Download Searchable

Total Page:16

File Type:pdf, Size:1020Kb

Download Searchable !lMfM,fH^Jliir^IMlMM I I THE LIBRARIES 1 COLUMBIA UNIVERSITY 1 1 I i la MUSIC LIBRAR-^Y Si Given by Mrs* Hoa^ard ¥on Sinderen f */ > 0-^ FREDERIC CHOPIN HIS LIFE, LETTERS, AND WORKS. MORITZ KARASOWSKI. Witlj f oxirait. TRANSLATED FROM THE GERMAN BY EMILY HILL. • Chopin is and remains the boldest and proudest poetic spirit of the age."— ROBERT SCHUMANN, IN TWO VOLUMES.—^VOL. IL LONDON; '^0 WILLIAM REEVES, 185, FLEET STREET, b Piihlishev of Musical Works, ^> 1879. CHAPTER XI. FURTHER SOJOURN IN VIENNA. THE JOURNEY TO MUNICH. FREDERIC CHOPIN TO ELSNER, Vienna, January i6th, 1831. DEAR MONSIEUR ELSNER, I much regret that your kindness, of which I have had so many proofs during my journey, has once more made me feel ashamed of myself, and that you have anticipated me with a letter. I should have felt it my duty to write to you immediately on my arrival, but I put off doing so from day to day, feeling almost certain that my parents would not delay sending you all the news about me, as I am vain enough to think this would interest you. I wanted also to wait till I could tellyoa some­ thing definite about myself; but since the day on which I heard of the terrible events in the father­ land, I have had but one thought—anxiety and yearning about my country and my dear ones. Herr Malfatti has been vainly endeavouring to persuade me that an artist is, or ought to be, a N 194 LIFE OF CHOPIN, cosmopolitan. Supposing this to be so, although I was an artist in the cradle, I am, as a man, a Pole, and liable to serve as a soldier, so I hope that you will not blame me for not having thought seriously as yet about arranging for a concert. Obstacles surround me on all sides; not only has a succession of the most miserable concerts quite ruined good music, and rendered the public distrustful, but the recent affairs in Poland have a prejudicial effect on my position. I think, however—and Wlirfel fully approves my intention—of giving my first concert during the Carnival. The worthy Wtirfel is a constant sufferer, I often see him, and find that he has a pleasant recollection of you. I should feel little satisfied with my stay here but for the interesting acquaintances I have made among the first talent in the place, such names as Slawick, Merk, Bocklet, &c. The opera is good, and the Viennese are enchanted with Wildt and Fraulein Heinefetter ; but it is a pity that Duport brings out so few new operas, and is more careful of his pocket than of art. Abbe Stadler * is loud in his complaints, and says '^ Maximilian Stadler, born at Molk, in Lower Austria, August 4th, 1748, was an excellent pianist and organist. His ecclesiastical compositions were extremely popular in Vienna. In the last years of his life he was much occupied in writing on art, history, and science. He died universally esteemed and beloved in Vienna, November 8th, 1833. DEGENERATION OF PUBLIC TASTE. I95 that Vienna is not what it used to be. He is pub­ lishing his Psalms at Mechetti's ; I saw the work in manuscript and admired it. As to your quartet, Joseph Czerny promised faith­ fully that it should be ready on St. Joseph's day. He assured me that up till now it had. been im­ possible for him to put it in hand, as he is just bringing out Schubert's works, many of which are still in the press. So I am afraid that yours will be delayed. As I observed, Czerny is not one of the wealthiest publishers in this city, and cannot so easily take the risk of printing 'a work that is not performed either at *^ Sperl's " or ^t the ** Romische Kaiser." Waltzes are here called '^ works," and Lanner and Strauss, who play first violin at the performances of these dances, *^ capellmeister " (band-masters.) I do not mean to say that this is the universal way of speaking, for there are many who ridicule it; however, scarcely anything but Waltzes are printed. It seems to me that Mechetti is of an enterprising turn of mind, and that he will be more likely to take your Masses, for he intends to publish the scores of the famous church composers. I spoke about those glorious Masses of yours to Mechetti's book-keeper— an impressible and enlightened Saxon—he seemed to think something of them, and, according to what I hear, he does quite as he likes in the business. I am invited out to dinner to-day to meet Mechetti. 1 shall talk the matter over seriously with him, and 196 LIFE OF CHOPIN. will write to you about it soon. Haslinger is now publishing Hummel's last Mass, for he lives only for and by Hummel; but it is said that these latest compositions do not sell well; and Haslinger, who gave him a large honorarium for them, puts aside all manuscripts now, and only prints Strauss's com­ positions. Yesterday I was with Nidecki, at Steinkeller's, who has written a libretto for Nidecki. He hopes for great things from this opera, in which the famous comedian, Schuster, is to appear. In this case, Nidecki may make a name for himself. I hope that this news will please you. You ask, dear Mons. Eisner, why Nidecki studied my second concerto ? He did so solely by his own wish. Knowing that he would have to play in public before his departure from Vienna, and having nothing suitable of his own, except the beautiful variations, he asked for my manuscripts. Meanwhile things have greatly changed; he no longer appears as a pianoforte virtuoso, but as an orchestral composer. He will be sure to tell you of it himself. I shall take care that his overture is performed at my concert. You