Walter Gropius
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Berg's Worlds
Copyrighted Material Berg’s Worlds CHRISTOPHER HAILEY Vienna is not the product of successive ages but a layered composite of its accumulated pasts. Geography has made this place a natural crossroads, a point of cultural convergence for an array of political, economic, religious, and ethnic tributaries. By the mid-nineteenth century the city’s physical appearance and cultural characteristics, its customs and conventions, its art, architecture, and literature presented a collage of disparate historical elements. Gothic fervor and Renaissance pomp sternly held their ground against flights of rococo whimsy, and the hedonistic theatricality of the Catholic Baroque took the pious folk culture from Austria’s alpine provinces in worldly embrace. Legends of twice-repelled Ottoman invasion, dreams of Holy Roman glories, scars of ravaging pestilence and religious perse- cution, and the echoes of a glittering congress that gave birth to the post-Napoleonic age lingered on amid the smug comforts of Biedermeier domesticity. The city’s medieval walls had given way to a broad, tree-lined boulevard, the Ringstrasse, whose eclectic gallery of historical styles was not so much a product of nineteenth-century historicist fantasy as the styl- ized expression of Vienna’s multiple temporalities. To be sure, the regulation of the Danube in the 1870s had channeled and accelerated its flow and introduced an element of human agency, just as the economic boom of the Gründerzeit had introduced opportunities and perspectives that instilled in Vienna’s citizens a new sense of physical and social mobility. But on the whole, the Vienna that emerged from the nineteenth century lacked the sense of open-ended promise that charac- terized the civic identities of midwestern American cities like Chicago or St. -
Avant Première Catalogue 2017
Avant PreCATALOGUEmi ère 2017 UNITEL is one of the world's leading producers of classical music programmes for film, television, video and new media. Based on exclusive relationships with outstanding artists and institutions like Herbert von Karajan, Leonard Bernstein, the Salzburg Festival and many others, the UNITEL catalogue of more than 1700 titles presents some of the greatest achievements in the last half a century of classical music. Search the complete UNITEL catalogue online at www.unitel.de Front cover: Elīna Garanča in G. Donizetti's “La Favorite” / Photo: Wilfried Hösl UNITEL AVANT PREMIÈRE CATALOGUE 2017 Editorial Team: Konrad von Soden, Franziska Pascher Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: 31st of January 2017 ∙ © Unitel 2017 ∙ All Rights reserved FOR COPRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching / Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas -
Program Notes
COSMOS AN HD ODYSSEY FEATURING THE “NEW WORLD” SYMPHONY with the NASHVILLE SYMPHONY CLASSICAL SERIES FRIDAY & SATURDAY, JANUARY 11 & 12, AT 8 PM SUNDAY, JANUARY 13, AT 3 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CONCERT PARTNER GIL SHAHAM, violin BEDŘICH SMETANA “The Moldau,” No. 2 from Má vlast (My Fatherland) ALBAN BERG Concerto for Violin and Orchestra BMW OF NASHVILLE Andante - Allegretto Allegro - Adagio Gil Shaham, violin – INTERMISSION – ANTONÍN DVOŘÁK Symphony No. 9 in E Minor, Op. 95, “From the New World” Adagio - Allegro molto Largo Molto vivace Allegro con fuoco This concert will last approximately 1 hour and 55 minutes, including a 20 minute intermission. INCONCERT 21 TONIGHT’S CONCERT AT A GLANCE BEDŘICH SMETANA “The Moldau,” No. 2 from Má Vlast (My Fatherland) • Widely considered the “father of Czech music,” Bedřich Smetana helped pioneer the development of a distinctly authentic Czech style. But he also ruffled the feathers of some fellow Czech composers by embracing the “New German School,” a progressive style championed by Liszt and Wagner. • Upon returning to his homeland following a brief exile, Smetana devoted himself almost entirely to writing operas centered around nationalist themes. He also took a position conducting the orchestra at Prague’s Provisional Theatre, an ensemble that included a young Antonín Dvořák on viola. • Composed in the 1870s, while Smetana was dealing with the onset of deafness, Má vlast (My Homeland) is a cycle of six tone poems inspired by the landscape of his native Bohemia. The second and best known of these, “The Moldau” (or “Vltava,” as it is known in Czech) takes its title from the German name for the river that Smetana observed during a trip in 1867. -
The Deutscher Turnerbund and the Berg Violin Concerto
