Charles Appy Papers, Ca

Total Page:16

File Type:pdf, Size:1020Kb

Charles Appy Papers, Ca http://oac.cdlib.org/findaid/ark:/13030/ft4f59n6mg No online items Charles Appy papers, ca. 1824-1934. Finding aid prepared by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2002 The Regents of the University of California. All rights reserved. Charles Appy papers, ca. PASC-M 108 1 1824-1934. Title: Charles Appy papers Collection number: PASC-M 108 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 0.5 linear ft.(1 box) Date (inclusive): ca. 1824-1934 Abstract: This collection consists of correspondence and musical excerpts. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Creator: Appy, Charles Ernest Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], Charles Appy Papers (Collection PASC-M 108). UCLA Library Special Collections, Charles E. Young Research Library, UCLA. Biography Charles Ernest Appy was a musician, composer, teacher, and founder of two music schools. Born in 1834 of French parents in The Hague, Netherlands, Appy moved with his family as a child to Amsterdam, where he studied piano with Richard Hol, cello with Charles Montigny and Merlen, and composition with Jacques Franco-Mendes. In 1851 he became cellist in the concert orchestra at Zaandam. In 1854 he performed as a solo cellist in Scotland. Two years later he became a member of the Amsterdam Park Orchestra and of the orchestra of the Felix Meritis Society. In 1857 he assisted with the concerts at London's Crystal Palace. He returned to Amsterdam to join the orchestra of the Caecilia Society in Amsterdam. He began playing in a string quartet in 1862. He served as cello teacher at the Maatschappij tot Bevordering van Toonkunst from 1864-83. He opened schools of music in Amsterdam and in Kansas City. His compositions for cello include Phantasies on themes from Der freischütz and Robert der Teufel, as well as small salon pieces. He died in 1895. Scope and Content Collection consists of correspondence from Hans von Bülow, Clara Schumann, Franz Liszt, Niels Gade, Stephen Heller, Carl Hill, Salomon Jadassohn, Karl Hermann, Beethoven, and others, as well as musical excerpts from Hans von Bülow, Leander Schlegel, B. Kwast, Woldemar Bargiel, Ernst S. Rabitzky, and others. UCLA Catalog Record ID UCLA Catalog Record ID: 4230327 Subjects and Indexing Terms Appy, Charles Ernest--Archives. Composers--Netherlands--Correspondence. Box 1, item 1 Letter from Hans von Bulow. November 8. Box 1, item 2 Letter from Clara Schumann. 1860. Box 1, item 3 Letter from Franz Liszt. 1876 May 5. Box 1, item 4 Letter from Niels Gade. 1873 October 2. Box 1, item 5 Letter from Stephen Heller. 1861 [?] May 26. Box 1, item 6 Letter from Carl Hill. 1872 [?] June 4. Box 1, item 7 Letter from Salomon Jadassohn. 1888 February 28. Box 1, item 8 Letter [signature indecipherable]. 1883 April 9. Box 1, item 9 Letter from Karl Herrman. 1876 September 20. Box 1, item 10 Letter [signature indecipherable]. 1888 [?] November 13. Box 1, item 11 Musical excerpt by August Wilhelmj. 1866 April 27. Charles Appy papers, ca. PASC-M 108 2 1824-1934. Container List Box 1, item 12 Musical excerpt and note from Hans von Bulow. 1865 March 21. Box 1, item 13 Musical excerpt from Julius Röntgen. 1879 December 5. Box 1, item 14 Musical excerpt and note from Leander Schlegel. 1865 August [?] 15. Box 1, item 15 Musical excerpt and note from B. Kwast. 1879 January 17. Box 1, item 16 Musical excerpt and note from Woldemar Bargiel. no date. Box 1, item 17 Musical excerpt by G. Bartel. no date. Box 1, item 18 Excerpt from Hungarian Dance, by Ernst S. Rabitzky. 18[??] December 27. Box 1, item 19 Quotation of Confucius, in Chinese and German, written by G. Schlegel [?]. 1872 October 17. Box 1, item 20 Lottery ticket, owned by G. A. Franck. 1860 June 2. Box 1, item 21 Pencil Sketch and greeting from E. Koster [?]. 1877 October 25. Box 1, item 22 Message on card, very faded, signature indecipherable. 1860 December 9. Box 1, item 23 Note signed by Beethoven. 