List of Works and Sound Examples Cited

Total Page:16

File Type:pdf, Size:1020Kb

List of Works and Sound Examples Cited Cover Page The handle http://hdl.handle.net/1887/29987 holds various files of this Leiden University dissertation Author: Scott, Anna Title: Romanticizing Brahms : early recordings and the reconstruction of Brahmsian identity Issue Date: 2014-12-11 I List of Works Cited Abert, Hermann, and Frederick H. Martens. "Bach, Beethoven, and Brahms." The Musical Quarterly 13, no. 2 (April, 1927): 329 - 343. Accessed December 15, 2012. http://www.jstor.org/stable/738416. Adler, Guido, and W. Oliver Strunk. "Johannes Brahms: His Achievement, His Personality, and His Position." The Musical Quarterly 19, no. 2 (April 1933): 113 - 142. Accessed June 22, 2011. http://www.jstor.org/stable/738793. “Amina Goodwin’s Concert.” The Manchester Guardian (January 17, 1882): 5. Accessed July 9, 2013. http://search.proquest.com.access.authkb.kb.nl/docview/478999526?accountid=16376. Avins, Styra. Johannes Brahms: Life and Letters. Oxford: Oxford University Press, 1997. Beardsley, Roger, and Daniel Leech-Wilkinson. "A Brief History of Recording to ca. 1950." London: Centre for the History and Analysis of Recorded Music (CHARM), 2009. Accessed October 27, 2014. http://www.charm.kcl.ac.uk/history/p20_4_1.html. Beller-McKenna, Daniel. "The Rise and Fall of Brahms the German." Journal of Musicological Research 20 (2001): 187 - 210. Binns, Richard. "Brahms: Some Thoughts towards a Re-Valuation." The Musical Times 65, no. 977 (July 1, 1924): 599 - 601. Accessed December 14, 2012. http://www.jstor.org/stable/911692. Botstein, Leon. "Brahms and Nineteenth-Century Painting." 19th-Century Music 14, no. 2 (Autumn, 1990): 154 - 168. Accessed June 20, 2011. http://www.jstor.org/stable/746200. Bozarth, George S., and Walter Frisch. "Johannes Brahms." Oxford Music Online. Accessed May 31, 2012. http://www.oxfordmusiconline.com/subscriber/article/grove/music/51879pg2. --------. "Johannes Brahms: At the Summit." Oxford Music Online. Accessed May 31, 2012. http://www.oxfordmusiconline.com/subscriber/article/grove/music/51879pg4. "Brahms and Friedberg." The New York Times (May 29, 1932): X6. Accessed October 23, 2013. http://search.proquest.com.access.authkb.kb.nl/docview/100598792?accountid=16376. II Brahms, Johannes. Sämtliche Werke. Leipzig: Breitkopf & Härtel, 1926 - 27; repr. Ann Arbor: J. W. Edwards, 1949. Accessed via IMSLP Petrucci Music Library, http://imslp.org/wiki/Sämtliche_Werke_(Brahms,_Johannes). Brittan, Francesca. "Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography." 19th-Century Music 29, no. 3 (Spring, 2006): 211 - 239. Accessed January 13, 2013. http://www.jstor.org/stable/10.1525/ncm.2006.29.3.211. Brooks, William. "Historical Precedents for Artistic Research in Music: The Case of William Butler Yeats." In Artistic Experimentation in Music: An Anthology, edited by Darla Crispin and Bob Gilmore, 185 - 196. Leuven: Leuven University Press, 2014. Brown, Clive. Classical and Romantic Performing Practice 1750 - 1900. Oxford: Oxford University Press, 1999. Brownell, Mike D. Review of Brahms Piano Concertos 1 & 2, John Lill (piano), ASV/Resonance 204 (2006), CD. Accessed January 22, 2013. http://www.allmusic.com/album/brahms-piano-concertos-1-2-mw0001388024. Burkholder, J. Peter. "Brahms and Twentieth-Century Classical Music." 