558 59. Tonkünstlerfest. Opernfestwoche. Kammermusikfest

Total Page:16

File Type:pdf, Size:1020Kb

558 59. Tonkünstlerfest. Opernfestwoche. Kammermusikfest 558 59. Tonkünstlerfest. Opernfestwoche. Kammermusikfest Duisburg, 2. – 7. Juli 1929 Ch.: Duisburger Städtischer Gesangverein, Rheinischer Madrigalchor Duisburg, a- cappella-Chor des Duisburger Opernchores Ens.: Duisburger Städtisches Orchester 1. Aufführung: Opernaufführung Duisburg, Stadttheater, Dienstag, 2. Juli, 18:00 – gegen 20:15 Uhr Emil Aloys Angelique Peeters: Die Troerinnen, Tragödie Ltg.: Paul Drach für Musik in 3 Akten Spielltg.: Alexander Schum Text: Franz Werfel, nach Euripides ChLtg.: Richard Hillenbrand I. Akt BühnBld.: Johannes Schröder II. Akt techn. Einr.: August Rudolph Insp.: Richard Frellstedt Pause Mal.: Paul Wolff Beleuchtg.: Karl Lucé III. Akt Kostm.: August Niedworok, Helene Metterschehn Haartr.: Erich Hennicke, Martha Seehaus Sol.: Else Dröll-Pfaff (Hekuba), Bella Fortner- Halbaerth (Kassandra), Käte Teuwen (Andromache), Lydia Maschek (Helena), Annie Kindling (Dienerin), Wilhelm Trieloff (Menelaos), Willi Busch (Herold) 2. Aufführung: Erste Kammermusik-Matinee Duisburg, Städtische Tonhalle, großer Saal, Mittwoch, 3. Juli, 11:30 Uhr Konzertflügel: Steinway & Sons 1. Wilhelm Kempff: Sonate für Orgel (UA) Sol.: Wilhelm Kempff (Org.) 1. Praeambulum 2. Sarabande 3. Fuga 2. Otto E. Crusius: Der Baum des Lebens, Zyklus von 9 Ltg.: Walter Josephson dreistimmigen Hymnen für Kammerchor mit Vorspielen Ch.: Rheinischer Madrigalchor Duisburg und Nachspiel für Streichquartett (UA) Ens.: Grevesmühl-Quartett Duisburg = Text: Gottfried Hasenkamp (≡) Hermann Grevesmühl (V.), Richard Spindler Ausschnitte (V.), Fritz Hilbert (Va.), Artur Franke (Vc.) 1. Einleitung: Grave für Streichquartett 2. Vorspiel 1 für 2 Violinen und Viola 3. „O Baum, der uns vom Tode trug“ für SSA 4. Vorspiel 2 für 2 Violinen und Viola 5. „O Palme in des Siegers Hand“ für SST 6. „Der Held erstand“, die Krone flammt“ für ATB 7. Vorspiel 4 für 2 Violinen und Violoncello 8. „O Quelle, Selber quellenlos“ für SSA 9. Vorspiel 5 für Streichquartett 10. „Im neuen Paradiese ragt“ für SAB 3. Hans Gebhard: Improvisationen über ein eigenes Thema Sol.: Heinrich Boell (Org.) für Orgel (UA) 4. Hans Lang: Trio für Flöte, Klarinette und Fagott op. 12, Sol.: Emil Krause (Fl.), Karl Ritter (Klar.), dem Meister des Kontrapunkts, Joseph Haas, gewidmet Kurt Stolle (Fg.) (UA) 1. Invention 2. Gigue 3. Sarabande 4. Fuge 559 5. Philippine Schick: Der Einsame an Gott, Kantate für Ltg.: Walter Josephson dramatischen Sopran, lyrischen Bariton, dreistimmigen Sol.: Mia Neusitzer-Thoenissen (S), Rudolf Frauenchor, Streichorchester und Klavier op. 17 Watzke (Bar.), Heinz Eccarius (Kl.) Text: Hermann Hesse, aus Musik des Einsamen, FrCh.: Damen des Rheinischen Madrigalchors Bibelworte und Choräle (≡) und der Chorklasse des Städtischen Konservatoriums Ens.: Städtisches Orchester Duisburg 3. Aufführung: Opernaufführung Duisburg, Stadttheater, Mittwoch, 3. Juli, 19:30 – gegen 23:00 Uhr techn. Einr.: August Rudolph Mal.: Paul Wolff Beleuchtg.: Karl Lucé Kostm.: August Niedworok, Helene Metterschehn Haartr.: Erich Hennicke, Martha Seehaus 1. Paul Strüver: Dianas Hochzeit, Oper 1 Akt (2 Bildern) Ltg.: Paul Strüver Insz. und Spielltg.: Alexander Schum ChorLtg.: Richard Hillenbrand BühnBld.: Julius Schmitz-Bous Sol.: Karl-Heinz Nießen (Maler), Robert von der Linde (Soldat), Hans Schröck (Mönch), Heinrich Löffler (Advokat), Anni Kamphausen (Diana), Charlotte Krauß (Marktweib), Aenne Martin (Marktweib), Annie Kindling (Marktweib), Marianne Horkenbach (Marktweib) 2. Arnold Schönberg: Die glückliche Hand, Drama mit Ltg.: Paul Drach Musik Insz. und Spielltg.: Alexander Schum BühnBld.: Johannes Schröder Sol.: Wilhelm Trieloff (Mann), Edith Judis (Frau), Karl Siebold (Herr), 6 Frauenstimmen: Bella Fortner-Halbaert, Aenne Martin, Marianne Horkenbach, Else Dröll-Pfaff, Annie Kindling, Philippine Merklinghaus-Wrabel, 6 Männerstimmen: Leonhard Kistemann, Hans Schröck, Konrad Becker, Rudolph Hohberg, Alfred Karen, Heinrich Löffler 3. Heinz Tiessen: Salambo, Tanzdrama in 3 Bildern nach Ltg.: Gotthold Ephraim Lessing einem Entwurf von Lucy Kieselhausen Insz.: Richard Frellstedt, Franz Schönefeld Bearb.: Julian Algo Reg. und Choreogr.: Julian Algo 1. Bild: Karthago, vor dem Tempel der Tanit BühnBld.: Johannes Schröder 2. Bild: Lager der meuternden Söldner vor den Mauern Sol.: Edith Judis (Salambo, Oberpriesterin, Karthagos Hüterin des siegbringenden Schleiers), Werner 3. Bild: Karthago, vor dem Tempel der Tanit Stammer (Matho, Führer der meuternden Söldner), Eugen Poranski (Naravas, Karthagischer Hauptmann, Mathos Freund und Rivale) 560 4. Aufführung: Opernaufführung Duisburg, Stadttheater, Donnerstag, 4. Juli, 19:30 – gegen 22:45 Uhr Julius Weismann: Traumspiel, Oper in 3 Akten Ltg.: Paul Drach Text: August Strindberg Spielltg.: Saladin Schmitt 1. Bild: In den Wolken ChLtg.: Richard Hillenbrand 2. Bild: Vor dem wachsenden Schloß BühnBld.: Johannes Schröder 3. Bild: Beim Offizier techn. Einr.: August Rudolph 4. Bild: Vor dem Theater Spielwart: Richard Frellstedt 5. Bild: Beim Advokaten Mal.: Paul Wolff 6. Bild: Halle mit Orgel Beleuchtg.: Karl Lucé 7. Bild: Fingalshöhle Kostm.: August Niedworok, Helene Meterschehn Pause Haartr.: Erich Hennicke, Martha Seehaus Sol.: Robert von der Linde (Indra), Gertrud 8. Bild: Beim Advokaten Stemann (Indras Tochter), Hans Bohnhoff 9. Bild: Schmachsund (Offizier), Wilhelm Trieloff (Advokat), Else 10. Bild: Heiterbucht Dröll-Pfaff (Türhüterin), Alfred Karen 11. Bild: Fingalshöhle (Quarantänemeister), Holger Börgesen 12. Bild: Vor der Kleeblattüre (Dichter), Heinrich Löffler (Zettelankleber), 13. Bild: Vor dem wachsenden Schloß Rudolf Hohberg (Vater), Annie Kindling 14. Bild: In den Wolken (Mutter), Hans Schröck (Magister), Karl Siebold (Glasermeister), Karl Buschmann (Blinder), Karl-Heinz Nießen (Er), Elisabeth Kluge (Sie), Leonhard Kistemann (1. Kohlenträger), Rudolf Hohberg (2. Kohlenträger), Konrad Becker (Herr), Anni Kamphausen (Frau; Viktoria, eine Frauenstimme), Charlotte Krauß (Lina), Aenne Martin (Ballettmädchen; Stimme der Wogen, eine Frauenstimme), Franz Heinz Wagner (Chorist), Konrad Becker (Souffleur), Bella Fortner-Halbaerth (Christel), Lydia Mascheck (Edith), Marianne Horkenbach (Ediths Mutter), Käte Teuwen (Stimme der Wogen, eine Frauenstimme) 5. Aufführung: Opernaufführung Duisburg, Stadttheater, Freitag, 5. Juli, 19:30 – gegen 22:00 Uhr BühnBld.: Johannes Schröder techn. Einr.: August Rudolph Mal.: Paul Wolff Beleuchtg.: Karl