1824 May [?] 20. Box 1, item 24 A New York Girl's Wonderful Autograph Manuscripts. no date. Box 1, item 25 Letter from Carl Trill. 1901 September 9. Box 1, item 26 Excerpt in German from the book The Violoncello and Its History. 1934 June 21. Scope and Content Biographical information on Charles Ernest Appy. Box 1, item 27 English translation of the contents of Item 26. no date. Box 1, item 28 Letter from Concert Direction of Daniel Mayer (London). 1894 August 28. Box 1, item 29 Cartoon of instrumentalists. no date. Box 1, item 30 Membership certificate from the Derthick Federation of Musical-Literary Clubs. 1896 December 22. Box 1, item 31 Certificate awarded Ernest Appy by the Prince of the Netherlands. April 11. Box 1, item 32 Concerts given in England and Europe. 1857-1864. Charles Appy papers, ca. PASC-M 108 3 1824-1934..
Recommended publications
  • In the Past Decades the Opening Ceremony of the Olympic Games Has Developed Into a Cultural Spec
    n the past decades the opening ceremony of the a while a watery sun even shone through "an angry IOlympic Games has developed into a cultural spec- Ruysdael sky". tacle lasting for many hours. When Amsterdam was According to calculations the brand-new elected to host the Games almost eighty years ago, Olympic Stadium could hold 40.000 spectators, but matters were quite different. The opening ceremony as it turned out, the counter stopped at 31,000; a on 28 July 1928 was for the most part restrained. considerable disappointment. Not a mouse could There was a 'dedication speech' of over twenty min- be fitted in at the opening. Ticket prices ranged utes. A choir of 1200 'chanteurs' sang the hymn Wilt from f. 7,50 guilders (€ 3.50) for the grandstand to heden nu treden and ten verses of Hollands Vlag, je 1,25 guilders (€ 0.60) for standing room. Since the bent mijn glorie. Angry with the Olympic mandarins, photo rights had been leased, spectators were not Queen WILHELMINA would not open the Games, so allowed to take their own pictures. Even the small- Prince HENDRIK opened them in her name. est camera had to be handed in. A police inspector The month of July had been advertising summer searched the stands with binoculars for offenders brilliantly in 1928. For weeks nobody had needed to who were then set on by policemen. bother about an umbrella. "It had been too good, ac- Hans Meerum TERWOGT, the leading Dutch tually nothing like Holland, such weather, so steady and sportswriter of his time, was watching the many dependable.
    [Show full text]
  • CHAN 9796 Front.Qxd 24/8/07 10:21 Am Page 1
    CHAN 9796 Front.qxd 24/8/07 10:21 am Page 1 CHAN 9796 CHANDOS HOL premiere recordings CHAN 9796 BOOK.qxd 24/8/07 10:23 am Page 2 Richard Hol (1825–1904) Symphony No. 1 23:59 in C minor . c-Moll . ut mineur 1 I Larghetto – Allegro con fuoco 8:23 2 II Larghetto 5:06 3 III Presto 3:51 4 IV Allegro molto 6:30 Symphony No. 3, Op. 101 30:47 in B flat major . B-Dur . si bémol majeur 5 I Einleitung und Allegro 11:37 6 II Scherzo 3:48 7 III Nachtmusik 8:56 8 IV Finale 6:11 TT 54:59 Residentie Orchestra The Hague Matthias Bamert Richard Hol 3 CHAN 9796 BOOK.qxd 24/8/07 10:23 am Page 4 increasingly in demand as a conductor, in female choirs, children’s choirs, with and Hol: Symphonies Nos 1 & 3 particular of those many choirs The without piano, organ or orchestra. His works Netherlands boasted in the nineteenth for children’s choir were hugely popular century. For over four decades he conducted during the second half of the nineteenth Chauvinism is an attitude the Dutch do not many outstanding composers. Leading up to the choirs of the Maatschappij tot century. Next to these he wrote several understand very well. In business over the the Residentie Orchestra’s centenary in 2004 Bevordering der Toonkunst (Society for the hundreds of songs for one and two voices, art centuries this has proved to yield great a new project has been started, of Dutch Advancement of Music, founded in 1829) in songs as well as educational songs.
