavillon acoustique ne ances of pianists” could be registered and interpretations, accurate to within a hair’s- pouvaient, tant s’en faut, mettre en valeur reproduced. The device for the reproduction breadth. And the mystery is that the origi- à cette époque les couleurs de l’orchestre was patented and called Welte-Mignon. By nal performer was present at the recent comme put le faire Mottl au piano. Sans means of perforated paper strips, rather like recording session, but not there in person. parler du tempo : les disques 78 tours ne punch tape, the playing of famous pianists He is heard playing on a modern Steinway, pouvant autrefois contenir plus de quatre could be reproduced fully automatically and without the loss of sound quality usually minutes et demi de musique, il y eut souvent authentically. After the fi rst demonstrations inevitable with historical recordings. Seen des exécutions d’une rapidité grotesque avec the Mignon was hailed by the Press as a new as a whole, the Welte-Mignon player piano des accords fi nals d’une lourdeur comique. wonder of the world. is reminiscent of a kind of time machine. L’image déformée que nous connaissons de The device, controlled as it were by a Moreover, never before has music stored in ces disques va, à travers les enregistrements ghostly hand, was built into such famous the Welte-Mignon system sounded so “right” de Mottl, retrouver ces proportions d’origine ; makes of piano as Steinway, Bechstein, Blüth- and so good. And because the mechanism of ils sont la fenêtre par laquelle nous allons voir ner etc. In the so-called “Vorsetzer” version the Welte-Mignon system has recently been le Bayreuth de Cosima Wagner. (vorsetzen = to place in front of) (Photo 1), meticulously adjusted by the leading expert, it could be placed in front of any instrument Hans W. Schmitz, it is now possible to get Thomas Voigt which it was then able to play with felt-lined to know the interpretations of yesteryear Traduction : Marylène Gibert-Lung wooden fi ngers (photo 2). The Welte-Mignon really well – and this may lead to unexpected was manufactured in limited numbers and insights. The Welte-Mignon’s treasures are sold at immensely high prices. Thanks to a only now systematically unveiled – by TACET clever advertising campaign, it was soon to be – because at last the necessary requirements found in the music salons of the aristocracy have been met. The Welte-Mignon “player- and the nobility or in the possession of indus- piano” and its reproduction mechanism were trialists and landowners. The Mignon played invented in 1904. in the salons of the fast steamships which Ulrich Oesterle cruised between Hamburg and New York. Translation by Celia Skrine Up until the outbreak of the fi rst world war about 2500 musical items had been reg- 26 3 TACET-T135_Seite_26 TACET-T135_Seite_3 istered, the majority of them works of clas- mise en scène et engagea Félix Mottl comme Ne va pas voir le Tristan de Mottl sical musical literature. The post-war period chef d’orchestre. À l’âge de 19 ans, dix années Ne regarde pas ce fatras d’idioties ; brought a new boom, which was however auparavant, cet élève de Bruckner avait déjà va te chercher un pichet de cidre short-lived. The nature of entertainment eu l’occasion de travailler à Bayreuth, lors et va te consoler avec ça. had changed, even in the aristocratic salons. de la Première grande représentation du Shimmy, One-Step, Tango-Milonga and Valse « Ring », en tant qu’assistant musical et Le 2 juin 1907, à peine un an après la dernière Boston were the latest fashionable dances, répétiteur et connaissait donc parfaitement représentation de Bayreuth, il enregistra, à propagated through revues and musicals. l’acoustique de la maison et les « volontés l’âge de cinquante-neuf ans, dans les Studios Welte had to adapt itself to the new taste; du Maître ». Etant surtout question, pour la Welte de Fribourg / Allemagne, les œuvres ici there was less and less demand for concert veuve de Wagner, de la compréhension du présentes. Le fait de les écouter ressemble pianists. Rudolf Serkin was the last concert texte, elle demanda sans cesse à Mottl de à un voyage dans une machine à remonter pianist to record for the Mignon. With the faire jouer l’orchestre en sourdine. Elle donna le temps – à Bayreuth, à l’ère de Cosima ou coming of the international economic cri- encore, lors des répétitions avec piano, des sur la « montagne enchantée » : « Madame sis, improved records (electric recording ) indications de tempi très exactes, la plupart Klöterjahn joua le début de ‹ Tristan › à une and radio, the Welte was soon forgotten. du temps très lentes. « Elle pensait peut-être lenteur extravagante et pénible, avec des Production was stopped in 1932; soon after qu’un tempo lent conviendrait mieux à son pauses inquiétantes, traînant en longueur this, before the end of the decade, the fi rst style d’interprétation », écrit Spotts dans sa entre