Lucé Kostm.: August Niedworok, Helene Metterschehn Haartr.: Erich Hennicke, Matha Seehaus 1. Hans Chemin-Petit: Der gefangene Vogel, lyrisches Spiel Ltg.: Paul Drach Text: Karla Höcker Insz. und Spielltg.: Alexander Schum Sol.: Elisabeth Kluge (Prinzession Ly-han), Eugen Poranski (Prinz Wang-lu), Hans Schröck (Wasserträger), Leonhard Kistemann (Diener), Karl Siebold (Spielmann) 561 2. Hellmut Gropp: George Dandin, komische Oper in 2 Ltg.: Wilhelm Grümmer Aufzügen Spielltg.: Saladin Schmitt Text: nach Jean Baptiste Molière Insp.: Richard Frellstedt Sol.: Leonhard Kistemann (George Dandin), Lydia Maschek (Angelika, seine Frau), Rudolf Hohberg (Herr von Sotenville, Angelikas Vater), Marianne Korkenbach (Frau von Sotenville, Angelikas Mutter), Alexander Gillmann (Clitandre, ein junger Edelmann), Karl Jank-Hoffmann (Lubin, Clitandres Diener), Anni Kamphausen (Claudine, Angelikas Vertraute), Heinrich Löffler (Colin, Dandis Knecht) 6. Aufführung: Sonderveranstaltung im Rahmen der Festwoche des Allgemeinen Deutschen Musikvereins: Darstellung eines neuen chorischen Prinzips auf der vokal-instrumentalen Grundlage des Polychorischen Duisburg, Städtische Tonhalle, großer Saal, Samstag, 6. Juli, 16:30 Uhr Ltg.: Erich Dörlemann Sol.: Margot Hinnenberg-Lefèbre (S) Ch.: Melanchthon-Chor Bochum Ens.: Mitglieder des Städtischen Orchesters Bochum (chorische Instrumentalgruppen: 3 Fl., 3 Ob., 3 Engl. Hr., 3 Fg., 3 Trp., 4 Pos., 2 Str., Cel., Kl.) 1. Herbert Eimert: Chormusik 1928, für vokale und instrumentale Chöre (UA) 1. Nr. 4 „Von Gottes Fülle“ Text: Johannes 1, 16 2. Nr. 5 Der Große Tod Text: Rainer Maria Rilke 2. Kaspar Roeseling: Passion nach dem Evangelisten Johannes, für vokale und instrumentale Chöre und Solosopran (UA) Ausschnitte 1. Introitus 2. Der Vorabend 3. Golgatha 4. Amen 3. Emil Aloys Angelique Peeters: Solokantate (UA) 1. Rezitativ „Und ich sah einen neuen Himmel und eine neue Erde“ 2. Andante „Siehe, ich mache alles neu“ 3. Rezitativ „Und es trat zu mir einer von den sieben Engeln“ 4. Andante „Siehe da, ein Hütte Gottes bei den Menschen“ 4. Arnold Schönberg: Die glückliche Hand, Drama mit Ltg.: Paul Drach Musik Insz. und Spielltg.: Alexander Schum BühnBld.: Johannes Schröder Sol.: Wilhelm Trieloff (Mann), Edith Judis (Frau), Karl Siebold (Herr), 6 Frauenstimmen: Bella Fortner-Halbaert, Aenne Martin, Marianne Horkenbach, Else Dröll-Pfaff, Annie Kindling, Philippine Merklinghaus-Wrabel, 6 Männerstimmen: Leonhard Kistemann, Hans Schröck, Konrad Becker, Rudolph Hohberg, Alfred Karen, Heinrich Löffler 562 7. Aufführung: Opernaufführung Duisburg, Stadttheater, Samstag, 6. Juli, 19:00 – 22:30 Uhr Paul Kick-Schmidt: Tullia, Oper in 4 Aufzügen Ltg.: Wilhelm Grümmer Text: Theodor Kiendl, Clemens Lehmann Insz. und Spielltg.: Alexander Schum I. Akt ChLtg.: Richard Hillenbrandt II. Akt BühnBld.: Johannes Schröder techn. Einr.: August Rudolph Pause Insp.: Richard Frellstedt, Franz Schönefeld Mal.: Paul Wolff III. Akt Beleuchtg.: Karl Lucé IV. Akt Kostm.: August Niedworok, Helene Metterschehn Haartr.: Erich Hennicke, Martha Seehaus Sol.: Holger Börgesen (Tarquinius), Bella Fortner-Halbaerth (Tullia), Alexander Gillmann (Collatinus), Käte
Recommended publications
  • Bruno Walter (Ca
    [To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒
    [Show full text]
  • 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.
    [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]
  • Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip
    CARNEGIE HALL - - NEW YORK Twenty-seventh Season in New York itasimt l§>ptpfjmttj ©rrffMra Dr. KARL MUCK, Conductor Programmes nf % FIRST CONCERT THURSDAY EVENING, NOVEMBER 7 AT 8.15 AND THE FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 9 AT 230 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER ifam&Iara 4 Boston's Great Art ^Product Q Everywhere recognized as musically the most beautiful piano the world has ever seen Jtefltt&iJHrolmdltf. ESTABLISHED 1854 313 Fifth Avenue NEW YORK Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler, B. Marble, E. Haynes, E. Tischer-Zeitz, H. Kurth, R. Griinberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H JECluge, M. Van Wynbergen, C Gietzen, A. Schwerley, P. Berliner, W. Forster, E. Blumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Warnke, J. Urack, 0. Nagel, R. Nast, L. Folgmann, E. Steinke, B. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Foss6, P. Vannini, A. Fuhrmann, M. Chevrot, A. English Horn.
    [Show full text]
  • Richard Strauss
    RICHARD STRAUSS: The Origin, Dissemination and Reception of his Mozart Renaissance Raymond lIolden I I \,--,~/ PhD Goldsmiths' College University of London 1 Abstract Richard Strauss holds an important place in the history of performance. Of the major musical figures active during the second half of the nineteenth and the first half of the twentieth centuries, his endeavours as a Mozartian are of particular importance. Strauss' special interest in the works of Mozart was seminal to both his performance and compositional aesthetics. As a result of this affinity, Strauss consciously set out to initiate a Mozart renaissance that embodied a precise set of principles and reforms. It was these principles and reforms, described as literalist, rather than those of artists such .as Gustav Mahler, who edited Mozart's works both musically and dramatically, that found further expression in the readings of, amongst others, Otto Klemperer, George Szell, Sir John Pritchard and Wolfgang Sawallisch. It is the aim of this dissertation to investigate Strauss' activities as a Mozartian and to assess his influence on subsequent generations of Mozart conductors. Accordingly, the dissertation is divided into an Introduction, five chapters, a Conclusion and thirteen appendices. These consider both the nature and ramifications of Strauss' reforms and performance aesthetic. Within this framework, the breadth of his renaissance; his choice of edition, cuts and revisions; his use of tempo, as a means of structural delineation; his activities with respect to the
    [Show full text]
  • [Köln], 24. – 27. [28.] Mai 1906