    [Show full text]
  • Conductor Willem Mengelberg, 1871-1951 Conductor Willem Mengelberg, 1871-1951
    Conductor Willem Mengelberg, 1871-1951 Conductor Willem Mengelberg, 1871-1951 Acclaimed and Accused Volume 1 Frits Zwart Amsterdam University Press This publication was made possible by the Willem Mengelberg Stiftung (Switzerland). Original publication: Frits Zwart, Willem Mengelberg: Een biografijie 1871-1920. Prometheus Amsterdam, 1999 [ISBN 978 90 533 3849 0] and Willem Mengelberg: Een biografijie 1920-1951. Prometheus Amsterdam, 2016 [ISBN 978 90 351 4472 9] © Frits Zwart, 1999 and 2016 Translated by Cynthia Wilson For Marja, and for Johannes, Annemarie, Marijn and Joanne Cover illustration: Willem Mengelberg conducting the Fifth Symphony by Ludwig van Beethoven, Gebouw voor Kunsten & Wetenschappen, The Hague Photo: Erich Salomon Cover design: Gijs Mathijs Ontwerpers, Amsterdam Lay-out: Crius Group, Hulshout ISBN 978 94 6298 605 3 e-ISBN 978 90 4853 729 7 (pdf) DOI 10.5117/9789462986053 NUR 661 © Frits Zwart / Amsterdam University Press B.V., Amsterdam 2019 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every efffort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Table of Contents
    [Show full text]
  • BENELUX and SWISS SYMPHONIES from the 19Th Century to the Present
    BENELUX AND SWISS SYMPHONIES From the 19th Century to the Present A Discography of CDs And LPs Prepared by Michael Herman JEAN ABSIL (1893-1974) BELGIUM Born in Bonsecours, Hainaut. After organ studies in his home town, he attended classes at the Royal Music Conservatory of Brussels where his orchestration and composition teacher was Paul Gilson. He also took some private lessons from Florent Schmitt. In addition to composing, he had a distinguished academic career with posts at the Royal Music Conservatory of Brussels and at the Queen Elisabeth Music Chapel and as the long-time director of the Music Academy in Etterbeek that was renamed to honor him. He composed an enormous amount of music that encompasses all genres. His orchestral output is centered on his 5 Symphonies, the unrecorded ones are as follows: No. 1 in D minor, Op. 1 (1920), No. 3, Op. 57 (1943), No. 4, Op. 142 (1969) and No. 5, Op. 148 (1970). Among his other numerous orchestral works are 3 Piano Concertos, 2 Violin Concertos, Viola Concerto. "La mort de Tintagiles" and 7 Rhapsodies. Symphony No. 2, Op. 25 (1936) René Defossez/Belgian National Orchestra ( + Piano Concerto No. 1, Andante and Serenade in 5 Movements) CYPRÈS (MUSIQUE EN WALLONIE) CYP 3602 (1996) (original LP release: DECCA 173.290) (1958) RAFFAELE D'ALESSANDRO (1911-1959) SWITZERLAND Born in St. Gallen. After some early musical training, he studied in Paris under the tutelage of Marcel Dupré (organ), Paul Roës (piano) and Nadia Boulanger (counterpoint). He eventually gave up composing in order to earn a living as an organist.