will be proud of us yet; at any rate you shall not be ashamed of us. The pianist, Aloys Schmitt, has been cut up by the critics, although he is past forty, and has been composing for eighteen years. Kindest remembrances to all the collegians, and to your own circle. For yourself, I beg you to MALFATTI. I97 receive the assurance of the unbounded respect with which I always remain, Your grateful and faithful pupil, FREDERIC CHOPIN. Vienna, May i^th, 1831. MY BELOVED PARENTS AND SISTERS, I have to go on short commons this week, as regards letters, but I console myself with the thought that I shall hear from you again next week, and wait patiently, trusting that you are as well in the country as you were in town. As to myself, I am in excellent spirits, and feel that good health is the best comforter in misfortune. Perhaps it is Malfatti's soups which have given me such strength that I really feel better than ever. If so it is a two-fold regret to me that Malfatti and his family are gone into the country. You cannot imagine what a beautiful villa he lives in; I was there a-week ago with Hummel. Having taken us over his house, he showed us his garden, and when we were at the tdp of the hill we had such a splendid view that we did not want to come down again, Malfatti has the honour of a visit from the court every year, and I should not wonder if the Duchess of Anhalt-Cothen, who is a neighbour of his, envies him his garden. On one side you see Vienna lying at your feet, and looking as if Schonbrunn were joined to it; on the ig8 LIFE OF CHOPIN. other, high hills picturesquely dotted with convents and villages. This romantic panorama makes you quite oblivious .of the nearness of the noisy, bustling Kaiserstadt. Yesterday I was at the Imperial library with Handler.* Do you know this is my first inspection of what is, perhaps, the richest collection of musical manuscripts in the world ? I can scarcely imagine that the library in Bologna can be larger and more systematically arranged than this one. Now, my dearest ones, picture to yourselves my astonishment at beholding among the new manu­ scripts a book entitled ^' Chopin." It was a pretty large volume, elegantly bound; I thought to myself, I have never heard of any other musician named Chopin, but there was a certain Champin, and perhaps there has been a mistake in the spelling. I took out the manuscript and saw my own handwriting. Haslinger had sent the original of my variations to the library. This is an absurdity worth remembering. Last Sunday there was to haye been a grand dis­ play of fireworks, but the rain spoilt ito It is a remarkable fact that it almost always rains here when they are going to have fireworks. This reminds me of the following story: *'A gentleman had a handsome bronze-coloured coat, but whenever ''' An author and musical connoisseur, born in 1792, died of cholera September, 1831. FIREWORKS AND RAIN. I99 he wore it, it rained; so he went to his tailor to ask him the reason. The tailor was very much astonished, shook his head, and asked the gentleman to leave the coat with him for a day or two, as, possibly, the hat, waistcoat or boots might be the cause of the misfortune. However, it was not so, for v/hen the tailor went out for a walk in the coat the rain suddenly poured down, and the poor man was obliged to take a cab, for he had forgotten his unbrella.
Recommended publications
  • PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
    PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
    Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years.
    [Show full text]
  • 1 the Consequences of Presumed Innocence: the Nineteenth-Century Reception of Joseph Haydn1 Leon Botstein
    Cambridge University Press 978-0-521-58052-6 - Haydn Studies Edited by W. Dean Sutcliffe Excerpt More information 1 The consequences of presumed innocence: the nineteenth-century reception of Joseph Haydn1 leon botstein 1 The Haydn paradox: from engaged affection to distant respect The mystery that plagues the contemporary conception and recep- tion of Haydn and his music has a long and remarkably unbroken history. Perhaps Haydn experienced the misfortune (an ironic one when one con- siders the frequency of premature deaths among his great contemporaries or near contemporaries) of living too long.Years before his death in 1809 he was considered so old that the French and English had already presumed him dead in 1805.2 Many wrote condolence letters and a Requiem Mass was planned in Paris. Haydn’s music was both familiar and venerated. Raphael Georg Kiesewetter (1773–1850), writing in Vienna in 1846, reflected the perspective of the beginning of the nineteenth century in his Geschichte der europaeisch-abendlaendischen oder unsrer heutigen Musik. Haydn had ‘ele- vated all of instrumental music to a never before anticipated level of perfec- tion’. Haydn had a ‘perfect knowledge of instrumental effects’ and with Mozart (for whom Haydn was the ‘example and ideal’) created a ‘new school which may be called the German or ...the “Viennese”school’.Theirs was the ‘golden age’ of music. Most significantly, Haydn’s instrumental works represented the standard of what was ‘true beauty’in music.3 Lurking beneath Kiesewetter’s praise of Haydn (and his discreet expressions of doubt about the novelties of Haydn’s successors, including 1 This essay is an expanded and revised form of my essay entitled ‘The Demise of Philosophical Listening’, in Elaine Sisman, ed., Haydn and his World (Princeton: Princeton University Press, 1997), pp.
