Playing Piano with Small Hands
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Schubert: the Nonsense Society Revisited
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Schubert: The Nonsense Society Revisited RITA STEBLIN Twenty years have now passed since I discovered materials belonging to the Unsinnsgesellschaft (Nonsense Society).1 This informal club, active in Vienna from April 1817 to December 1818, consisted mainly of young painters and poets with Schubert as one of its central members. In this essay I will review this discovery, my ensuing interpretations, and provide some new observations. In January 1994, at the start of a research project on Schubert ico- nography, I studied some illustrated documents at the Historisches Museum der Stadt Wien (now the Wienmuseum am Karlsplatz), titled “Unsinniaden.”2 The documents comprise forty-four watercolor pictures and thirty-seven pages of text recording two festive events celebrated by the Nonsense Society: the New Year’s Eve party at the end of 1817 and the group’s first birthday party on 18 April 1818.3 The pictures depict various club members, identified by their code names and dressed in fan- ciful costumes, as well as four group scenes for the first event, including Vivat es lebe Blasius Leks (Long live Blasius Leks; Figure 1), and two group scenes for the second event, including Feuergeister-Scene (Fire Spirit Scene; Figure 6 below).4 Because of the use of code names—and the misidentifi- cations written on the pictures by some previous owner of the -
Amadeus by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 the 411 Major Sponsor: 3 A/S/L & Vocab the Mary Ranken Jordan & Ettie A
2009—2010 SEASON AMADEUS by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 The 411 Major Sponsor: 3 A/S/L & Vocab The Mary Ranken Jordan & Ettie A. Jordan 4 FYI Charitable Foundation 5 HTH 6 F2F 9 B4U 12 IRL 13 RBTL 14 SWDYT? At The Rep, we know MIHYAP: Top Ten Ways to that life moves Stay Connected at The Rep fast—okay, really 10. TBA Ushers will seat your school or class as a group, fast. But we also so even if you are dying to mingle with the group from the know that some all girls school that just walked in the door, stick with your things are worth friends until you have been shown your section in the theatre. slowing down for. We believe that live theatre is one of those pit stops worth making and are excited that you 9. SITD The house lights will dim immediately before the performance begins and then go dark. Fight off that oh-so- are going to stop by for a show. To help you get the most immature urge to whisper, giggle like a grade schooler or yell bang for your buck, we have put together WU? @ THE at this time and during any other blackouts in the show. REP—an IM guide that will give you everything you need to know to get at the top of your theatergoing game—fast. 8. SED Before the performance begins, turn off all cell You’ll find character descriptions (A/S/L), a plot summary phones, pagers, beepers and watch alarms. -
Schubertiade Music & Arts
SCHUBERTIADE MUSIC & ARTS schubertiademusic.com | [email protected] | 617.308.4019 | Brooklyn, NY 2020 NEW YORK ANTIQUARIAN BOOK FAIR BOOTH A-4 Terms & Conditions ALL AUTOGRAPHS GUARANTEED AUTHENTIC Abbreviations: SP = Signed Photo. SPc = Signed Postcard Photo. ALS= Autograph Letter Signed. LS = Letter Signed. ANS = Autograph Note Signed. AQS = Autograph Quotation Signed. AMusQS = Autograph Musical Quotation Signed. DS = Document Signed. TMsS = Typed Manuscript Signed. Terms: Net cash upon receipt of material ordered. We accept payments in cash, money order, personal check, credit cards, and Paypal through our website. Please visit our web site for full terms. Phone and Email orders welcomed: www.schubertiademusic.com [email protected] phone: 617-308-4019 fax : 617-507-5568 Postage Rates: Up to $150: add $10.00 $151 to $400: add $12.00 $401 to $2000: add $20.00 $2001 and up: add $30.00 Overseas Charges: add $25.00 Additional Surchages will apply to Framed Items or Larger Printed Scores and Books. Please Inquire. Domestic Fedex, Express Mail, UPS Surcharge: Add $10.00 All shipping orders subject to review and final approval. Cover Image: Item 49 (Original Photograph of a Jug Band, c. 1900) Schubertiade Music & Arts 617-308-4019 [email protected] https://www.schubertiademusic.com New York Book Fair 2020 Catalog 1. [American Music] Gifford, Isaac. (1772-1843) Decorated Tenor Partbook from Early American Fa-Sol-La Tradition, dated 1797. Autograph musical manuscript, dated 1797, approx. 70 pp., handwritten in ink throughout, followed by additional blank leaves and containing nearly 50 songs in total (with titles such as "French tune", "London tune", "York tune", "Dundee tune", "Dublin tune", "Martyrs tune", "Aby tune", "Newton tune", St. -