“Frisch, Fromm, Fröhlich, Frei.” The Deutscher Turnerbund and the Berg Violin Concerto Douglas Jarman All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 27/01/2016 Accepted: 20/07/2016 Published: 17/02/2017 Last updated: 17/02/2017 How to cite: Douglas Jarman, ““Frisch, Fromm, Fröhlich, Frei.” The Deutscher Turnerbund and the Berg Violin Concerto,” Musicologica Austriaca: Journal for Austrian Music Studies (February 17, 2017) Tags: 20th century; Atonality; Berg, Alban; Retrogrades; Second Viennese School; Violin concerto I am deeply grateful to Regina Busch, my colleague in the preparation of the edition of the Violin Concerto in Alban Berg, Sämtliche Werke, whose constructive criticism and deep knowledge of the sources have helped me so much in the writing of this article. Abstract Although Berg himself made public the nature of the extra-musical stimulus behind the composition of the Violin Concerto, through both his dedication “Dem Andenken eines Engels” and the article published by his biographer Willi Reich, the sketches for the work show that he originally planned to base the work on the motto of the Deutscher Turnerbund. Since the Turnerbund had strong links with the NSDAP and was banned in Austria in 1935 when the Violin Concerto was written, Berg’s intention to use the motto raises questions about his attitude toward and relationship with Nazi cultural policy and his efforts to survive as an artist in the mid-1930s. The article proposes a possible explanation based on Berg’s consistent use of retrogrades and palindromes in his other works as symbols of denial and negation. -
Boston Symphony Orchestra Concert Programs, Season 83,1963
r&A%4 \ V :>««^«^5V r BOSTON % SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON PALMER AUDITORIUM NEW LONDON EIGHTY-THIRD SEASON 1963-1964 EIGHTY -THIRD SEASON, 1963-1964 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs. James H. Perkins Harold D. Hodgkinson Sidney R. Rabb C. D. Jackson Charles H. Stockton E. Morton Jennings, Jr. John L. Thorndike Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Thomas D. Perry, Jr., Manager Norman S. Shirk Rosario Mazzeo James J. Brosnahan Assistant Manager Orchestra Personnel Manager Business Administrator Assistant Administrators J Sarah M. Hempel Harry J. Kraut Harry S. Beall SYMPHONY HALL BOSTON EIGHTY-THIRD SEASON • NINETEEN HUNDRED SIXTY-THREE -SIXTY-FOUR PALMER AUDITORIUM (Connecticut College, New London) ^Program TUESDAY EVENING, December 3, at 8:30 o'clock Barber Symphony No. 1 (In one movement), Op. 9 Berg Concerto for Violin and Orchestra Andante — Allegretto Allegro — Adagio INTERMISSION Dvorak Symphony No. 6, in D major, Op. 60 I. Allegro non tanto II. Adagio III. Scherzo (Furiant): Presto; Trio IV. Finale: Allegro con spirito SOLOIST GEORGE ZAZOFSKY BALDWIN PIANO RCA VICTOR RECORDS [3] Boston -
20Th Century Masters
Sunday 14 January 2018 7–9.05pm Barbican Hall LSO SEASON CONCERT 20TH CENTURY MASTERS Janáček Overture: From the House of the Dead Carter Instances Berg Violin Concerto Interval RATTLE Bartók Concerto for Orchestra Sir Simon Rattle conductor Isabelle Faust violin 5.30pm Barbican Hall LSO Platforms: Guildhall Artists Free event Scriabin Two Poèmes Op 32 Janáček Sonata 1 X 1905 Rachmaninov Variations on a Theme of Corelli Op 42 Ryan Drucker piano Welcome LSO News On Our Blog Earlier tonight, soloist Ryan Drucker from BRITISH COMPOSER AWARDS FOR FAREWELL TO NIGEL BROADBENT, the Guildhall School performed piano music SOUNDHUB AND PANUFNIK COMPOSERS FIRST VIOLIN by Scriabin, Janáček and Rachmaninov in a short concert, free to ticket-holders. Five of the 13 BASCA British Composer On Thursday 21 December we said goodbye This series seeks to complement and Awards this year were won by alumni of to one of the stalwarts of the LSO, First Violin amplify the repertoire in the Orchestra’s the LSO’s composer development schemes. Nigel Broadbent, who retired after 38 years programme and provide a platform for Congratulations go to Cevanne Horrocks- in the Orchestra. On our blog we look back the musicians of the future. For further Hopayian (Panufnik 2010, Soundhub over his career. details visit lso.co.uk/lsoplatforms. Associate), Emily Howard (Panufnik 2007), Robin Haigh (Soundhub 2017), Deborah MEET DAVID ELTON, I hope that you enjoy this evening’s Pritchard (Panufnik 2015) and Philip OUR NEW PRINCIPAL TRUMPET A warm welcome to tonight’s LSO concert. performance and that you can join us Venables (Panufnik 2005). -
PROGRAM NOTES by Phillip Huscher