chaque fi gure. » instruments were literally scrapped, and Photo 1: Welte-Mignon “Vorsetzer” chronique sur Bayreuth. « Ou alors, elle vou- Lentement, oui ? Mais pénible ? Qu’im- only a few instruments survived the nights in position at the piano lait tout simplement renforcer l’atmosphère porte ce qui est inscrit sur les cartons per- of bombing of the second world war and the • Welte-Mignon-Vorsetzer am Flügel de solennité et le côté cultuel quasi religieux forées du piano mécanique de Mottl – que phases of modernisation which immediately • Welte-Mignon « Vorsetzer » au piano qu’elle imposait au Festival » . Au vu de cela, ce soient les volontés du Maître, les volontés followed. ( appareil s’adaptant devant l’instrument ) une « soumission totale » fut souvent repro- de la veuve ou la propre interprétation du chée aux chefs d’orchestre de Cosima. chef d’orchestre – il y a là, du point de vue The piano roll as Après le succès de « Tristan et Iseult », musical, une telle atmosphère que l’on ne digital musical memory paper rolls, rather like punched tape, and Mottl devint le conseiller musical de Cosima. remarque, au plus qu’en passant, les limites The characteristic of the piano roll which possess 80 or 88 control tracks, according Dans cette position, il dirigea jusqu’en 1906 techniques du chef d’orchestre. On se noie at the time bordered on the miraculous to type, for the individual notes of the piano l’intégralité des représentations de « Tristan » dans un univers lointain, disparu depuis consisted in the fact that piano pieces with (Photo 3 + 9). In addition to this they pos- et les premières productions à Bayreuth de : longtemps, et que l’on ne quitte qu’à regret. all the rhythmic and dynamic nuances of sess further tracks at the edges for controlling « Tannhäuser » (1891/92), « Lohengrin » Celui qui cherche à accompagner en chan- pianists were registered on them. Thus for the dynamic nuances, and for operating the (1894) et du « Vaisseau fantôme » (1901). tant, avec une seule inspiration, les longues the fi rst time in the history of music it was pedals. When a roll is played, all the tracks Cette contre-pétrie célèbre nous montre phrases du chant du veille de Brangäne ( CD possible to store a pianist’s playing faithfully are read off pneumatically by suction via the déjà que ses représentations des œuvres de 2, titre 1, à partir de 6’20’’ ), doit avoir les and to reproduce it later with the help of an so-called “tracker bar” (Photo 7).
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
    CARNEGIE HALL - - NEW YORK Twenty-second Season in New York DR. KARL MUCK, Conductor fnigrammra of % FIRST CONCERT THURSDAY EVENING, NOVEMBER 7 AT 8.15 PRECISELY AND THK FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 9 AT 2.30 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY . 37 West 32d Street, New York Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. < Second Violins. • Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. t Violoncellos. Warnke, H. Nagel, R. Barth, C. Loefner, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects
    [Show full text]
  • From Page to Stage: Wagner As Regisseur
    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008).
    [Show full text]
  • Bruno Walter (Ca
    [To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒
    [Show full text]
  • A Hero's Work of Peace: Richard Strauss's FRIEDENSTAG
    A HERO’S WORK OF PEACE: RICHARD STRAUSS’S FRIEDENSTAG BY RYAN MICHAEL PRENDERGAST THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Adviser: Associate Professor Katherine R. Syer ABSTRACT Richard Strauss’s one-act opera Friedenstag (Day of Peace) has received staunch criticism regarding its overt militaristic content and compositional merits. The opera is one of several works that Strauss composed between 1933 and 1945, when the National Socialists were in power in Germany. Owing to Strauss’s formal involvement with the Third Reich, his artistic and political activities during this period have invited much scrutiny. The context of the opera’s premiere in 1938, just as Germany’s aggressive stance in Europe intensified, has encouraged a range of assessments regarding its preoccupation with war and peace. The opera’s defenders read its dramatic and musical components via lenses of pacifism and resistance to Nazi ideology. Others simply dismiss the opera as platitudinous. Eschewing a strict political stance as an interpretive guide, this thesis instead explores the means by which Strauss pursued more ambiguous and multidimensional levels of meaning in the opera. Specifically, I highlight the ways he infused the dramaturgical and musical landscapes of Friedenstag with burlesque elements. These malleable instances of irony open the opera up to a variety of fresh and fascinating interpretations, illustrating how Friedenstag remains a lynchpin for judiciously appraising Strauss’s artistic and political legacy.
