Musical Program Honoring Composer Dr. Ernst Krenek
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ERNST KRENEK AT THE PIANO: AN INTRODUCTION by Peter Tregear Ernst Krenek was born on 23 August 1900 in Vienna, the capital of the Austro-Hungarian Empire, and grew up in a house that overlooked the original gravesites of Beethoven and Schubert. His parents hailed from Čáslav, in what was then Bohemia, but had moved to the city when his father, an officer in the commissary corps of the Imperial Austro-Hungarian Army, had received a posting there. Vienna, the self-styled ‘City of Music’, considered itself to be the well-spring of a musical tradition synonymous with the core values of western classical music, and so it was no matter that neither of Krenek’s parents was a practising musician of any stature: Ernst was exposed to music – and lots of it – from a very young age. Later in life he recalled with wonder the fact that ‘walking along the paths that Beethoven had walked, or shopping in the house in which Mozart had written “Don Giovanni”, or going to a movie across the street from where Schubert was born, belonged to the routine experiences of my childhood’.1 As befitting an officer’s son, Krenek received formal musical instruction from a young age, in particular piano lessons and instruction in music theory. The existence of a well-stocked music hire library in the city enabled him to become, by his mid-teens, acquainted with the entire standard Classical and Romantic piano literature of the day. His formal schooling coincidentally introduced Krenek to the literature of classical antiquity and helped ensure that his appreciation of this music would be closely associated in his own mind with his appreciation of western history and classical culture more generally. -
Schubert: the Nonsense Society Revisited
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Schubert: The Nonsense Society Revisited RITA STEBLIN Twenty years have now passed since I discovered materials belonging to the Unsinnsgesellschaft (Nonsense Society).1 This informal club, active in Vienna from April 1817 to December 1818, consisted mainly of young painters and poets with Schubert as one of its central members. In this essay I will review this discovery, my ensuing interpretations, and provide some new observations. In January 1994, at the start of a research project on Schubert ico- nography, I studied some illustrated documents at the Historisches Museum der Stadt Wien (now the Wienmuseum am Karlsplatz), titled “Unsinniaden.”2 The documents comprise forty-four watercolor pictures and thirty-seven pages of text recording two festive events celebrated by the Nonsense Society: the New Year’s Eve party at the end of 1817 and the group’s first birthday party on 18 April 1818.3 The pictures depict various club members, identified by their code names and dressed in fan- ciful costumes, as well as four group scenes for the first event, including Vivat es lebe Blasius Leks (Long live Blasius Leks; Figure 1), and two group scenes for the second event, including Feuergeister-Scene (Fire Spirit Scene; Figure 6 below).4 Because of the use of code names—and the misidentifi- cations written on the pictures by some previous owner of the -
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. -
Kurt Weill Newsletter Protagonist •T• Zar •T• Santa
KURT WEILL NEWSLETTER Volume 11, Number 1 Spring 1993 IN THI S ISSUE I ssues IN THE GERMAN R ECEPTION OF W EILL 7 Stephen Hinton S PECIAL FEATURE: PROTAGON IST AND Z AR AT SANTA F E 10 Director's Notes by Jonathan Eaton Costume Designs by Robert Perdziola "Der Protagonist: To Be or Not to Be with Der Zar" by Gunther Diehl B OOKS 16 The New Grove Dictionary of Opera Andrew Porter Michael Kater's Different Drummers: Jazz in the Culture of Nazi Germany Susan C. Cook Jilrgen Schebera's Gustav Brecher und die Leipziger Oper 1923-1933 Christopher Hailey PERFORMANCES 19 Britten/Weill Festival in Aldeburgh Patrick O'Connor Seven Deadly Sins at the Los Angeles Philharmonic Paul Young Mahagonny in Karlsruhe Andreas Hauff Knickerbocker Holiday in Evanston. IL bntce d. mcclimg "Nanna's Lied" by the San Francisco Ballet Paul Moor Seven Deadly Sins at the Utah Symphony Bryce