    403 Tonkünstlerfest (42. Jahresversammlung) Essen, [Köln], 24. – 27. [28.] Mai 1906 Festdirigent: Georg Hendrik Witte Festchor: Chor des Essener Musikvereins Ens.: Städtisches Orchester zu Essen, Städtisches Orchester zu Utrecht Cel.: Mustel Père et Fils, Paris 1. Aufführung: Erstes Orchesterkonzert Essen, Städtischer Saalbau, großer Saal, Donnerstag, 24. Mai, 18:00 Uhr 1. Rudolf Siegel: Heroische Tondichtung, für großes Orchester 2. Otto Neitzel: Das Leben ein Traum, Fantasie für Violine Ltg.: Otto Neitzel und Orchester op. 33 Sol.: Alexander Kosman (V.) Programm: nach Pedro Calderón de la Barca: Das Leben ein Traum, Drama 3. Richard Karl Mors: Dem Schmerz sein Recht, sinfonische Ltg.: Richard Karl Mors Tondichtung für großes Orchester 4. Frederick Delius: Sea-drift (Im Meerestreiben), für Sol.: Joseph Loritz (Bar.) Baritonsolo, gemischten Chor und Orchester Text: Walt Whitman (engl.), Übs.: Jelka Delius (≡ dt.) Pause: 1 h 5. Hermann Bischoff: Sinfonie in E-Dur 1. Sehr schnell und feurig 2. Ruhig und getragen (Quasi moderato con moto) 3. Presto. Ruhig. Presto. Ueberleitung. Sehr ruhig 4. Allegro moderato 6. Walter Braunfels: Falada, Märchenspiel Ltg.: Walter Braunfels Szene Sol.: Thea Drill-Oridge (Lisa), Joseph Loritz Text: Karl Wolfskehl ( ≡) (Stimme des Fallada) 7. Engelbert Humperdinck: Festgesang zur Feier der Sol.: Eva Lessmann (S), Reinhold Batz (T) silbernen Hochzeit des Kaiserpaares am 27. Februar 1906, für Sopran- und Tenorsolo, gemischten Chor und Orchester Text: Julius Wolff (≡) 2. Aufführung: Erste Kammermusik Essen, Städtischer Saalbau, Kruppsaal, Freitag, 25. Mai, 11:30 Uhr Konzertflügel: Rud. Ibach Sohn 1. Heinrich Zöllner: Quartett für 2 Violinen, Viola und Ens.: Essener Streichquartett = Alexander Violoncello c-Moll Kosman (V.), Paul Lehmann (V.), Philip 1.
    [Show full text]
  • HOLLIS, DEBORAH LEE, DMA Orchestral Color in Richard Strauss's Lieder
    HOLLIS, DEBORAH LEE, D.M.A. Orchestral Color in Richard Strauss’s Lieder: Enhancing Performance Choices of All of Strauss’s Lieder through a Study of His Orchestrated Lieder. (2009) Directed by Dr. James Douglass. 83 pp. Strauss was a major composer of Lieder , with more than 200 published songs composed between 1870 and 1948, many of which belong to the standard song repertoire. Strauss’s lieder are distinctive because they reflect his simultaneous preoccupation with composing tone poems and operas. The vocal lines are declamatory, dramatic, and lyrical, while the accompaniments are richly textured. Strauss learned the craft of orchestration through studying scores of the masters, playing in orchestras, conducting, and through exposure to prominent composers. Equally important was his affiliation with leading figures of the New German School including Liszt, Wagner, and Berlioz. Berlioz used the expressive characteristics of the orchestral instruments as the primary inspiration for his compositions. Like Berlioz, Strauss used tone color as a crucial element that gave expression to poetic ideas in his symphonic works, operas, and songs. Strauss’s approach to orchestration gives insight into ways that a collaborative pianist may use tone color to enhance renderings of all of the composer’s lieder. In this study, I use my own analysis of Strauss’s orchestrations of his songs, as well as Strauss’s statements in his revision of Berlioz’s Treatise on Instrumentation , to show how his orchestrations bring out important aspects of the songs, clarifying and enriching their meaning. I further show how collaborative pianists can emulate these orchestral effects at the keyboard using specific techniques of touch, pedal, and phrasing, thereby rendering each song richer and more meaningful.