19th-Century Music 8, no. 1 (Summer, 1984): 75 - 83. Accessed August 8, 2012. http://www.jstor.org/stable/746255. "Carl Friedberg's Recital: A New Pianist Appears in Carnegie Hall." The New York Times (November 3, 1914): 11. Accessed October 23, 2013. http://search.proquest.com.access.authkb.kb.nl/docview/97603172?accountid=16376. Chapin, Schuyler. Liner notes to the original SONY release of Glenn Gould with The New York Philharmonic Orchestra and Leonard Bernstein. Sony Classical SK60675 ADD. In "Bernstein and Gould Play Brahms," http://wssmlsy.wordpress.com/2010/10/30/bernstein-and-gould-play-brahms/. Chissell, Joan. "Brahms: Piano Works." Review of Artur Rubinstein (piano), RCA SB6845 (1971), LP. Gramophone (July 1971): 204. "Clara Josephine Schumann." The Musical Times and Singing Class Circular 37, no. 640 (June 1, 1896): 369. Accessed April 18, 2013. http://www.jstor.org/stable/3368020. "Clara Schumann." The Academy 49, no. 1252 (May 30, 1896): 453 - 454. Accessed October 24, 2013. http://search.proquest.com.access.authkb.kb.nl/docview/1298650908?accountid=16376. Clements, Andrew. "Brahms: Ballades; Intermezzos; Schubert: Piano Sonata in E Minor D566; Schumann: Piano Sonata No. 2 in G minor." Review of Wilhelm Kempff (piano), BBC Legends, BBCL 4114-2 (2001), CD. The Guardian (June 27, 2003). Accessed January 3, 2013. III http://www.guardian.co.uk/music/2003/jun/27/classicalmusicandopera.artsfeatures2?INT CMP=S --------. "Brahms: Intermezzi Op. 117; Piano Pieces Op. 118 & 119." Review of Lars Vogt (piano), EMI Classics 7243 5 57543 2 5 (2003), CD. The Guardian (March 5, 2004). Accessed October 25, 2014. http://www.theguardian.com/music/2004/mar/05/classicalmusicandopera.shopping1. Cook, Nicholas, Eric Clarke, Daniel Leech-Wilkinson, and John Rink, eds. The Cambridge Companion to Recorded Music. Cambridge University Press, 2009. “Crystal Palace.” The Musical Times and Singing Class Circular 28, no. 530 (April 1, 1887): 214 - 215. Accessed April 18, 2013. http://www.jstor.org/stable/3359796. Da Costa, Neal Peres. Off the Record: Performing Practices in Romantic Piano Playing. New York: Oxford University Press, 2012. Davies, Fanny, and Frederick Corder. “Robert Schumann: About Schumann’s Pianoforte Music.” The Musical Times 51, no. 810 (August 1, 1910): 493 - 496. Accessed April 9, 2013. http://www.jstor.org/stable/908084. Davies, Fanny. “On Schumann: And Reading Between the Lines.” Music and Letters 6, no. 3 (July 1925): 214 - 223. Accessed April 9, 2013. http://www.jstor.org/stable/726684. Deiters, Hermann. "Johannes Brahms: A Biographical Sketch." The Musical Times and Singing Class Circular 29, no. 539 (January 1888): 9 - 11. Accessed December 14, 2012. http://www.jstor.org/stable/3359841. Delasaire, William. "Player-Piano Notes." The Musical Times 67, no. 996 (February 1, 1926): 144, 149. Accessed February 5, 2013. http://www.jstor.org/stable/912957. Derenburg, Mrs. Carl (Ilona Eibenschütz). "My Recollections of Brahms." The Musical Times 67, no. 1001 (July 1926): 598 - 600. Accessed August 23, 2014. http://www.jstor.org/stable/911829. DiClemente, Ann