Rytting R ECORDINGS 24 Symphonies nos. 1 & 2 on Philips James M. Keller Ofrahs Lieder and other songs on Koch David Hamilton Sieben Stucke aus dem Dreigroschenoper, arr. by Stefan Frenkel on Gallo Pascal Huynh C OLUMNS Letters to the Editor 5 Around the World: A New Beginning in Dessau 6 1993 Grant Awards 4 Above: Georg Kaiser looks down at Weill posing for his picture on the 1928 Leipzig New Publications 15 Opera set for Der Zar /iisst sich pltotographieren, surrounded by the two Angeles: Selected Performances 27 Ilse Koegel 0efl) and Maria Janowska (right). Below: The Czar and His Attendants, costume design for t.he Santa Fe Opera by Robert Perdziola. -
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. -
Scholarly Program Notes on the Graduate Vocal Recital of Madalyn Mentor Madalyn W
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-12-2013 Scholarly Program Notes on the Graduate Vocal Recital of Madalyn Mentor Madalyn W. Mentor Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Mentor, Madalyn W., "Scholarly Program Notes on the Graduate Vocal Recital of Madalyn Mentor" (2013). Research Papers. Paper 393. http://opensiuc.lib.siu.edu/gs_rp/393 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOCAL RECITAL OF MADALYN MENTOR by Madalyn Mentor B.A., Berea College, 2011 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music School of Music Southern Illinois University Carbondale May 2013 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOCAL RECITAL OF MADALYN MENTOR By Madalyn Mentor A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Vocal Performance Approved by: Dr. Jeanine Wagner, Chair Dr. Susan Davenport Dr. Paul Transue Graduate School Southern Illinois University Carbondale April 12, 2013 AN ABSTRACT OF THE RESEARCH PAPER OF MADALYN MENTOR, for the Master of Music degree in VOCAL PERFORMANCE, presented on April 12, 2013, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES FOR THE GRADUATE VOCAL RECITAL OF MADALYN MENTOR MAJOR PROFESSOR: Dr. -
Von Franz Schuberts Aufenthalt in Der Steiermark Zu Heinrich Bertes Singspiel „Das Dreimäderlhaus" 13
Blätter für Heimatkunde 79 (2005) Von Franz Schuberts Aufenthalt in der Steiermark zu Heinrich Bertes Singspiel „Das Dreimäderlhaus" 13 CLEMENS ANTON KLUG Aufführung Schubertscher Musik verdient gemacht hatte. Obwohl Franz Schubert bereits im Jahre 1823zu m Ehrenmitglied des Steiermärkischen Musikvereins er Von Franz Schuberts Aufenthalt in nannt wurde, war es ihm erst vier Jahre später möglich, persönlich nach Graz zu kommen, um die ihm zuerkannte Ehrung zu empfangen. Diesem Aufenthalt ging der Steiermark zu Heinrich Bertes eine Einladung des Grazer Rechtsanwalts Dr. Karl Pachler voraus, der mit Jenger und Hüttenbrenner gut bekannt war. Singspiel „Das Dreimäderlhaus" Dr. Karl Pachler und dessen Gattin Marie, geb. Koschak\ unterhielten in der Ein musikali Grazer Herrengasse 28 gegenüber der Stadtpfarrkirche einen Salon.6 Marie war als scher Salon Pianistin weit über die Grenzen der Steiermark bekannt, selbst Ludwig van Beet Die Person und das Werk Franz Schuberts waren, über viele Jahrzehnte bis hoven schätzte ihr Spiel, über welches er meinte, nachdem er sie im Herbst 1817 heute, Themen wissenschaftlicher Abhandlungen, die einerseits zahlreiche neue in BadVösla u kennen gelernt hatte: „Ich habe noch niemanden gefunden, der mei Erkenntnisse zutage gebracht, andererseits ebenso zahlreiche neue Fragen aufge ne Kompositionen sogut vorträgt als Sie, diegroßen Pianisten nicht ausgenommen: sie worfen haben. Daneben entstand ein äußerst fruchtbarer Markt für nicht wissen haben nur Mechanik oder Affektion. Sie sind die wahre Pflegerin meiner Geisteskin schaftliche Auseinandersetzungen mit dem Komponisten, der von Literatur und der" Im Jahre 1825 erging also eine Einladung von Marie Pachler über Johann Musik zu bildender Kunst und Kitsch reicht. Einige Aspekte dieser Rezeption Baptist Jenger an Schubert, der diese jedoch erst im Herbst 1827 annehmen sollen in diesem Aufsatz näher betrachtet werden.1 konnte. -
Tradition As Muse Schoenberg's Musical Morphology and Nascent