    [Show full text]
  • Biopolitics in German Musical Culture, 1850-1910 by Jonathan
    Sound Bodies: Biopolitics in German Musical Culture, 1850-1910 By Jonathan Gentry M.A., Portland State University, 2007 Dissertation Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of History at Brown University PROVIDENCE, RHODE ISLAND MAY 2015 © Copyright 2015 by Jonathan Gentry This dissertation by Jonathan Gentry is accepted in its present form by the Department of History as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date____________ __________________________________ Michael P. Steinberg, Advisor Recommended to the Graduate Council Date____________ __________________________________ Dana Gooley, Reader Date____________ __________________________________ Ethan Pollock, Reader Approved by the Graduate Council Date____________ __________________________________ Peter M. Weber, Dean of the Graduate School iii ACKNOWLEGEMENTS This dissertation has been written on dozens of surfaces. From attics to offices, I have called numerous desks my own. But I also made use of library carrels, the broad tables of reading rooms, and mucky table tops in coffee shops and cafes. I would like to thank the countless people that provided those surfaces: family, friends, colleagues, librarians, archivists, baristas, and servers. It has been a progressive dinner of writing, moving from place to place, finding material and shaping it. I would like to thank the institutions that allowed me to undertake this project and the specific people therein who aided its completion. I am first of all grateful to the members of the History Department at Brown University for all their guidance and the funding, including a grant from the Church Travel Fund that allowed me to conduct research at the Staatsbibliothek in Berlin.
    [Show full text]
  • 10. Juni 1902
    369 XXXVIII. Tonkünstler-Versammlung Krefeld, 6. – 10. Juni 1902 Festdirigent: Theodor Müller-Reuter Ch.: Krefelder Sängerbund, Knabenchor des Gymnasiums und Realgymnasiums Krefeld (80 Schüler) Ens.: Krefelder städtische Kapelle, Kölner Städtisches Orchester 1. Aufführung: I. Konzert Krefeld, Stadthalle, Sonnabend, 7. Juni, 18:30 Uhr Konzertflügel: Carl Bechstein, Berlin 1. Max von Schillings: Meergruss, sinfonische Fantasie Ltg.: Max von Schillings (komponiert 1895) 2. Felix vom Rath: Klavierkonzert mit Orchester b-Moll Sol.: Hedwig Meyer (Kl.) 3. Waldemar Edler von Baußnern: 2 Gesänge für Sopran und Ltg.: Waldemar Edler von Baußnern Orchester Sol.: Helene Berard (S) a) Meeresstille Text: Nikolaus Lenau (≡) b) Vision Text: Anna Ritter ( ≡) 4. Leo Blech: Waldwanderung, Tondichtung für Orchester Ltg.: Leo Blech Pause 5. Hermann Bischoff: Pan, ein Idyll für grosses Orchester Ltg.: Hermann Bischoff Programm: nach Ivan Sergeevi č Turgenev (≡) 6. Hans Pfitzner: „Herr Oluf“, Ballade für Bariton und Ltg.: Hans Pfitzner Orchester Sol.: Hermann Gausche (Bar.) Text: Johann Gottfried Herder ( ≡) 7. Hans Sommer: Rübezahl, Oper Sol.: Agnes Stavenhagen (Gertrud, S), Robert Text: Eberhard König ( ≡) Schirmer (Wido, T) Dramatisches Fragment Regieanweisungen ( ≡) 8. Eugen d’Albert: Der Improvisator, Oper (Carnevalstreiben in Italien) Ouverture 2. Aufführung: II. Konzert. Lieder-Matinée Krefeld, Königsburg, Sonntag, 8. Juni, 11:30 Uhr Konzertflügel: Steinweg Nachf., Braunschweig 1. Max Reger: Sol.: Joseph Loritz (Bar.), Franz Mikorey (Kl.) a) Waldseligkeit Text: Richard Dehmel (≡) b) Der Narr Text: Ludwig Jacobowski ( ≡) Franz Mikorey: c) „Die Luft so still“ Text: Wolfgang Müller von Königswinter (≡) d) Landschaft Text: J.O. Jacobsen ( ≡) e) Genesung Text: Hugo Salus ( ≡) 370 2. Conrad Eduard Reinhold Ansorge: Sol.: Marta Sandal (S), Conrad Eduard a) Weidenwald op.
