Dr. Oskar Adler: a Complete Man (1875-1955) Online
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View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c. -
CUL Keller Archive Catalogue
HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles. -
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. -
KORNGOLD and HIS WORLD August 9–11 and 16–18, 2019
SUMMERSCAPE KORNGOLD AND HIS WORLD August 9–11 and 16–18, 2019 BARD Vienna Secession. The building, dedicated in 1898, was designed by Joseph Maria Olbrich; the stalls in the central market extend as far as the Karlsplatz. Bruno Reiffenstein, 1899 KORNGOLD AND HIS WORLD August 9–11 and 16–18, 2019 Leon Botstein and Christopher H. Gibbs, Artistic Directors Daniel Goldmark and Kevin C. Karnes, Scholars in Residence 2019 Irene Zedlacher, Executive Director Raissa St. Pierre ’87, Associate Director Founded in 1990, the Bard Music Festival has established its unique identity in the classical concert field by presenting programs that, through performance and discussion, place selected works in the cultural and social context of the composer’s world. Programs of the Bard Music Festival offer a point of view. The intimate communication of recital and chamber music and the excitement of full orchestral and choral works are complemented by informative preconcert talks, panel discussions by renowned musicians and scholars, and special events. In addition, each season Princeton University Press publishes a book of essays, translations, and correspondence relating to the festival’s central figure. By providing an illuminating context, the festival encourages listeners and musicians alike to rediscover the powerful, expressive nature of familiar compositions and to become acquainted with less well-known works. Since its inaugural season, the Bard Music Festival has entered the worlds of Brahms, Mendelssohn, Richard Strauss, Dvorˇák, Schumann, Bartók, Ives, Haydn, Tchaikovsky, Schoenberg, Beethoven, Debussy, Mahler, Janácˇek, Shostakovich, Copland, Liszt, Elgar, Prokofiev, Wagner, Berg, Sibelius, Saint-Saëns, Stravinsky, Schubert, Carlos Chávez, Puccini, Chopin, Rimsky-Korsakov, and Korngold. -
Redating Schoenbergâ•Žs Announcement of the Twelve-Tone
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 4 Issue 1 Article 8 January 2011 Redating Schoenberg’s Announcement of the Twelve-Tone Method: A Study of Recollections Fusako Hamao [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Hamao, Fusako (2011) "Redating Schoenberg’s Announcement of the Twelve-Tone Method: A Study of Recollections," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 4 : Iss. 1 , Article 8. Available at: https://trace.tennessee.edu/gamut/vol4/iss1/8 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. REDATING SCHOENBERG’S ANNOUNCEMENT OF THE TWELVE-TONE METHOD: A STUDY OF RECOLLECTIONS* FUSAKO HAMAO n commenting on a 1936 article by Richard Hill, Arnold Schoenberg recalled how he an- I nounced his new compositional method, based on twelve tones, to his students: At the very beginning, when I used for the first time rows of twelve tones in the fall of 1921, I foresaw the confusion which would arise in case I were to make publicly known this method. -
Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. LONGYEAB. a/ Eisner Jfill BROOKLINE www.longyearestates . com . ~Xt rtPf^* The path to recovery...i? ]w fV ^McLean Hospital * "i^. b *T(je nation's top psychiatric hospital. U.S. News Sc World Report^ ife* * . <M iS^_» ; «~> £a?-j •*. is -"^ X #Li -;> r P 4 1 V. .«*£^ Wtimpm. ~= • ^* "- :;* The Pavilion 'at McLean Hospital Unparalleled psychiatric evaluation and treatment ^Unsurpassed discretion and service Belmont, Massachusetts 617/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate Partners. of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. 3$9E S*8?r REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. -
Resmusica.Com Franz Schmidt Composition À L’Université