Riesbeck. "Brahms Performance Practice in a New Context: The Bruce Hungerford Recorded Lessons with Carl Friedberg." PhD Dissertation: University of Maryland, 2009. Accessed July 24, 2013. ProQuest Dissertations. Distler, Jed. "Brahms: Piano Sonata Op. 5." Review of Evgeny Kissin (piano), RCA 09026-638862 (2001), CD. Accessed January 5, 2013. http://www.classicstoday.com/review/review-9506/?search=1. --------. "Brahms: F minor Sonata, Ballades/Sokolov." Review of Grigory Sokolov (piano), OPUS 111 - 30366 (2005), CD. Accessed January 5, 2013. http://www.classicstoday.com/review/review-8520/?search=1. IV --------. "Brahms." Review of Romain Descharmes (piano), Brahms Piano Sonata No. 3, Op. 5., Six Pieces, Op. 118. Claudio CR5786-2 (2007), CD. Gramophone (April 2008): 80. --------. "Liaisons Volume Two." Review of Dejan Lazic (piano), Channel Classics 27609 SACD LIASONS vol. 2 (2009), CD. Accessed December 29, 2012. http://www.classicstoday.com/review/review-15050/?search=1. --------. "Brahms & Liszt: Piano Sonatas/Cechová." Review of Jitka Cechová (piano), Supraphon SU 4021-2 131 (2010), CD. Accessed January 5, 2013. http://www.classicstoday.com/review/review-15746/?search=1. --------. "Everything's coming up Rose." Review of Jerome Rose (piano). Gramophone (July 2011). Accessed December 29, 2012. http://www.gramophone.co.uk/blog/piano- notes/everythings-coming-up-rose. Dreyfus, Laurence. “Hermann Levi’s Shame and Parsifal’s Guilt: A Critique of Essentialism in Biography and Criticism.” Cambridge Opera Journal 6, no. 2 (1994): 135 - 145. Accessed June 24, 2011. http://www.jstor.org/stable/823821. ---------. "Hermann Levi." Oxford Music Online. Accessed May 31, 2012. http://www.oxfordmusiconline.com/subscriber/article/grove/music/16515. Evans, Allan. Liner notes for Behind the Notes: Brahms Performed by Colleagues and Pupils 1903-1952. Arbiter 160, CD. New York, 2012. "Fanny Davies, 1861-1934." The Musical Times 75, no. 1100 (October 1934): 899 - 900. Accessed April 9, 2013. http://www.jstor.org/stable/918459. Fifield, Christopher. "Hans Freiherr von Bülow." Oxford Music Online. Accessed May 31, 2012. http://www.oxfordmusiconline.com/subscriber/article/grove/music/04307. Fleisher, Susan Weiss Leon. "An Interview with Leon Fleisher." The Hopkins Review 1, no. 3 (Summer 2008): 416 - 433. Accessed January 14, 2013. doi: 10.1353/thr.0.0017. "Friedberg at His Best." New York Times (January 10, 1934): 25. Accessed October 23, 2013. http://search.proquest.com.access.authkb.kb.nl/docview/100916989?accountid=16376. Fromm, Marie. "Some Reminiscences of My Music Studies with Clara Schumann." The Musical Times 73, no. 1073 (July 1, 1932): 615 - 616. Accessed October 24, 2013. http://www.jstor.org.access.authkb.kb.nl/stable/918290. V Gardner, Charlotte. “A triumph of Brahmsian thought, with playing that gets right to the heart of the composer.” Review of Brahms Works for Solo Piano, Vol.1, Barry Douglas (piano), Chandos CHAN 10716 (2012), CD. BBC Music Review (March 29, 2012). Accessed January 5, 2013. http://www.bbc.co.uk/music/reviews/h8pn. Gehring, Franz, and Bernd Wiechert. "Karl Reinthaler." Oxford Music Online. Accessed May 31, 2012. http://www.oxfordmusiconline.com/subscriber/article/grove/music/23157.