    [Show full text]
  • VU Research Portal
    VU Research Portal Cavaillé-Coll en Nederland Verwer, R. 2008 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Verwer, R. (2008). Cavaillé-Coll en Nederland: Een studie naar het werk van Cavaillé-Coll en diens invloed in Nederland in de periode 1875-1924. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 24. Sep. 2021 Summary: Cavaillé-Coll and Holland, An Inquiry into the Work of Cavaille-Coll and his Influence in the Netherlands in the Period 1875-1924 In 1844 the young Paris organ builder Aristide Cavaillé-Coll (1811-1899) explored several European organ workshops. During a three day stay in the Netherlands he visited organs in Rotterdam, Haarlem and Utrecht, as well as the famous Bätz-workshop.
    [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]
  • Rotte Rdam S Ph Ilh Arm on Isch Ork Es T
    Abonnementsconcerten series E en A 74/32 De Doelen, 20.15 uur Donderdag 3 en vrijdag 4 Oktober 1974 Dirigent: Edo de Waart Solist: Arthur Rubinstein, piano i!ii ii Wolfgang A. Mozart Ouverture ‘Le nozze di Figaro’, 1756 - 1791 K.V. 492* (1786) orkest Ludwig van Beethoven Concert nr. 4 in G, opus 58 * 1770 - 1827 (1805) voor piano en orkest Allegro moderato Andante con moto Rondo vivace PAUZE Anton Bruckner Symfonie nr. 3 in d * 1824 - 1896 (1873/1889 °) philharmonisch Mehr langsam, misterioso Adagio, bewegt, quasi andante Ziemlich schnell Allegro ° Nowak Fassung * Van deze composities zijn grammofoonplaten in de Centrale Discotheek aanwezig. rotterdams Edo de Waart, sinds 1 September Rotterdams Philharmonisch Orkest 1973 artistiek leider van het Dirigent: Edo de Waart Rotterdams Philharmonisch Orkest, werd in 1941 te Amster­ le viool Fluit dam geboren en begon na zijn Gerard Hettema Raymond Delnoye opleiding bij Haakon Stotijn zijn Dick Bor Ruud Maas Maurits Bosman Jo Hagen muzikale loopbaan als hoboi’st, Erzsebet Hajdu-Horvay o.a. in het Concertgebouworkest. Kazukuni Murakami Fluit/Piccolo Na drie jaar directielessen van Vratislav Dufek Wim Steinmann Kaoru Murakami-Kakudo Jaap Spaanderman werd hij in Mieke Biesta Hobo Dini Kelder-Brassers 1964 winnaar van het Dimitri Fre Lantinga Heinz Friesen Mitropoulos Concours voor jonge Jörn Schroeder Jan Spronk Janice Walker Henk Heunen dirigenten in New York. Rob Hagedoorn Als gastdirigent trad hij o.m. op Tomoko Ogawa Hobo/Engelse hoorn Mariko Tsukahara met de voornaamste Engelse en ’Keitaro Takayama Kees van den Berg Hiroaki Oseki Amerikaanse orkesten; in de loop Michael Rizov Klarinet Johannes Muyen van dit seizoen maakt hij zijn George Pieterson debuut bij de Berliner Philhar­ Bas de Jong 2e viool Henk de Graaf moniker.