ResMusica.com Franz Schmidt (1874-1939) Le dernier grand romantique autrichien * Jean-Luc CARON * Le 11 février 1939 disparaissait l’un des plus éminents compositeurs autrichiens de la première moitié du 20e siècle. Disparition passée pratiquement sous silence du fait des conditions historiques catastrophiques de l’époque. Hitler dirigeait en dictateur une Allemagne dont l’immense majorité de la population tolérait, acceptait ou défendait l’action politique et sociale, et qui avait absorbé l’Autriche en 1938. La menace d’un conflit européen devenait de plus en plus imminente, nous verrons le positionnement de Franz Schmidt à cet égard. Avancer son nom revient à évoquer principalement le symphoniste singulier, dont l’œuvre néanmoins est loin de bénéficier de la renommée qui lui revient. L’héritage musical laissé par ce compositeur s’est enrichi des apports du classicisme viennois, de certains caractères empruntés à Franz Liszt et Johannes Brahms (ses Variations) et aussi de son maître, unique par bien des égards, Anton Bruckner. Mais au-delà de ces immenses références Franz Schmidt est parvenu à élaborer un langage souvent personnel et fort. Ainsi est-il bien à part entière « un maître après Brahms et Bruckner » comme l’a précisé son premier biographe Carl Nemeth. ◙ La vie et l’œuvre du compositeur autrichien Franz Schmidt Franz Schmidt vient au monde le 22 décembre 1874 dans la ville de Poszonyi (à l’époque en Hongrie, devenue Presbourg puis Brastislava, en Slovaquie). Il décède soixante-quinze ans plus tard à Perchtolsdorf, près de Vienne, le 11 février 1939. Il vient au monde en Autriche-Hongrie la même année que son compatriote et collègue Arnold Schönberg et que l’Américain Charles Ives. -
Premiering Pierrot Lunaire, from Berlin to New York: Reception, Criticism, and Modernism
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2006 Premiering Pierrot lunaire, from Berlin to New York: Reception, Criticism, and Modernism Clara S. Schauman University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Commons Recommended Citation Schauman, Clara S., "Premiering Pierrot lunaire, from Berlin to New York: Reception, Criticism, and Modernism. " Master's Thesis, University of Tennessee, 2006. https://trace.tennessee.edu/utk_gradthes/1787 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Clara S. Schauman entitled "Premiering Pierrot lunaire, from Berlin to New York: Reception, Criticism, and Modernism." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Nasser Al-Taee, Major Professor We have read this thesis and recommend its acceptance: Rachel Golden Carlson, Mark Zelmanovich Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Clara S. Schauman entitled “Premiering Pierrot lunaire, from Berlin to New York: Reception, Criticism, and Modernism.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Music, with a major in Music. -
©2020 Scott Matthew Noriega ALL RIGHTS RESERVED
©2020 Scott Matthew Noriega ALL RIGHTS RESERVED DEFINING THE LEFT-HAND PIANO AS “ANOTHER KIND OF INSTRUMENT” IN THE MUSIC OF LEOPOLD GODOWSKY AND FRANZ SCHMIDT By SCOTT MATTHEW NORIEGA A dissertation submitted to the ScHool of Graduate Studies Rutgers, THe State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of PHilosopHy Graduate Program in Music Written under the direction of Floyd Grave And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey May 2020 ABSTRACT OF THE DISSERTATION DEFINING THE LEFT-HAND PIANO AS “ANOTHER KIND OF INSTRUMENT” IN THE MUSIC OF LEOPOLD GODOWSKY AND FRANZ SCHMIDT BY SCOTT MATTHEW NORIEGA Dissertation Director: Floyd Grave, Ph.D. This study seeks to situate the contribution of LeopoLd Godowsky and Franz Schmidt to the history of redefining left-hand piano music. Both were outstanding pianists and composers who came to the Left-handed genres for their own individuaL reasons. They each defined their pianistic styLes based on common traits (the music of both Chopin and Bach figured highly for both) but differed in approach owing to the genres in which they worked: Godowsky’s compositions were chiefLy in the reaLm of soLo piano music, while Schmidt’s fell in the realms of both chamber music, discussed here, and in concertos. Rather than defining the Left-hand piano in a two-handed fashion as had composers before them––attempting to “normalize” the Left hand by making it do the work of two––both carefuLLy crafted the Left-hand piano as a unique instrument capabLe of performing its own type of music. -
John Cage Was a Bastard!
University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 1993 John Cage was a bastard! Gary Butler University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Butler, Gary, John Cage was a bastard!, Bachelor of Creative Arts (Hons.) thesis, School of Creative Arts, University of Wollongong, 1993. https://ro.uow.edu.au/theses/888 Research Online is the open access institutional repository for the University of Wollongong.