Tradition as Muse Schoenberg's Musical Morphology and Nascent Dodecaphony by Áine Heneghan A dissertation submitted in candidacy for the degree of Doctor of Philosophy to The University of Dublin Trinity College March 2006 DECLARATION I, Áine Heneghan, declare that this thesis has not been submitted as an exercise for a degree at this or any other University and that it consists entirely of my own work. I agree that the Library may lend or copy the thesis upon request, this permission covering only single copies made for study purposes, subject to normal conditions of acknowledgement. Signed __________________ Áine Heneghan March 2006 Summary of the Dissertation Tradition as Muse: Schoenberg's Musical Morphology and Nascent Dodecaphony by Áine Heneghan The University of Dublin Trinity College March 2006 This study reappraises the evolution of Arnold Schoenberg's method of composing with twelve tones by examining the interrelationship of his theoretical writings and compositional practice. Premised on the idea that theory and practice were interdependent for Schoenberg, I argue, on the one hand, that the richness and diversity of his nascent dodecaphony can be fully appreciated only in the context of the development of his musical thought and, on the other hand, that his terminological concepts—for example, Grundgestalt, 'unfolding' [Abwicklung], the distinction between Satz and Periode (sentence and period), and the differentiation of 'stable' and 'loose' construction—came about precisely because of his compositional experiments during the early 1920s. The discussion and musical analyses of selected movements from the Klavierstücke, Op. 23, the Serenade, Op. 24, and the Suite für Klavier, Op. -
Toccata Classics TOCC 0125 Notes
P ERNEST KRENEK: MUSIC FOR CHAMBER ORCHESTRA by Peter Tregear The Austrian-born composer Ernst Krenek (1900–91) has been described, with good reason, as a compositional ‘companion of the twentieth century’.1 Stretching over seventy years of productive life, his musical legacy encompasses most of the common forms of modern western art music, from string quartets and symphonies to opera and electronic music. Moreover, it engages with many of the key artistic movements of the day – from late Romanticism and Neo- classicism to abstract Expressionism and Post-modernism. The sheer scope of his music seems to reflect something profound about the condition of his turbulent times. The origins of Krenek’s extraordinary artistic disposition are to be found in the equally extraordinary circumstances into which he was born. He came to maturity in Vienna in the dying days of the First World War and the Austro-Hungarian Empire and, with its collapse in 1919, the cultural norms that had nurtured Vienna’s enviable musical reputation all but disappeared. In addition, by this time, new forms of transmission of mass culture, such as the wireless, gramophone and cinema, were transforming the ways and means by which cultural life could be both propagated and received. As an artist trying to come to terms with these changes, Krenek was doubly fortunate. Not only was he generally recognised as one of the most gifted composers of his generation; he was also an insightful thinker about music and its role in society. Right from the moment in 1921 when, in the face of growing tension between himself and his composition teacher Franz Schreker, he set out on a full-time career as a composer, he determined that he would be more than just as a passive reflector of the world around him; he would be both its witness and conscience. -
Introduction Schubert Familiar and Unfamiliar
Nineteenth-Century Music Review, 13 (2016), pp 3–9. © Cambridge University Press, 2016 doi:10.1017/S1479409815000488 Introduction Schubert Familiar and Unfamiliar: Continuing Conversations Lorraine Byrne Bodley Maynooth University Email: [email protected] James William Sobaskie Mississippi State University Email: [email protected] Two decades ago, the bicentenary celebrations of Franz Schubert’s birth in Duisberg, Graz, Oxford, Paris and Vienna confirmed that a warm spirit of collegiality, one rare among musicians today, had arisen and begun to flourish. Perhaps tired by the irresolvable controversy regarding Schubert’s sexuality, or taken with the newly emerging portrait of the composer and his art, many embraced the collaborative