DOCSLIB.ORG

Proquest Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proquest Dissertations The Ballade of eighteenth and nineteenth-century Germany: A useful but neglected pedagogical tool Item Type text; Dissertation-Reproduction (electronic) Authors Sheranian, Michael Judd, 1950- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 08:45:26 Link to Item http://hdl.handle.net/10150/288897 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly fi'om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om any type of computer printer. The quality^ of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quali^ 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 fi'om left to right in equal sections with small overlaps. Each original is also photographed in one e:^osure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Hgher quali^ 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell Howell bfonnatioa Compaiqr 300 North ZeebRoad^ Ann Aibor MI 4S106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct and/or slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE BALLADE OF EIGHTEENTH AND NINETEENTH-CENTURY GERMANY: AUSEFUL BUT NEGLECTED PEDAGOGICAL TOOL by Michael Judd Sheranian Copyright © Michael Judd Sheranian 1998 ADocument Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH AMAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1998 UMI Niambert 9906526 Copyright 1998 by Sherauxlem., Michael Judd All rights reserved. UMI Microform 9906526 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Michael Judd Sheranian entitled THE BALLADE OF EIGHTEENTH AND NINETEENTH-CENTURY GERMANY: A USEFUL BUT NEGLECTED PEDAGOGICAL TOOL and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor Of Musical Arts pfof. (?Warles»Roe Da'te Date > ^4^ !_ ^/-zo /Vr Prof. Gi^yson Hirst ' Dade / Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. Director Date STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements tor an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate ackowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may he granted by the copyright holder. jrl ' ' // / / , SIGNED// > / 4 TABLE OF CONTENTS LIST OF EXAMPLES 6 ABSTRACT 7 INTRODUCTION 8 CHAPTER 1: HISTORY AND DEVELOPMENT 10 Historical Background 10 Ballade Definitions by Theorists 14 The Ballade's Pedagogical Benefits 20 The Berlin Schools of Lied Composition 23 The First Berlin School 24 The Second Berlin School 26 The Lied and Ballade in Vienna 29 The Varied Compositional Styles of the Ballade 30 Strophic Balladen 31 Modified Strophic 31 Through-Composed 32 Balladen in Cantata Form 33 Balladen as Melodramas 33 The Instrumental Ballade 34 Johann Rudolf Zumsteeg 34 The Zumsteeg Ballade 37 Melody 38 Rhythm 40 Declamation 41 Harmony 42 Keyboard Parts 44 Zumsteeg and His Poets 46 Other Ballade Composers 49 CarlLoewe 49 Schubert 54 Felix Mendelssohn 55 Robert Schumann 56 Brahms 56 Liszt 57 Wagner. 58 Hugo Wolf 59 The Decline of the Ballade 59 CHAPTER 2: THE BALLADE AS PEDAGOGICAL TOOL 61 Analysis of Representative Balladen 61 Ritter Toggenburg 62 Text and Translation 63 What should the singer be thinking before the music begins? 64 Musical Examples 65 5 TABLE OF CONTENTS - Continued HerrOluf 72 Text and Translation 73 Translation 74 What should the singer be thinking before the music begins? 74 Musical Examples 75 Belsazar 81 Text and Translation 82 What should the singer be thinking before the music begins? 83 Musical Examples 84 Der Rattenfanger 89 Text and Translation 90 What should the singer be thinking before the music begins? 90 Musical Examples 91 SUMMARY AND CONCLUSION 95 APPENDIX A: Annotated List of Selected Loewe Balladen 99 APPENDIX B: Examples from Schubert's Riiter Toggenburg 102 REFERENCES 108 6 LIST OF EXAMPLES Ritter Toggenburg Example 1 65 Example 2 66 Example 3 67 Example 4 68 Example 5 69 Example 6 70 Example 7 71 Herr Oliif Example I 75 Example 2 76 Example 3 77 Example 4 78 Example 5 79 Example 6 79 Example 7 80 Belsazar Example 1 84 Example 2 85 Example 3 86 Example 4 87 Example 5 88 Der Rattenfdnger Example 1 91 Example 2 92 Example 3 93 Example 4 94 Example I 102 Example 2 102 Example 3 103 Example 4 103 Example 5a 104 Example 5b 104 Example 6 105 Example 7a 105 Example 7b 106 Example 8a 106 Example 8b 107 7 ABSTRACT Asignificant type of art song is the Ballade of eighteenth and nineteenth-century Germany. In this study, the Ballade form first brought to prominence by Johann Rudolf Zumsteeg( 1760-1802) will be examined and related to subsequent composers who expanded upon his model. Franz Schubert's contribution to balladry will be addressed because of Zunnsteeg's distinct influence on the former's musical style; and because of Carl Loewe's (1796-1869) enormous success with the Ballade, his contribution will also be discussed. Then, representative examples of Balladen from other major composers will be studied, dennonstrating how closely their Balladen adhered to or departed from earlier models. This study will also address the pedagogical aspects of the Ballade. Containing elements closely akin to opera (i.e. dialogue, characterization, scene changes, and recitative), the Ballade is a superior vehicle for singers who want to improve their dramatic effectiveness. This study will also include an annotated list of selected Balladen by Loewe, whose efforts represent the pinnacle of achievement in the balladry of the nineteenth century. It is hoped that this study will help stimulate interest in the Ballade as a viable supplement to standard art song repertory. 