Recommended publications
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • Charles Villiers Stanford's Experiences with and Contributions
    Charles Villiers Stanford’s Experiences with and contributions to the solo piano repertoire Adèle Commins Charles Villiers Stanford (1852-1924) has long been considered as one of the leaders of the English Musical Renaissance on account of his work as composer, conductor and pedagogue. In his earlier years he rose to fame as a piano soloist, having been introduced to the instrument at a very young age. It is no surprise then that his first attempts at composition included a march for piano in i860.1 The piano continued to play an important role in Stanford’s compositional career and his last piano work, Three Fancies, is dated 1923. With over thirty works for the instrument, not counting his piano duets, Stanford’s piano pieces can be broadly placed in three categories: (i) piano miniatures or character pieces which are in the tradition of salon or domestic music; (ii) works which have a pedagogical function; and (iii) works which are written in a more virtuosic vein. In each of these categories many of the works remain unpublished. In most cases the piano scores are not available for purchase and this has hindered performances after his death.2 The repertoire of pianists should not be limited to the music of European composers and publishers, like performers, are responsible for the exposure a composer’s works receives. New editions of Stanford’s piano music need to be created and published in order to raise awareness of the richness of Stanford’s contribution to piano literature. While there has been renewed interest in the composer’s life and music by musicologists and performers — primarily initiated by the recent Stanford biographies in 2002 by Dibble and Rodmell — the 1 Originally termed Opus 1 in Stanford’s sketch book it was reproduced in Anon., ‘Charles Villiers Stanford’, The Musical Times and Singing Class Circular, 39 670 (1898), 785-793 (p.
    [Show full text]
  • The First Piano Concerto of Johannes Brahms: Its History and Performance Practice
    THE FIRST PIANO CONCERTO OF JOHANNES BRAHMS: ITS HISTORY AND PERFORMANCE PRACTICE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS by Mark Livshits Diploma Date August 2017 Examining Committee Members: Dr. Joyce Lindorff, Advisory Chair, Keyboard Studies Dr. Charles Abramovic, Keyboard Studies Dr. Michael Klein, Music Studies Dr. Maurice Wright, External Member, Temple University, Music Studies ABSTRACT In recent years, Brahms’s music has begun to occupy a larger role in the consciousness of musicologists, and with this surge of interest came a refreshingly original approach to his music. Although the First Piano Concerto op. 15 of Johannes Brahms is a beloved part of the standard piano repertoire, there is a curious under- representation of the work through the lens of historical performance practice. This monograph addresses the various aspects that comprise a thorough performance practice analysis of the concerto. These include pedaling, articulation, phrasing, and questions of tempo, an element that takes on greater importance beyond just complicating matters technically. These elements are then put into the context of Brahms’s own pianism, conducting, teaching, and musicological endeavors based on first and second-hand accounts of the composer’s work. It is the combining of these concepts that serves to illuminate the concerto in a far more detailed fashion, and ultimately enabling us to re-evaluate whether the time honored modern interpretations of the work fall within the boundaries that Brahms himself would have considered effective and accurate. ii ACKNOWLEDGEMENTS Many thanks to my committee and Dr.
    [Show full text]
  • Volume 24, Number 07 (July 1906) Winton J
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1906 Volume 24, Number 07 (July 1906) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 24, Number 07 (July 1906)." , (1906). https://digitalcommons.gardner-webb.edu/etude/516 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. JULY, 1906 7S A-5 ea THEODORE PHILADELPHIA THE ETUDE 413 CONTENTS Da i nty “THE ETUDE” • July, 1906 Flower f « f PIANO ORGAN GRADED EDITION FOR THE PIANO Pieces What Does the Layman HeaTSmSSt" 421 We expect to place this work on sale early And other pleasing in July, 1906. AND wSnilf; Because of Mrs. Riley’s well-known rep¬ NEWS Music for tiffs Z utation and prominence as a writer of verse, The Repertoire and Program particularly for children, we bespeak for her The Making of An Artist. II book a hearty welcome and believe it will ''W ' ESTEY PIANO COMPANY be received with unusual interest, especially LEB0R0.