process of developing that image, engaging in cordial conversation regarding their shared fascination in print, in public and in private. The result was a burgeoning of literature in the field of Schubert studies, evidenced and furthered by the founding of five Schubert-centred journals, 1 including Cahiers Franz Schubert: Revue de musique classique et romantique, the 2 3 4 Schubert-Jahrbuch, The Schubertian, Schubert durch die Brille and Schubert: 5 Perspektiven. The wealth of research published in these and other journals has greatly enhanced our understanding of Schubert’s social circle, addressed histor- ical and biographical issues, drawn attention to neglected repertoire and changed 1 Cahiers Franz Schubert: Revue de musique classique et romantique 1–17 (Paris: Societé Franz Schubert, 1992–2009), edited by Xavier Hascher. 2 Schubert–Jahrbuch (Duisberg: Deutsche Schubert-Gesellschaft, 1996–), edited by Christiane Schumann. 3 The Schubertian (Leeds: Schubert Institute [UK], 1996–) edited by Crawford Howie. 4 Schubert durch die Brille (Vienna [1988/89,vols.1–3], then Tutzing [1990–2003,vols.4–30]: Internationales Franz Schubert Institut, 1988–2003), edited by Ernst Hilmar. -
The Concurrent Prevalence of Modernism and Romanticism As Seen in the Operas Performed Between the World Wars and Exemplified in Ernst Krenek’S Jonny Spielt Auf
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 6-10-2020 The Concurrent Prevalence of Modernism and Romanticism as seen in the Operas Performed between the World Wars and Exemplified in Ernst Krenek’s Jonny Spielt Auf Nicole Fassold Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons Recommended Citation Fassold, Nicole, "The Concurrent Prevalence of Modernism and Romanticism as seen in the Operas Performed between the World Wars and Exemplified in Ernst Krenek’s Jonny Spielt Auf" (2020). LSU Doctoral Dissertations. 5301. https://digitalcommons.lsu.edu/gradschool_dissertations/5301 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE CONCURRENT PREVALENCE OF MODERNISM AND ROMANTICISM AS SEEN IN THE OPERAS PERFORMED BETWEEN THE WORLD WARS AND EXEMPLIFIED IN ERNST KRENEK’S JONNY SPIELT AUF A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts by Nicole Fassold B.M., Colorado State University, 2015 M.M., University of Delaware, 2017 August 2020 Acknowledgements I would like to express my deepest gratitude to the professors and panel members that have guided me throughout my Doctoral studies as well as to my parents and sister, my family all over the world, my friends, and my incredible husband for their unending support and encouragement. -
John Stewart Papers
http://oac.cdlib.org/findaid/ark:/13030/c8qj7jg3 No online items John Stewart Papers Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2013 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html John Stewart Papers MSS 0614 1 Descriptive Summary Languages: English Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: John Stewart Papers Identifier/Call Number: MSS 0614 Physical Description: 5.6 Linear feet(15 archives boxes) Date (inclusive): 1916-1991 Abstract: The papers of John Stewart, author, musician and UCSD Muir College provost (1965-1987) contain the research materials for his book about composer Ernst Krenek titled Ernst Krenek: The Man and His Music (1991), including typescript drafts; notes describing correspondence, essays, and articles about Krenek; chronologies; and a series of reel-to-reel audiorecordings of interviews with Krenek by Stewart. Also included are drafts of writings, teaching materials, and correspondence with colleagues including Ernst Krenek. Biography John Lincoln Stewart was born January 24, 1917 in Alton, Illinois, and grew up in Granville and Dwight, Ontario. He graduated from Dennison College with a double major in English and Music and received his doctorate in English literature at Ohio State University. He served in World War II in the Army Signal Corps. He taught English at UCLA and Dartmouth before joining UCSD, publishing The Burden of Time: The Fugitives and Agrarians, a history of the Nashville literary groups of the 1920s and 1930s. Stewart came to UCSD in 1964 to take the lead in establishing arts departments on campus.