    [Show full text]
  • The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
    THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting.
    [Show full text]
  • A Study of Ludwig Van Beethoven's Piano Sonata Op. 111
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Fall 11-4-2011 A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU Ji Hyun Kim [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Kim, Ji Hyun, "A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU" (2011). Research Papers. Paper 174. http://opensiuc.lib.siu.edu/gs_rp/174 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU by JI HYUN KIM B.M., CHUNG- ANG University, 2006 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale November 2011 RESEARCH PAPER APPROVAL A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU By JI HYUN KIM A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Piano Performance Approved by: Dr. Junghwa Lee, Chair Dr. Eric Mandat Dr.
    [Show full text]
  • A Survey of Czech Piano Cycles: from Nationalism to Modernism (1877-1930)
    ABSTRACT Title of Dissertation: A SURVEY OF CZECH PIANO CYCLES: FROM NATIONALISM TO MODERNISM (1877-1930) Florence Ahn, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Larissa Dedova Piano Department The piano music of the Bohemian lands from the Romantic era to post World War I has been largely neglected by pianists and is not frequently heard in public performances. However, given an opportunity, one gains insight into the unique sound of the Czech piano repertoire and its contributions to the Western tradition of piano music. Nationalist Czech composers were inspired by the Bohemian landscape, folklore and historical events, and brought their sentiments to life in their symphonies, operas and chamber works, but little is known about the history of Czech piano literature. The purpose of this project is to demonstrate the unique sentimentality, sensuality and expression in the piano literature of Czech composers whose style can be traced from the solo piano cycles of Bedřich Smetana (1824-1884), Antonín Dvořák (1841-1904), Leoš Janáček (1854-1928), Josef Suk (1874-1935), Bohuslav Martinů (1890-1935) to Erwin Schulhoff (1894-1942). A SURVEY OF CZECH PIANO CYCLES: FROM ROMANTICISM TO MODERNISM (1877-1930) by Florence Ahn Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2018 Advisory Committee: Professor Larissa Dedova, Chair Professor Bradford Gowen Professor Donald Manildi Professor
    [Show full text]
  • Raport Częściowy - Etap I, II I III
    Zweckverband Verkehrsverbund Oberlausitz-Niederschlesien Opracowanie Koncepcji Publicznego Transportu Pasażerskiego Komunikacji Regionalnej w korytarzu Bautzen - Gorlitz - Lubań - Jelenia Góra - Kamienna Góra w celu rozwoju turystyki w Euroregionie Neisse - Nisa - Nysa Raport częściowy - etap I, II i III Wydanie | 13 września 2012 Niniejszy raport uwzględnia instrukcje i wskazówki naszego Klienta i w związku z tym nie jest on przeznaczony dla osób trzecich. Zrzekamy się odpowiedzialności z tytułu używania niniejszego raportu przez osoby trzecie. Nr projektu 223412 Ove Arup & Partners International Ltd Sp. z o. o. Oddział w Polsce ul. Królewska 16 00-103 Warszawa Poland www.arup.com IVAS - Ingenieurbüro für Verkehrsanlagen und -systeme Alaunstraße 9 01099 Dresden (Neustadt) Deutschland / Germany www.ivas-ingenieure.de Weryfikacja dokumentu Nazwa projektu Opracowanie Koncepcji Publicznego Transportu Nr projektu Pasażerskiego Komunikacji Regionalnej w 223412 korytarzu Bautzen - Görlitz - Lubań - Jelenia Góra - Kamienna Góra w celu rozwoju turystyki w Euroregionie Neisse - Nisa - Nysa Nazwa dokumentu Raport częściowy - etap I, II i III Numer pliku w katalogu Numer katalogu Weryfikacja Data Nazwa pliku Report 2012_06_25_JSa.docx Draft 1 25 cze Opis First draft 2012 Przygotowany przez Sprawdzony przez Zatwierdzony przez Joanna Sarbiewska, Nazwisko Dirk Ohm Krzysztof Pogłód Martin Schüffler Podpis Wydanie 31 lip Nazwa pliku Report 2012_07_31_PL_final.docx 2012 Opis Przygotowany przez Sprawdzony przez Zatwierdzony przez Joanna Sarbiewska, Nazwisko
    [Show full text]