    [Show full text]
  • The Inaugural Season 23 Season 2012-2013
    January 2013 The Inaugural Season 23 Season 2012-2013 Thursday, January 24, at 8:00 Friday, January 25, at 2:00 The Philadelphia Orchestra Yannick Nézet-Séguin Conductor Wagner Siegfried Idyll Intermission Bruckner Symphony No. 7 in E major I. Allegro moderato II. Adagio: Sehr feierlich und sehr langsam— Moderato—Tempo I—Moderato—Tempo I III. Scherzo: Sehr schnell—Trio: Etwas langsamer—Scherzo da capo IV. Finale: Bewegt, doch nicht schnell This program runs approximately 1 hour, 50 minutes. 3 Story Title 25 The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival. an extraordinary history of Center, Penn’s Landing, artistic leaders in its 112 and other venues. The The ensemble maintains seasons, including music Philadelphia Orchestra an important Philadelphia directors Fritz Scheel, Carl Association also continues tradition of presenting Pohlig, Leopold Stokowski, to own the Academy of educational programs for Eugene Ormandy, Riccardo Music—a National Historic students of all ages.
    [Show full text]
  • 04-30-2019 Walkure Eve.Indd
    RICHARD WAGNER der ring des nibelungen conductor Die Walküre Philippe Jordan Opera in three acts production Robert Lepage Libretto by the composer associate director Tuesday, April 30, 2019 Neilson Vignola 6:00–11:00 PM set designer Carl Fillion costume designer François St-Aubin lighting designer Etienne Boucher The production of Die Walküre was made video image artist possible by a generous gift from Ann Ziff and Boris Firquet the Ziff Family, in memory of William Ziff revival stage directors The revival of this production is made possible Gina Lapinski J. Knighten Smit by a gift from Ann Ziff general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin In collaboration with Ex Machina 2018–19 SEASON The 541st Metropolitan Opera performance of RICHARD WAGNER’S die walküre conductor Philippe Jordan in order of vocal appearance siegmund waltr aute Stuart Skelton Renée Tatum* sieglinde schwertleite Eva-Maria Westbroek Daryl Freedman hunding ortlinde Günther Groissböck Wendy Bryn Harmer* wotan siegrune Michael Volle Eve Gigliotti brünnhilde grimgerde Christine Goerke* Maya Lahyani frick a rossweisse Jamie Barton Mary Phillips gerhilde Kelly Cae Hogan helmwige Jessica Faselt** Tuesday, April 30, 2019, 6:00–11:00PM Musical Preparation Carol Isaac, Jonathan C. Kelly, Dimitri Dover*, and Marius Stieghorst Assistant Stage Directors Stephen Pickover and Paula Suozzi Stage Band Conductor Gregory Buchalter German Coach Marianne Barrett Prompter Carol Isaac Scenery, properties, and electrical props constructed and painted
    [Show full text]
  • Amalie Joachim's 1892 American Tour
    Volume XXXV, Number 1 Spring 2017 Amalie Joachim’s 1892 American Tour By the 1890s, American audiences had grown accustomed to the tours of major European artists, and the successes of Jenny Lind and Anton Rubinstein created high expectations for the performers who came after them. Amalie Joachim toured from March to May of 1892, during the same months as Paderewski, Edward Lloyd, and George and Lillian Henschel.1 Although scholars have explored the tours of artists such as Hans von Bülow and Rubinstein, Joachim’s tour has gone largely unnoticed. Beatrix Borchard, Joachim’s biographer, has used privately held family letters to chronicle some of Joachim’s own responses to the tour, as well as a sampling of the reviews of the performer’s New York appearances. She does not provide complete details of Joachim’s itinerary, however, or performances outside of New York. Although Borchard notes that Villa Whitney White traveled with Joachim and that the two performed duets, she did not realize that White was an American student of Joachim who significantly influenced the tour.2 The women’s activities, however, can be traced through reviews and advertisements in newspapers and music journals, as well as brief descriptions in college yearbooks. These sources include the places Joachim performed, her repertoire, and descriptions of the condition of her voice and health. Most of Joachim’s performances were in and around Boston. During some of her time in this city, she stayed with her Amalie Joachim, portrait given to Clara Kathleen Rogers. friend, the former opera singer Clara Kathleen Rogers.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 24,1904-1905, Trip