    [Show full text]
  • Johannes Brahms JOHANNES BRAHMS (1833-1897) Piano Sonata PIANO SONATA NO.3 FANTASIEN OP.116 KLAVIERSTÜCKE OP.119 Fantasien Op.116 - Klavierstücke Op.119 JON NAKAMATSU
    johannes brahms JOHANNES BRAHMS (1833-1897) piano sonata PIANO SONATA NO.3 FANTASIEN OP.116 KLAVIERSTÜCKE OP.119 Fantasien op.116 - Klavierstücke op.119 JON NAKAMATSU This disc presents three of Brahms’s finest piano works. The Fantasias and Klavierstücke, which date from his last years, are also among the best-known. jon Nakamatsu Jon Nakamatsu, Gold Medal Winner at the 1997 Van Cliburn International Piano Competition, judiciously adds a much earlier work, the Third Sonata written when the composer was twenty. ’ - CD Now HMA 1957339 ‘Nakamatsu is clearly a major talent. Have compositional style and substance ever enjoyed a more intimate marriage than in music by Brahms? Elliptically avoiding conventional stages of artistic growth, Brahms from the first wrote works of an uncommon wisdom and of a maturity that is informed by the ineffable. Nostalgia infuses all of his music, and by the time he reached old age, having composed for more than forty years, this nostalgia had intensified to a compound for which we have no name, a poetic tristesse that amalgamates melancholy, wistfulness, longing, and regret. This essence is Brahms’s alone. That Brahms was different, even difficult, was immediately evident. After the first American performance of the Piano Trio op.8 in 1855, for instance, The New York Times praised its ‘many good points, and much sound musicianship’, yet remarked that the ‘motives . suggest something that had been heard before, and induce a skeptical frame of mind, not altogether just . .’1 For a critic to question his own skepticism is fascinating in itself, and it implies that the ‘something heard before’ was not a theme per se nor a ‘motivo’, but rather, if less definably, an ethos that echoed the past.
    [Show full text]
  • Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: a Performance Guide for the Hornist
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: A Performance Guide for the Hornist. Janiece Marie Luedeke Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Luedeke, Janiece Marie, "Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: A Performance Guide for the Hornist." (1998). LSU Historical Dissertations and Theses. 6747. https://digitalcommons.lsu.edu/gradschool_disstheses/6747 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 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 o f 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 comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • BRAHMS Clarinet Sonatas
    in the series includes the Piano Concerto – in which he is joined by the RLPO conducted by John Wilson. His other solo recordings include three discs for Sony Classical of minimalist piano works, a disc of Erik Satie (for Classic FM) and a Gramophone award-winning recording for Naxos, (with the Ulster Orchestra), of Michael Nyman’s Piano Concerto. John Lenehan is also active as a composer and has written and arranged for Angelika Emma Johnson Kirchschlager, Julian Lloyd Webber, Tasmin Little and Emma Johnson. Recent writing projects include ‘Keynotes’ - four books of piano repertoire published by Faber Music each containing a new Lenehan work and collection of original pieces John Lenehan for flute and piano called ‘Little Gems’ which is published by Schotts. Recent performances have included Mozart and Shostakovich concerti with the renowned Sinfonia Varsovia at the Evian Festival and Beethoven with the Symphony Orchestra of India in Mumbai. BRAHMS Clarinet Sonatas MENDELSSOHN Sonata in E-Flat Major SCHUMANN Phantasiestücke op. 73 12 NI 6153 NI 6153 1 John Lenehan. Praised by the New York Times for his ‘great flair and virtuosity’ and the London Times – ‘a masterly recital’, John Lenehan’s performances and recordings have Emma Johnson been acclaimed throughout the world. As a soloist he has appeared with & leading orchestras at home and abroad – in 2010/11 making his debut with both John Lenehan the London Symphony Orchestra (at the Barbican) and the Royal Liverpool Philharmonic Orchestra (at Philharmonic Hall). His innovative recital programmes often include film projection and jazz repertoire. In a performing career spanning more than Brahms Sonatas op.