Antonio Salieri Stefanie Attinger, Krüger & Ko
Aufnahme / Recording: World Premiere Recordings 28./29.1.07; 29./30.9.07; 28./29.10.07 Gesellschaftshaus Heidelberg, Pfaffengrund Toningenieur und Schnitt / Sound engineer and editing: Eckhard Steiger, Tonstudio van Geest, Sandhausen Musikalischer Berater und Einführungstext / Music consultant and critical editions: Timo Jouko Herrmann English Translation: Für weitere Informationen / For further information: Dr. Miguel Carazo & Association Mannheimer Mozartorchester - Tourneebüro Foto / Photo: Classic arts gmbh · Bergstr. 31 · D-69120 Heidelberg Rosa-Frank.com Tel.: +49-(0) 6221-40 40 16 · Fax: +49-(0) 6221-40 40 17 Grafik / Coverdesign: [email protected] · www.mannheimer-mozartorchester.de Antonio Salieri Stefanie Attinger, Krüger & Ko. Vol. 1 & 2007 hänssler CLASSIC, D-71087 Holzgerlingen Ouvertüren & Ballettmusik Mit freundlicher Unterstützung von Prof. Dr. Dietrich Götze, Heidelberg Overtures & Ballet music Außerdem erschienen / Also available: Felix Mendelssohn Bartholdy Symphony No. 1 C Minor op. 11 / String Symphony No. 8 (Version with winds) / String Symphony No. 13 (Symphonic Movement) Heidelberger Sinfoniker / Thomas Fey CD-No. 98.275 Felix Mendelssohn Bartholdy Symphony No. 4 „Italian“ / String Symphonies Nos. 7 & 12 Heidelberger Sinfoniker / Thomas Fey CD-No. 98.281 Eine große Auswahl von über 700 Klassik-CDs und DVDs finden Sie bei hänssler CLASSIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Downloadmöglichkeiten und Künstlerinformationen. Gerne können Sie auch unseren Gesamtkatalog anfordern Mannheimer Mozartorchester unter der Bestellnummer 955.410. E-Mail-Kontakt: [email protected] Thomas Fey Enjoy a huge selection of more than 700 classical CDs and DVDs from hänssler CLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. You may as well order our printed catalogue, order no.: 955.410. -
Antonio Salieri's Revenge
Antonio Salieri’s Revenge newyorker.com/magazine/2019/06/03/antonio-salieris-revenge By Alex Ross 1/13 Many composers are megalomaniacs or misanthropes. Salieri was neither. Illustration by Agostino Iacurci On a chilly, wet day in late November, I visited the Central Cemetery, in Vienna, where 2/13 several of the most familiar figures in musical history lie buried. In a musicians’ grove at the heart of the complex, Beethoven, Schubert, and Brahms rest in close proximity, with a monument to Mozart standing nearby. According to statistics compiled by the Web site Bachtrack, works by those four gentlemen appear in roughly a third of concerts presented around the world in a typical year. Beethoven, whose two-hundred-and-fiftieth birthday arrives next year, will supply a fifth of Carnegie Hall’s 2019-20 season. When I entered the cemetery, I turned left, disregarding Beethoven and company. Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place. Salieri is one of history’s all-time losers—a bystander run over by a Mack truck of malicious gossip. -
Framing a Critical, Interdisciplinary Approach to Film: Teaching Amadeus
Framing a Critical, Interdisciplinary Approach to Film: Teaching Amadeus Nancy Rachel November, University of Auckland Brenda Allen, University of Auckland ow might I interpret the film Amadeus as a Mozart reception doc- ument of the 1980s?” “What does ‘authenticity’ mean in relation to that film’s soundtrack and screenplay?” “How is Salieri char- “Hacterized in the film, and why?” These are the sorts of questions one might wish that students would formulate when considering the popular music biopic (biographical film) Amadeus in relation to music history. The reality can be quite different. Surveys of second year Music History students at the University of Auckland in 2012-2014 show that they tend to view music history as estab- lished fact, and have great difficulty posing complex critical questions and constructing critical, evidence-based arguments. Most writers on the subject of historical literacy agree that the ability to read, write and think critically about a range of media is an especially valuable skill. These abilities not only serve stu- dents’ immediate studies within historical disciplines, but also enable graduates “to negotiate and create the complex texts of the Information Age.”1 This is espe- cially true of music history: one can draw on a broad range of sonic, visual and digital media to answer the increasingly varied questions that music historians address. But how is one to help students prepare for the interdisciplinary skills, attitudes and understandings this requires? How do we best equip students to analyze and read critically the films, YouTube clips, cartoons and diverse other source material they might want and need to study? One useful way to address such questions is for music history teachers to bring co-teachers from other disciplines in to a given music history course: a cartoon historian, for example, or a teacher from film studies, as befits the sub- ject matter. -