PROGRAM NOTES by Phillip Huscher Alban Berg – Violin Concerto Born February 9, 1885, Vienna, Austria. Died December 24, 1935, Vienna, Austria. Violin Concerto Berg wrote this violin concerto in the spring and summer of 1935; it’s his last completed work. The first performance was given on April 19, 1936, in Barcelona; the soloist was Louis Krasner, who commissioned the concerto; Hermann Scherchen conducted. The orchestra consists of two flutes and two piccolos, two oboes and english horn, three clarinets and bass clarinet, alto saxophone, two bassoons and contrabassoon, four horns, two trumpets, two trombones and tuba, timpani, bass drum, cymbals, snare drum, tam-tam, gong, triangle, harp, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Berg’s Violin Concerto were given at Orchestra Hall on February 9 and 10, 1939, under the baton of Frederick Stock; the soloist was Louis Krasner, who had played the world premiere three years earlier. Our most recent subscription concert performances were given on April 14, 15, 16, and 19, 2005, with Julian Rachlin as soloist and Daniele Gatti conducting. The Orchestra first performed this concerto at the Ravinia Festival on July 21, 1960, with Christian Ferras as soloist and Jean Martinon conducting, and most recently on July 14, 2001, with Leonidas Kavakos as soloist and Sir Andrew Davis conducting. All works of music balance, in vastly different ways, the public and private concerns of the composer. It’s often irrelevant— though tempting—to contemplate how a composer’s private life may have shaped a piece of music. -
Mahler-Werfel Papers Ms
Mahler-Werfel papers Ms. Coll. 575 Finding aid prepared by Violet Lutz. Last updated on June 23, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2006 Mahler-Werfel papers Table of Contents Summary Information....................................................................................................................................4 Biography/History..........................................................................................................................................5 Scope and Contents..................................................................................................................................... 34 Administrative Information......................................................................................................................... 40 Controlled Access Headings........................................................................................................................41 Other Finding Aids......................................................................................................................................42 Collection Inventory.................................................................................................................................... 43 Correspondence to and from Alma Mahler, Franz Werfel, and Adolf Klarmann.................................43 Correspondence between Alma Mahler and Franz Werfel...................................................................45 Writings by Alma -
Alma Mahler Sie Es Verstand, Künstler Zu Inspirieren Und Zu Motivie- Geburtsname: Alma Maria Schindler Ren
Mahler, Alma Alma Mahler sie es verstand, Künstler zu inspirieren und zu motivie- Geburtsname: Alma Maria Schindler ren. Dennoch hafteten ihr auch negative Attribute an: Ehename: Alma Maria Mahler-Werfel vom lästigen und herrischen „Anhängsel“ bis hin zur raf- finierten Verführerin, zur leibhaftigen Femme fatale. * 31. August 1879 in Vienna, Austria Ihr Einfluss auf die Musik- und Kulturgeschichte der † 11. Dezember 1964 in New York, USA Jahrhundertwende war enorm. Sie förderte zahlreiche Künstler (auch finanziell), darunter Alban Berg und Ar- Komponistin, Salonière, Muse. nold Schönberg, ihr Salon (in Wien, später auch in den USA) war stets Treffpunkt vieler Intellektueller und „Eine imposante Erscheinung im stärksten Sinn des Wor- Künstler. tes, Frau Alma Mahler-Werfel, Witwe des großen Kompo- Ihr eigener kreativer Beitrag zu diesem kulturell so inten- nisten, Gattin des großen Dichters, mit dem ganzen siven Leben blieb allerdings klein. Sie komponierte, vor Ruhm Österreichs verwandt, verschwägert oder irgend- allem bis 1901, zahlreiche Lieder und galt als hochtalen- wie liiert. Frauen solchen Formats kommen in unserer tiert, geistreich und musikalisch. Ihrer Kreativität stand Zeit nur noch selten vor; diese Vitalität und Dynamik, allerdings schon in diesen frühen Jahren das eigene diese Verbindung von künstlerischer Sensibilität und ge- Selbstbild als Frau innerhalb der bürgerlich-künstleri- sellschaftlicher Ambition scheinen aus einer anderen, schen Gesellschaft entgegen. Selbstzweifel, ob sie als glanzvolleren Epoche.“ Frau überhaupt kompositorisch schöpferisch sein könne, (Klaus Mann, 1949, zit. n. Klaus Mann: „Der Wende- ließen die junge Alma Schindler nicht los. punkt“, Reinbek 1984) Eine schwierige Frage war für sie in diesem Zusammen- hang die Vereinbarkeit von Komponieren und Heiraten. -
“Violin Concerto” Alban Berg, Along with Anton Webern, Was One of the Three Composers of the Second