    [Show full text]
  • Vol. 16, No. 1 March 2009
    Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May Song • Dream Children • Coronation Ode • Weary Wind of the West • Skizze • Offertoire • The Apostles • In The South (Alas- sio) • Introduction and Allegro • Evening Scene • In Smyrna • The Kingdom • Wand of Youth • HowElgar Calmly Society the Evening • Pleading • Go, Song of Mine • Elegy • Violin Concerto in B minor • Romance • Symphony No.2 •ournal O Hearken Thou • Coronation March • Crown of India • Great is the Lord • Cantique • The Music Makers • Falstaff • Carissima • Sospiri • The Birthright • The Windlass • Death on the Hills • Give Unto the Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlight Express • Le Drapeau Belge • The Spirit of England • The Fringes of the Fleet • The Sanguine Fan • Violin Sonata in E minor • String Quartet in E minor • Piano Quintet in A minor • Cello Concerto in E minor • King Arthur • The Wanderer • Empire March • The Herald • Beau Brummel • Severn Suite • Solilo- quy • Nursery Suite • Adieu • Organ Sonata • Mina • The Spanish Lady • Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pas- tourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Gavotte • Salut d'Amour • Mot d'Amour • Bizarrerie • O Happy Eyes • My Love Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • The Snow • Fly, Singing Bird • From the Bavarian Highlands • The Light of Life • King Olaf • ImperialMARCH March 2009 Vol. • The16, No. Banner 1 of St George • Te Deum and Benedictus • Caractacus • Variations on an Original Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Ma- tin • Three Characteristic Pieces • The Dream of Gerontius • Ser- enade Lyrique • Pomp and Circumstance • The Elgar Society The Elgar Society Journal 362 Leymoor Road, Golcar, Huddersfield, HD7 4QF Telephone: 01484 649108 Founded 1951 Email: [email protected] March 2009 Vol.
    [Show full text]
  • Johannes Brahms & Richard Mühlfeld: Sonata in F Minor For
    Columbus State University CSU ePress Theses and Dissertations Student Publications 2010 Johannes Brahms & Richard Mühlfeld: Sonata in F Minor for Clarinet & Piano, Op. 120 No. 1 Emily Tyndall Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Performance Commons Recommended Citation Tyndall, Emily, "Johannes Brahms & Richard Mühlfeld: Sonata in F Minor for Clarinet & Piano, Op. 120 No. 1" (2010). Theses and Dissertations. 141. https://csuepress.columbusstate.edu/theses_dissertations/141 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/johannesbrahmsOOtynd Johannes Brahms and Richard Muhlfeld: Sonata in F Minor for Clarinet and Piano, Op. 120 No. 1 by Emily Tyndall A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the degree of Music in Instrumental Performance Schwob School of Music Columbus State University Thesis Advisor Date Committee Member Date zh/z*/ L CSU Honors Program Director Date ^/7/^0/h Johannes Brahms and Richard Miihlfeld: Sonata in F Minor for Clarinet and Piano, Op. 120 No. 1 Johannes Brahms (1883-1897) originally planned to retire from composing after completing his String Quintet in G Major ("Prater"), Op. 111. However, his mind was quickly changed after being inspired by the performances of Meiningen clarinetist Richard Miihlfeld (1859-1907).
    [Show full text]
  • 573969 Itunes Beethoven
    BEETHOVEN Triple Concerto (arr. C. Reinecke for piano trio) REINECKE: Piano Trio No. 1 Duccio Ceccanti, Violin • Vittorio Ceccanti, Cello Matteo Fossi, Piano Ludwig van Beethoven (1770–1827) : Triple Concerto (arr. C. Reinecke for piano trio) Guardian of history and heritage, his programming ‘Kapellmeister Reinecke’, the American Louis Piano Trio No. 1 centred on a Teutonic line running from Bach to Weber, Charles Elson recorded, ‘illustrates the modestly great Carl Reinecke (1824–1910) : Spohr, Mendelssohn and Schumann. Eight of character of ... German musicians of rank. He has no Born in Altona, then a fishing port opposite Hamburg on Wilhelm Ernst among his duties. Two years later he went Beethoven’s symphonies featured in his first season. tremendous salary; he does not dictate royal terms for the west bank of the Elbe under Danish administration, to Bremen, and then on to Paris, Liszt having published Brahms appeared fitfully, the premiere of A German every appearance of himself and orchestra; but he is Carl Reinecke’s life spanned more than eight decades – an article about him in La France musicale and furnished Requiem in 1869 being an early key moment. Schubert, sincerely honoured ... everyone in Leipzig [takes] off his from Goethe, Friedrich and Beethoven’s late quartets to letters of introduction to Berlioz and Pierre Érard. He aside from the ‘ Great ’ Symphony in C major , was hat to the simple and good old man; everyone, from Freud, Kokoschka and Schoenberg’s Erwartung . His admired Liszt’s pianism more than his compositional conveyed as broadly a songwriter and miniaturist. Gade nobleman to peasant.