Franz Schubert Written and Narrated by Jeremy Siepmann with Tom George As Schubert
LIFE AND WORKS Franz Schubert Written and narrated by Jeremy Siepmann with Tom George as Schubert 8.558135–38 Life and Works: Franz Schubert Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear very substantial chunks, and in several cases whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works. Dismemberment of these for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann 8.558135–38 3 Life and Works: Franz Schubert © AKG Portrait of Franz Schubert, watercolour, by Wilhelm August Rieder 8.558135–38 Life and Works: Franz Schubert Franz Schubert(1797-1828) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Nineteenth Century 16 2 Schubert in His Time 26 3 The Major Works and Their Significance 41 4 A Graded Listening Plan 68 5 Recommended Reading 76 6 Personalities 82 7 A Calendar of Schubert’s Life 98 8 Glossary 132 The full spoken text can be found on the CD-ROM part of the discs and at: www.naxos.com/lifeandworks/schubert/spokentext 8.558135–38 5 Life and Works: Franz Schubert 1 Piano Quintet in A major (‘Trout’), D. -
Amadeus: a Play Free
FREE AMADEUS: A PLAY PDF Rainer Lengeler,Peter Shaffer | 199 pages | 01 Jan 1987 | Reclam Philipp Jun. | 9783150092194 | English | none Amadeus - Wikipedia Veteran actress Lauren Bacall won Amadeus: A Play Tony for outstanding actress in a musical for her part in 'Woman of the Year. Although Elizabeth Taylor failed to win a Tony for her Broadway debut in Lillian Hellman's play about the Nazi era, Amadeus: A Play Foxes,' she drew a standing ovation from the audience when she was introduced to announce the winner of the best musical award. Miss Taylor, the wife of Sen. John Warner, Amadeus: A Play her lines and drew laughs and more applause as she mispronounced the name of a producer she had known for years -- James Nederlander -- but then exclaimed gleefully that she could say 'Warner' for Warner Theatre Productions. The awards for Broadway's season were presented at the Mark Hellinger Theater and a number of British artist grabbed top honors. Peter Shaffer, author of 'Amadeus,' is British and the award for outstanding performance by an actress in a play went to Jane Lapotaire, the star of 'Piaf,' a play about the late French chanteuse Edith Piaf. The winner for outstanding choreography was awarded to the late Gower Champion for '42nd Street. The award for featured actress in a play was won by Swoosie Kurtz for her role in 'Fifth of July,' and Marily Cooper won the Tony for featured actress in a musical, 'Woman of the Year. The awards, presented by the American Theater Wing for excellence in the Broadway theater, are named in memory of former Wing director Antoinette Perry. -
Piano Variations
Schubert Piano Variations Yevgeny Yontov Franz Schubert (1797–1828) spent in part at Zseliz in Hungary as music tutor to the two its quality as for its quantity, with settings of poems by major Piano Variations daughters of Count Johann Karl Esterházy von Galánta, and minor poets, a reflection of literary interests of the before returning to Vienna to lodge with a new friend, the period. His gift for the invention of an apt and singable 13 Variations on a theme by Anselm Hüttenbrenner ) Variation No. 5: Andante con moto 1:16 poet Johann Mayrhofer, an arrangement that continued melody is reflected in much else that he wrote. in A minor, D576 (1817) 14:23 ¡ Variation No. 6 1:15 until near the end of 1820, after which Schubert spent some Schubert enjoyed a close friendship with Anselm 1 Theme: Andantino 1:13 ™ Variation No. 7: Scherzando 1:15 months living alone, now able to afford the necessary rent. Hüttenbrenner in Vienna between 1815 and 1821. From a 2 Variation No. 1 0:49 £ Variation No. 8 1:46 By this period of his life it seemed that Schubert was on land-owning family in Graz, Hüttenbrenner, the eldest of 3 Variation No. 2 0:52 ¢ Variation No. 9: Adagio 1:37 the verge of solid success as a composer and musician. three brothers, studied with Antonio Salieri and was prolific 4 Variation No. 3 0:53 ∞ Variation No. 10: Allegro 3:11 Thanks to his friends, in particular the older singer Johann enough as a composer, although his career lay eventually 5 Variation No. -