    [Show full text]
  • Conductor Willem Mengelberg, 1871-1951 for PRIVATE and NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS
    Conductor Willem Mengelberg, 1871-1951 FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Conductor Willem Mengelberg, 1871-1951 Acclaimed and Accused Volume 1 Frits Zwart Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS This publication was made possible by the Willem Mengelberg Stiftung (Switzerland). Original publication: Frits Zwart, Willem Mengelberg: Een biografie 1871-1920. Prometheus Amsterdam, 1999 [ISBN 978 90 533 3849 0] and Willem Mengelberg: Een biografie 1920-1951. Prometheus Amsterdam, 2016 [ISBN 978 90 351 4472 9] © Frits Zwart, 1999 and 2016 Translated by Cynthia Wilson For Marja, and for Johannes, Annemarie, Marijn and Joanne Second print run: 2020 (as paperback) First print run: 2019 (as hardback) Cover illustration: Willem Mengelberg conducting the Fifth Symphony by Ludwig van Beethoven, Gebouw voor Kunsten & Wetenschappen, The Hague Photo: Erich Salomon Cover design: Gijs Mathijs Ontwerpers, Amsterdam Lay-out: Crius Group, Hulshout ISBN 978 94 6298 606 0 (paperback) ISBN 978 94 6298 605 3 (hardback) DOI 10.5117/9789462986060 NUR 661 © Frits Zwart / Amsterdam University Press B.V., Amsterdam 2020 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher.
    [Show full text]
  • CHAN 10179 Front.Qxd 24/7/08 10:37 Am Page 1
    CHAN 10179 Front.qxd 24/7/08 10:37 am Page 1 CHAN 10179 CHANDOS CHAN 10179 BOOK.qxd 24/7/08 10:39 am Page 2 Johannes Verhulst (1816–1891) premiere recording 1 Overture in B minor, Op. 2 7:01 in h-Moll • en si mineur for Orchestra Vivace – Plus vite, doublez la mesure 2 Overture in C minor, Op. 3 ‘Gijsbrecht van Aemstel’ 8:45 in c-Moll • en ut mineur Collection of the Gemeentemuseum Den Haag Den Collection of the Gemeentemuseum for Orchestra Adagio maestuoso – Allegro agitato – Pressez le mouvement – Même temps premiere recording 3 Overture in D minor, Op. 8 6:28 in d-Moll • en ré mineur for Orchestra Vivace – Un poco più presto – Più stretto Johannes Verhulst 3 CHAN 10179 BOOK.qxd 24/7/08 10:39 am Page 4 Verhulst: Symphony in E minor and three Overtures Symphony in E minor, Op. 46 35:52 Chauvinism is an attitude the Dutch do not music by many composers. In preparation for in e-Moll • en mi mineur understand very well. Over the centuries this the Residentie Orchestra’s centenary in 2004 for Large Orchestra has proved greatly profitable in business. For a new recording project has been launched, 4 I Introduction. Largo maestoso – Allegro agitato 14:19 the arts, however, and especially for such an exploring Dutch music of the last two 5 II Andante 7:09 intangible art as music, the result has been centuries. This disc is the ninth in the series, 6 III Scherzo. Presto 5:58 less favourable. Until well into the twentieth offering a second serving of music by century it was widely thought that the Dutch Johannes Verhulst, a student of 7 IV Finale.
    [Show full text]
  • Caecilia. Algemeen Muzikaal Tijdschrift Van Nederland (1844-1880) Répertoire International De La Presse Musicale ( Caecilia
    Copyright © 2002 RIPM Consortium Ltd Introduction to: Liesbeth Hoedemaeker, Caecilia. Algemeen Muzikaal Tijdschrift van Nederland (1844-1880) Répertoire international de la presse musicale (www.ripm.org) Caecilia. Algemeen Muzikaal Tijdschrift van Nederland (1844-1880) Caecilia. Algemeen Muzikaal Tijdschrift van Nederland [Caecilia. General musical journal of The Netherlands],1 1844-1944, was one of the longest-running music periodicals published in Europe.; The present RJPM publication deals with the journal's first thirty-seven years of publication, 1844-1880. Only three Dutch music journals were published during the first half of the nineteenth century, and two were short-lived: Amphion, Een tijdschrift voor vrienden en beoefenaars der toonkunst [Amphion, A journal for friends and practitioners of music], 1818-1822, and the Muzijkaal Tijdschrift [Musical journal], 1836. The third journal, the Nederlandsch Muzikaal Tijdschrift [The Netherlands' musical journal] 1839-1848 lasted somewhat longer and became indirectly the predecessor of Caecilia. The editor of the Nederlandsch Muzikaal Tijdschrift, Dr. Florentius Comelis Kist, resigned his editorship ,of the journal in 1844, after a disagreement with the board, and subsequently founded Caecilia. As the only general Dutch music journal of the second half of the century, the journal regularly serves as a documentary resource for the study of Dutch nineteenth-century music and musical life. Caecilia's first issue appeared on 15 August 1844, and thereafter an issue generally appeared every two weeks (twenty-four issues per year). Throughout the years 1844 to 1880 the journal was printed consistently in two columns on paper measuring 22 x 28 cm, with each annual volume being numbered consecutively beginning with one.