Analysis of Berg’s “Violin Concerto” Alban Berg, along with Anton Webern, was one of the three composers of the Second Viennese School pioneered by Arnold Schoenberg. The most Romantic of these three hallmark European modern composers, Berg successfully combined late Romanticism elements with adaptations of Schoenberg’s twelve-tone technique. Berg wrote his most famous and widely performed instrumental work, the Violin Concerto, in 1935 and its premiere was held shortly after his death in 1936 by renowned violinist Louis Krasner. Berg’s last ever composition, the Violin Concerto sums up his entire musical outlook and style more than any one of his pieces. Engraved “To the memory of an angel,” Berg dedicated the piece to Manon Gropius, the daughter of Gustav Mahler’s former wife, Alma Mahler, who died at the age of eighteen from polio. The concerto lasts about twenty-four minutes and has only two movements instead of the traditional three. Further, each movement has two parts. They are I. (a). Andante, lasting 16 pages and (b). Allegretto, lasting 31 pages, and II. (a). Allegro, lasting 30 pages and (b). Adagio, lasting 20 pages. Thus, the two large movements are roughly equal in length with an overall circular effect in the sub- movements’ lengths, being that the longest movements are in the middle and the shortest on the outsides. Each of the movements and sub-movements can be easily interpreted as portrayals of Manon Gropius. The most obvious and indisputable reflection on the girl’s death can be heard in the final Adagio section of the 2nd movement, in which Berg quotes J.S. -
London's Symphony Orchestra
London Symphony Orchestra Living Music AFTER ROMANTICISM Thursday 21 January 2016 7.30pm Barbican Hall Wagner Prelude to Act I from ‘Parsifal’ Berg Seven Early Songs INTERVAL Mahler Symphony No 5 François-Xavier Roth conductor Camilla Tilling soprano Concert finishes approx 9.55pm Sunday 24 January 2016 7pm London’s Symphony Orchestra Barbican Hall Webern Im Sommerwind Berg Violin Concerto INTERVAL Strauss Ein Heldenleben François-Xavier Roth conductor Renaud Capuçon violin Concert finishes approx 9pm 2 Welcome 21 & 24 January 2016 Welcome Living Music Kathryn McDowell In Brief Welcome to the LSO for the first set of concerts in LSO LIVE WINS GRAMOFON AWARD ‘After Romanticism’, a series exploring the changes and innovations that took place in music during LSO Live, the Orchestra’s record label, is delighted to the end of the 19th century and the beginning of announce that its release of Mendelssohn’s Symphony the 20th. We are delighted to be joined for this by No 3 with Sir John Eliot Gardiner and Schumann’s conductor François-Xavier Roth, who introduces the Piano Concerto with Maria João Pires was named series on page 4. Foreign Classical Compact Disc of the Year by the renowned Hungarian quarterly Gramofon. Order In the first concert on 21 January, we will trace the your copy through the LSO Live website. journey from the Prelude to Wagner’s final opera, Parsifal, through Mahler’s Symphony No 5, on to lsolive.lso.co.uk the musical innovations found in Berg’s Seven Early Songs, sung tonight by Camilla Tilling. THE LSO JANUARY SALE For the second concert on 24 January, we begin with two works from composers of the Second Viennese Nothing beats the January blues like a good concert! School, taken from different points in their careers: The LSO January Sale is now on, giving you the an early orchestral work by Webern, followed by chance to save 20% on selected LSO concerts in the Berg’s final composition – the Violin Concerto – new year. -
Alma Mahler and Vienna: the City That Loved Her Angela Dilkey
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Alma Mahler and Vienna: The City That Loved Her Angela Dilkey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ALMA MAHLER AND VIENNA: THE CITY THAT LOVED HER By ANGELA DILKEY A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2005 The members of the Committee approve the treatise of Angela Dilkey defended on March 18, 2005. ______________________________ Douglas Fisher Professor Directing Treatise ______________________________ Carolyn Bridger Outside Committee Member ______________________________ Larry Gerber Committee Member ______________________________ Jerrold Pope Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS ABSTRACT……………………………………………………………………….……………...iv FIN-DE-SIÈCLE VIENNA.……………………………………………………....….....…..….….1 ALMA MAHLER…………………………………………………………………...………….…9 Appendices A. ALMA’S LOVERS AND HUSBANDS……...……………………………………...28 B. ALMA’S CHILDREN……………………………………………....………………..29 C. ALMA’S SONGS………………………………...…………………………………..30 BIBLIOGRAPHY……………………………………………………………………….……….31 BIOGRAPHICAL SKETCH…………………………………………………………………….33 iii ABSTRACT From the peak of the Habsburg dynasty, fin-de-siècle Vienna offered the Viennese bourgeoisie a unique place to broaden their intellectual and artistic creativity. Artists of such caliber as Gustav Mahler and Arnold Schoenberg flocked to this enticing city at the turn of the twentieth century. Alma Mahler was a strong woman and a product of her time. Other women wanted her in their circle of friends and men desired her. The list of her acquaintances, friends, and lovers includes some of the most brilliant artists of the twentieth century.