A Guide to Franz Schubert's Religious Songs
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks A GUIDE TO FRANZ SCHUBERT’S RELIGIOUS SONGS by Jason Jye-Sung Moon Submitted to the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice December 2013 Accepted by the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice. __________________________________ Mary Ann Hart, Chair & Research Director __________________________________ William Jon Gray __________________________________ Robert Harrison __________________________________ Brian Horne ii Copyright © 2013 by Jason Jye-Sung Moon All rights reserved iii Acknowledgements I would like to express my deepest gratitude to my committee chair and research director, Professor Mary Ann Hart, for the excellent guidance, caring, patience, and encouragement I needed to finish this long journey. I would also like to thank Dr. Brian Horne, who supported me with prayers and encouragement. He patiently corrected my writing even at the last moment. I would like to thank my good friend, Barbara Kirschner, who was with me throughout the writing process to help me by proofreading my entire document and constantly cheering me on. My family was always there for me. I thank my daughters, Christine and Joanne, my parents, and my mother-in-law for supporting me with their best wishes. My wife, Yoon Nam, deserves special thanks for standing by me with continuous prayers and care. I thank God for bring all these good people into my life. -
Inside out Mozart and Schubert
Inside Out WORKSHEET A Mozart and Schubert 1. Wolfgang Amadeus Mozart and Franz Peter Schubert are two huge names in the world of classical music. But how much do you know about them? Do the quiz and find out. If your answer is Mozart, write M next to the statement. If your answer is Schubert, write S and if your answer is Both of them, write B. 1. He was born and died in Vienna. 2. His talent was recognised from an early age. 3. He was a student of composer Antonio Salieri. 4. He died before he reached 36. 5. He was famous in his lifetime. 6. He wrote many songs, including Ave Maria. 7. He was married with two children. 8. He earned a lot of money from his music. 9. He died a poor man. 10. His memorial is in Zentralfriedhof (the largest cemetery), in Vienna. 11. He was a member of the secret society, the Freemasons. 12. He was a great fan of the composer Beethoven. 13. He was part of the movement called the Viennese School. 14. He worked as a schoolteacher. 15. He was a composer of the Classical Era (1750-1820). 2. Work in pairs. Read one half of Worksheet B. Then work together with your partner to check your answers to the quiz. This page has been downloaded from www.insideout.net. It is photocopiable, but all copies must be complete pages. Copyright © Macmillan Publishers Limited 2004. Inside Out WORKSHEET B Wolfgang Amadeus Mozart was born in Salzburg on January 27th, 1756. -
Ottoman Influences on European Music, Part 2
Ottoman influences on European music, part 2 A. Yunus Gencer Introduction This is a continuation of the essay entitled Ottoman influences on Euro- pean music in CMR 10, which briefly examines the history and charac- teristics of Turkish music and focuses on the influence of the Ottomans on European music to the mid-18th century. This second part covers the period from the mid-18th to the early 20th century. During this time, there was a crescendo, followed by a decrescendo, in the frequency and inten- sity of Ottoman-related concepts being utilised by European composers, with a climax occurring in the works of Wolfgang Amadeus Mozart (1756- 91). After Mozart’s death, as Europeans came into contact with various other ‘exotic’ cultures, and as Ottoman power declined further in the 19th century, Ottomania slowly but steadily died away. As it was dying, a reverse influence began, this time Europe being the influencer, and the ‘eternal state’ being the influenced. The reigns of reforming sultans such as Mahmud II (r. 1808-39) and Abdülaziz (r. 1861-76) saw increas- ing interest in European culture and music, as well as the reforming of the military bands (Janissary mehteran), which were the main element that had influenced European composers in the first place. Following the collapse of the empire, the succeeding Turkish Republic made consider- able efforts to Westernise the music scene in the country. It not only founded new conservatoires and orchestras solely devoted to teaching and playing European classical music, but went so far as to forbid Turk- ish classical and folk music education in its music institutions from 1926 to 1976.