    [Show full text]
  • Women in Music: a Contribution to a New History P
    COMMISSION OF THE EUROPEAN COMMUNITIES SUPPLEMENT No. 22 to Dlrectorat•General Information Information for Women's organisations and press Women of Europe * ·,. '1. * * ·.·. ·.·: .. * * * * * WOMEN AND MUSIC ~~ Rue de Ia Loi 200 0 1049 Brussels 0 Tel. 2351111 X/336/85-EN Study by YVES BESSIERES et PATRICIA NIEDZWIECKI X/336/85-E October 1985 - 2 - W 0 M E N A N D M U S I C INDEX Foreword p. 3 Women in music: a contribution to a new history p. 4 of music, from ancient to modern times Biographical Index p. 20 General Bibliography p. 77 Discography p. 88 / - 3 - F 0 R E W 0 R D Can women 1 s place and role in music be defined in terms of their active involvement in the creation and performance of music rather than their sub­ jective role as muses? History books and encyclopaedias offer hardly any information on women 1 s role in music and it is no easy task to ascertain the sex of musicians when an initial or forename is given and the text is written in the masculine. Encylope'die Fasquelle contains this revealing "misprint" (or proofreader 1 s oversight) : "Brasseur, Elisabeth, French choir leader. He founded the Elisabeth Brasseur choral school." This is nothing new: in 1696, the music critic Bayle mentioned Sappho in a paragraph on the island of Lesbos and listed her as one of its eminent men: "Lesbos was famous for its eminent men: Pittacus, Alcaeus, Sappho and Theophanes, etc." Following in the footsteps of Otto Ebel who published a bibliographical dictionary of women composers in 1910, however, modern authors have counted no fewer than 3,000 women musicians in some 66 countries.
    [Show full text]
  • Schumann's Myrthen
    Schumann’s Myrthen: an unknown manuscript source Text: Karijn Dillmann. All translations: Lodewijk Muns Among the manuscripts in the collections of the Nederlands Muziek Instituut are several handwritten documents by Robert and Clara Schumann. One of them contains six songs from the Myrthen cycle op. 25 (1840) by Robert Schumann (1810-1856). It is part of a manuscript which has served as engraver’s copy for the first edition, published in August 1840 by Friedrich Kistner in Leipzig. This manuscript has at some time been split up; its parts are now in Paris, Zwickau, an unknown private collection, and in the NMI in The Hague. The pages in the NMI have long been thought lost. A comparison with the other portions has now proved it to be the missing source. The investigation has also proved that two songs in this manuscript are autographic (in Schumann’s own handwriting), and four in the handwriting of Carl Brückner, a copyist employed by Schumann. The four songs in Brückner’s handwriting contain corrections and additions in Schumann’s own hand, and are therefore of musicological interest too. Schumann wrote the 26 songs in the Myrthen cycle as a bridal gift for his beloved Clara Wieck. The myrtle is a symbol of marital happiness and fertility, and the flowers are traditionally used in bridal bouquets. Robert and Clara married on 12 September 1840. This web exhibition contains a digital reproduction of the manuscript and an introduction to its history and the genesis of the composition. Myrthen: genesis The manuscript Other Schumann sources in the NMI Letter and diary excerpts: original texts References Myrthen: genesis Oh Clara, what bliss it is to write for the voice.
    [Show full text]