  • Robert Schumann and the German Revolution of 1848,” for “Music and Revolution,” Concert and Lecture Series
    Loyola University Chicago Loyola eCommons History: Faculty Publications and Other Works Faculty Publications 5-2-1998 “Robert Schumann and the German Revolution of 1848,” for “Music and Revolution,” concert and lecture series David B. Dennis Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/history_facpubs Part of the History Commons Author Manuscript This is a pre-publication author manuscript of the final, published article. Recommended Citation Dennis, David B.. “Robert Schumann and the German Revolution of 1848,” for “Music and Revolution,” concert and lecture series. The American Bach Project and supported by the Wisconsin Humanities Council as part of the State of Wisconsin Sesquicentennial Observances, All Saints Cathedral, Milwaukee, Wisconsin, , : , 1998. Retrieved from Loyola eCommons, History: Faculty Publications and Other Works, This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in History: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © David B. Dennis 1998 “Robert Schumann and the German Revolution of 1848” David B. Dennis Paper for “Music and Revolution,” concert and lecture series arranged by The American Bach Project and supported by the Wisconsin Humanities Council as part of the State of Wisconsin Sesquicentennial Observances, All Saints Cathedral Milwaukee, Wisconsin, 2 May 1998. 1 Let me open by thanking Alexander Platt and Joan Parsley of Ensemble Musical Offering, for inviting me to speak with you tonight.
    [Show full text]
  • Alien Plants in Central European River Ports
    A peer-reviewed open-access journal NeoBiota 45: 93–115 (2019) Alien plants in Central European river ports 93 doi: 10.3897/neobiota.45.33866 RESEARCH ARTICLE NeoBiota http://neobiota.pensoft.net Advancing research on alien species and biological invasions Alien plants in Central European river ports Vladimír Jehlík1, Jiří Dostálek2, Tomáš Frantík3 1 V Lesíčku 1, 150 00 Praha 5 – Smíchov, Czech Republic 2 Silva Tarouca Research Institute for Landscape and Ornamental Gardening, CZ-252 43 Průhonice, Czech Republic 3 Institute of Botany, Academy of Sciences of the Czech Republic, CZ-252 43 Průhonice, Czech Republic Corresponding author: Jiří Dostálek ([email protected]) Academic editor: Ingo Kowarik | Received 14 February 2019 | Accepted 27 March 2019 | Published 7 May 2019 Citation: Jehlík V, Dostálek J, Frantík T (2019) Alien plants in Central European river ports. NeoBiota 45: 93–115. https://doi.org/10.3897/neobiota.45.33866 Abstract River ports represent a special type of urbanized area. They are considered to be an important driver of biological invasion and biotic homogenization on a global scale, but it remains unclear how and to what degree they serve as a pool of alien species. Data for 54 river ports (16 German, 20 Czech, 7 Hungarian, 3 Slovak, and 8 Austrian ports) on two important Central European waterways (the Elbe-Vltava and Dan- ube waterways) were collected over 40 years. In total, 1056 plant species were found. Of these, 433 were alien, representing 41% of the total number of species found in all the studied Elbe, Vltava, and Danube ports. During comparison of floristic data from literary sources significant differences in the percentage of alien species in ports (50%) and cities (38%) were found.
    [Show full text]
  • Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community.
    [Show full text]
  • From Piano Girl to Professional: the Changing
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2014 FROM PIANO GIRL TO PROFESSIONAL: THE CHANGING FORM OF MUSIC INSTRUCTION AT THE NASHVILLE FEMALE ACADEMY, WARD’S SEMINARY FOR YOUNG LADIES, AND THE WARD- BELMONT SCHOOL, 1816-1920 Erica J. Rumbley University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Rumbley, Erica J., "FROM PIANO GIRL TO PROFESSIONAL: THE CHANGING FORM OF MUSIC INSTRUCTION AT THE NASHVILLE FEMALE ACADEMY, WARD’S SEMINARY FOR YOUNG LADIES, AND THE WARD-BELMONT SCHOOL, 1816-1920" (2014). Theses and Dissertations--Music. 24. https://uknowledge.uky.edu/music_etds/24 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]