    CARNEGIE HALL, NEW YORK. BostonSymplpijOrcliestra Mr. WILHELM GERICKE, Conductor. Nineteenth Season in New York PROGRAMMES OF THE SECOND CONCERT THURSDAY EVENING, DECEMBER 8, AT 8.15 PRECISELY, AND THE SECOND MATINEE SATURDAY AFTERNOON, DECEMBER 10, AT 2.30 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C A. ELLIS. Manager. Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY JOHN WANAMAKER, New York, N.Y. : tSOStOll CARNEGIE HALL, Symphony newyork f Twenty-fourth Season, J904-J905. Orchestra Nineteenth Season in New York. Mr. WILHELM GERICKE, Conductor. SECOND CONCERT, THURSDAY EVENING, DECEMBER 8, AT 8.15 PRECISELY. PROGRAMME. Berlioz ....... Overture, " King Lear ,? Bach . Concerto for Violin, in E-flat major, No. 2, with accom- paniment for Orchestra and Organ I. Allegro. II. Adagio. HI. Allegro. " Liszt-Mottl . Legend. The Sermon of Saint Francis of Assisi " to the Birds Orchestrated by Felix Mottl. (First time at these concerts.) Bruch . Fantasia on Scottish Airs for Violin and Orchestra, Op. 46 I. Introduction : Grave. Adagio cantabile. II. Scherzo : Allegro. III. Andante sostenuto. IV. Finale : Allegro guerriero. Brahms ..... Symphony No. 3, in F major, Op. 90 I. Allegro con brio. II. Andante. III. Poco allegretto. 1 IV. Allegro. SOLOIST Mr. YSAYE. The Piano Is a Knabe. There will be at* intermission of ten minute* before the symphony. 3 jrf&^frj. THE f|p Musicians Library No contemporary venture in music publishing is fraught with more interest to lovers of the art than the Musicians Library, issued by the Oliver Ditson Company.
    [Show full text]
  • SWR2 Musikstunde
    SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE SWR2 Musikstunde 300 Jahre Karlsruhe Musik einer Stadt (3) Von Thomas Rübenacker Sendung: Mittwoch, 17. Juni 2015 9.05 – 10.00 Uhr Redaktion: Bettina Winkler Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Mitschnitte auf CD von allen Sendungen der Redaktion SWR2 Musik sind beim SWR Mitschnittdienst in Baden-Baden für € 12,50 erhältlich. Bestellungen über Telefon: 07221/929-26030 Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de 1 300 Jahre Karlsruhe – Teil 3 In Oberfranken gibt es ein verschlafenes Städtchen, das man nur schwer erreicht, mit dem Zug oder anderswie. Trotzdem ist es weltberühmt: Bayreuth. Und den Ruhm machen einzig die Wagner-Festspiele aus, die der Komponist dort 1876 etablierte; seit 1951 finden sie alljährlich statt. Wagner hatte ein Theater gesucht, das ihm ganz gehören sollte, als Komponist, Textdichter, Dramaturg und Intendant, das heißt: das ausschließlich seine Stücke spielen dürfe, in seinen Inszenierungen, also: eng am Buchstaben des Gesetzes. Seine Vorstellung vom Gesamtkunstwerk eben. Das Festspielhaus sollte abseits der Metropolen liegen, sich nicht um den normalen Repertoirebetrieb scheren müssen, keine Kompromisse eingehen, noch nicht einmal für die Wagner als Mittel zum Zweck so geliebte Penunze, die er gleichwohl hehr verachtete – über der er eigentlich stand.
    [Show full text]
  • The Recorded Heritage of Willem Mengelberg and Its Aesthetic Relevance
    Copyright 2014 Samir Ghiocel Golescu THE RECORDED HERITAGE OF WILLEM MENGELBERG AND ITS AESTHETIC RELEVANCE BY SAMIR GHIOCEL GOLESCU DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor William Kinderman, Chair Professor Ian Hobson Associate Professor Sherban Lupu Assistant Professor Katherine Syer ABSTRACT This dissertation explores the art and interpretative aesthetics of the Dutch conductor Willem Mengelberg (1871-1951), as preserved in his sound recordings and, subsidiarily, in his writings. Emphasis is given to issues pertaining to 19th century performance practice, as well as to historical connections between Mengelberg and compositional/interpretative trends in Europe at the time. Mengelberg’s impact on musical life in Amsterdam, New York, and beyond will be considered. The relevance of Mengelberg’s recordings is assessed from both a documentary and aesthetic point of view. The quasi-entirety of Mengelberg’s rich body of recordings has been consulted, yet a few dozens of them have been chosen for an in-depth study meant to illuminate both their historical context and their contemporary relevance. ii ACKNOWLEDGMENTS It is with gratitude that I acknowledge the help and support of the committee members, particularly long-time University of Illinois mentors Ian Hobson and William Kinderman, as well as previous mentors and close musical friends such as Florica Nitzulescu, Ioan Welt, Elena Andriescu, Isabelle Belance-Zank, Hubert Wendel, and Sergei Pavlov. I am indebted to Ingrid Ilinca for her help and support.
    [Show full text]