    [Show full text]
  • Johannes Brahms Vol. 2 Auf Welte-Mignon Gespielt Von Davies
    CYAN MAGENTA GELB SCHWARZ CYAN MAGENTA GELB SCHWARZ Johannes Brahms 987 auf Welte-Mignon gespielt ( Volume 2 ) TACET Pianist: Composition (Roll Number; Recording Date) Duration 1 Olga Samaroff: Rhapsody in G Minor, Op. 79 No. 2 (1476; rec. 1908) 5:18 2 nd Elly Ney: Piano Sonata in F Minor, Op. 5, 2 mov. “Andante espressivo” (1108; rec. 1906) 11:28 3 Joseph Pembaur, Jr.: Ballade in D Minor, Op. 10 No. 1 (“Edward”) (3264; rec. 1919) 4:46 4 Joseph Pembaur, Jr.: Ballade in D Major, Op. 10 No. 2 (3265; rec. 1919) 7:37 Sonderausgabe für 5 Joseph Pembaur, Jr.: Ballade in B Minor, Op. 10 No. 3 (“Intermezzo”) (3266; rec. 1919) 4:13 Augustinermuseum Freiburg 6 Joseph Pembaur, Jr.: Ballade in B Major, Op. 10 No. 4 (3267; rec. 1919) 9:42 7 Emil Paur: Pieces for piano Op. 76 No. 1, Capriccio in F # Minor (2552; rec. Dec. 1911) 3:07 Johannes Brahms Vol. 2 8 Ernst von Dohnányi: Pieces for piano Op. 76 No. 2, Capriccio in B Minor (497; rec. 1905) 2:46 9 Carl Friedberg: Rhapsody in G Minor, Op. 79 No. 2 (1095; rec. 1906) 4:35 auf Welte-Mignon bl Elly Ney: Pieces for piano Op. 118 No. 5, Romance in F Major (1113; rec. 1906) 3:52 gespielt von bm Konstantin Igumnov: Pieces for piano Op. 118 No. 6, Intermezzo in E b Minor (2064; rec. 1910) 5:17 bn Fanny Davies: Pieces for piano Op. 119 No. 2, Intermezzo in E Minor (1774; rec. 1909) 4:10 Davies, Dohnányi, Friedberg, bo TODAY Artur Schnabel: Pieces for piano Op.
    [Show full text]
  • Editing the Diaries of F.S. Kelly: Unique Insights Into an Expatriate's Hiusical Career
    Editing the Diaries of F.S. Kelly: Unique Insights into an Expatriate's hiusical Career Th&kse Radic The National Library of Australia houses eight volumes of the diaries of composer-pianist Frederick Septimus Kelly, (1881-1916) purchased from an English book dealer in 1979. For twenty years these have remained virtually unread. In 1999 The National Library of Australia (NLA) commissioned me to select and edit extracts from these diaries'and to prepare an extended introduction to them for publication in 2001.2 There are some 2,600 pages in the uncut original manuscript. What these voluminous writings offer, among other things, is a unique insight into the way an expatriate musical career was built within the wider context of musical and social institutions at a crucial time in the regeneration of British music. What they reveal is valuable talent typically lost to Australia through the general assumption that such talent was best sent to develop elsewhere. The 1979 offer of sale included a description of Kelly, using a quote from the then current edition of the British Dictionary of National Biography. This claimed him to be 'one of the most promising English musicians of his day ... and one of the greatest scullers of all time! In fact Frederick Septimus Kelly, DSC, an Olympic gold medallist, was an Australian. He was born at 47 Phillip Street, Sydney on 29 May 1881; to an Irish business and mining magnate, Thomas Hussey Kelly (arrived 1860), and his Australian-born wife Mary Anne n6e The diaries of Fnxleridc Septimus Kelly, pianist, composer, oarsman, and naval officer, were acquired from the antiquarianbookselling and dealing firm of Henry Bristow Ltd.
    [Show full text]