    [Show full text]
  • Eleventh Rehearsal and Concert
    SYMPHONY HALL, BOSTON HUNTINGTON (S- MASSACHUSETTS AVENUES Ticket Office, 1492 . rj. , , S \ „„ Telephones ^^'^^ ^^^o„„ { Administration Offices. 3200 S TWENTY-SEVENTH SEASON, 1907-1908 DR. KARL MUCK, Conductor programm? of ti?? Eleventh Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, JANUARY 3 AT 2.30 O'CLOCK SATURDAY EVENING, JANUARY 4 AT 8.00 O'CLOCK PUBLISHED BY C. A. ELLIS, MANAGER 809 : Piano. Used and Indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel W^alter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY G. L SCHIRMER & COMPANY, 38 Huntington Avenue, Boston, Mass. 810 Boston Symphony Orchestra PERSONNEL ?j!a3!d!d=fa!id=adl=!!=faa6^^ ®^f)e Qt^itktrin^ i^tano Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET Cor. NORTHAMPTON ST. Near Mass. Ave. BOSTON 812 TWENTY-SEVENTH SEASON, NINETEEN HUNDRED SEVEN anc/ EIGHT Eleventh Rehearsal and Concert FRIDAY AFTERNOON, JANUARY 3, at 230.
    [Show full text]
  • Volume 24, Number 08 (August 1906) Winton J
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1906 Volume 24, Number 08 (August 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 08 (August 1906)." , (1906). https://digitalcommons.gardner-webb.edu/etude/517 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]. Copyright IflOfl, by Thbodohk Prksskb Vol. XXIV. PHILADELPHIA, PA., AUGUST, 1906. No. 8. The Music Teachers’ National Association ^ TWENTY-EIGHTH f THE dominating figures in the M. T. N. A. for ing, whch was held at 11.30. and brought the members several years past have been men from leading insti¬ ANNUAL CONVENTION to a realization that the policy of the Association is tutions of higher education, such as Columbia, Michi¬ an educational one, and to he conducted along the gan, Wisconsin and Northwestern Universities, Vas- lines already mapped out by President Pratt; a policy sar, Smith, Wellesley and other colleges; men whose to which all members should, in one way or another, positions bring them in close touch with the most suc¬ AT OBERLIN COLLEGE contribute.
    [Show full text]
  • GERMAN & AUSTRIAN SYMPHONIES from the 19Th
    GERMAN & AUSTRIAN SYMPHONIES From The 19th Century To The Present Composers other than Beethoven, Brahms, Bruckner, Mahler, Mendelssohn, Schubert & Schumann A Discography of CDs and LPs Prepared by Michael Herman Composers A-L JOHANN JOSEPH ABERT (1832-1915) A Sudeten German, he was born in Kochowitz, Bohemia (now Kochovice, Czech Republic). He studied double bass at the Prague Conservatory with Josef Hrabe and also received lessons in theory from Johann Friedrich Kittl and August Wilhelm Ambros. He became a double bassist for the Court Orchestra at Stuttgart and later was appointed Kapellmeister. He composed orchestral and chamber works as well as lieder and several successful operas. His unrecorded Symphonies are: Nos. 1 in B minor (1852), 2 in C minor (1854), 3 in A major (1856), 5 in C minor (1870), 6 in D minor "Lyric Symphony" (1890) and 7 in C major "Spring Symphony" (1894). Symphony No. 4 in D major, Op. 31 "Columbus, A Musical Portrait of the Sea in the Form of a Symphony" (1863) Werner Stiefel/Bohuslav Martinu Philharmonic Orchestra ( + Concerto for Double Bass and Variations for Double Bass and Orchestra) BAYER RECORDS 100160 (1996) AUGUST RITTER VON ADELBURG (1830-1873) Born in Pera, Turkey. The son of a diplomat, he spent his early years in Istanbul before going to Vienna to study music with Joseph Mayseder for violin and with Hoffmann for composition. He then toured Europe as a violinist. He later returned to Istanbul where he played the violin before the Sultan to whom he dedicated this Symphony. He mostly composed operas, chamber, instrumental and vocal works.
    [Show full text]