8 INTRODUCTION The vast body of music literaOire that encompasses art song is multifaceted, ranging from simple strophic folk melodies to complex through-composed Lieder. One significant type of art song is the eighteenth and nineteenth-century German Ballade.' Representing the essence of German art song in a synthesis of music and poetry, the Ballade narrates a story with themes drawn from either history, legend, or the supernatural. Once highly popular, the Ballade fell into obscurity around 1860, when the Lied won over public interest with its greater refinement and sophistication." Germany's greatest Romantic composers and literary figures found expression in the Ballade which was once considered equal in popularity to the Lied and opera. Much of the literature concerning the Ballade is inaccessible to many singers because it is written in German. A benefit of this study, therefore, will be the presentation of a long tradition of German scholarship to non-German speakers. For instance, the work of Florian Sauer, who wrote a lengthy article in Die Musik in Geschichte unci Gegenwart, which provided much historical information about the Ballade.^ In addition, the study by Gunter Maier on Johann Rudolf Zumsteeg (1760-1802), and his musical influence on Schubert contributed the bulk of the information about Zumsteeg.^ In this study, die Ballade form established by Zumsteeg will be examined and related to subsequent composers who expanded, upon his model. Then Franz Schubert's ' The Gennan spelling." Ballade," and its plural. "Balladen" (remaining consistent with "Lied" and "Lieder"), will be used throughout this study to differentiate the German art song Ballade from other forms. - The Lied and Ballade both use a poeuc text foundation and are therefore somewhat interchangeable concepts. For purposes of clariQf in this study, the Lied is differentiated from the Ballade by its use of non- narrative poetry. ^ Florian Sauer, "Vokalballade nach 1700," Die Musik in Geschichte und Gegenwart. E, (Kassel: Barenreiter Verlag, 1949-1985), cols. 1134-1148. ^ Gunter Maier. Die Lieder Johann Rudolf Zumsteeg and ihr Verhaltnis zu Schubert (Goppingen: Verlag Alfred Kitaimerle, 1971). 9 (1796-1827) contribution to balladry will be addressed because of Zumsteeg's distinct influence on Schubert's musical style, and because of Carl Loewe's (1796-1869) enormous success with the Ballade, his contribution will also be discussed.
Load more

Recommended publications
  • Songs for Piano Alone a Look at Franz Liszt’S Buch Der Lieder Für Piano Allein Books I and Ii
    SONGS FOR PIANO ALONE A LOOK AT FRANZ LISZT’S BUCH DER LIEDER FÜR PIANO ALLEIN BOOKS I AND II BY JEREMY RAFAL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December, 2012 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music __________________________________ Karen Shaw, Chairperson __________________________________ Edmund Battersby, Committee Member __________________________________ Emile Naoumoff, committee member ii Songs for Piano Alone A Look at Franz Liszt’s Buch der Lieder für Piano allein Books I and II Music circles have often questioned the artistic integrity of piano transcriptions: should they should be on the same par as “original works” or are they merely imitations of somebody else’s work? Franz Liszt produced hundreds of piano transcriptions of works by other composers making him one of the leading piano transcriptionists of all time. While transcriptions are the results of rethinking and remolding pre-existing materials, how should we view the “transcriptions” of the composer’s own original work? Liszt has certainly taken much of his original non-piano works and transcribed them for solo piano. But would these really be transcriptions, or different versions? This thesis explores the question of how transcriptions of Liszt’s own works should be treated, particularly the solo piano pieces in the two books of Buch der Lieder für Piano allein. While some pieces are clearly transcriptions of previous art songs, some pieces should really be characterized as independent piano pieces first before art songs.
    [Show full text]
  • Friedrich Schiller Aus Anlass Seines 250. Geburtstages – Der Einfluss Von Krankheit Und Leiden Auf Sein Leben Und Schaffen1
    Von den Wurzeln unseres Fachs 453 „Dem Leiden war er, war dem Tod vertraut“ Friedrich Schiller aus Anlass seines 250. Geburtstages – Der Einfluss von Krankheit und Leiden auf sein Leben und Schaffen1 „He was Familiar with Suffering, was Familiar with Death“ Commemorating the 250th Anniversary of Friedrich Schiller’s Death – The Influence of Diseases and Sorrows on Life and Works of Friedrich Schiller Autor H.-D. Göring Institut Tumorzentrum Anhalt am Städtischen Klinikum Dessau e.V., Dessau Bibliografie Zusammenfassung Jahre seines früh vollendeten Lebens hat er sein DOI 10.1055/s-0029-1215170 ! gewaltiges Werk seinem leidenden Körper förm- Akt Dermatol 2009; 35: Am 10. November 2009 begehen wir den 250. Ge- lich abgerungen. Schiller hat seine Krankheiten – 453 456 © Georg Thieme burtstag des größten deutschen Dramatikers, be- nicht nur als Patient erlitten, sondern gleicherma- Verlag KG Stuttgart · New York deutenden Dichters, idealistischen Philosophen ßen auch als Arzt erlebt, der er nach seinem Me- ISSN 0340-2541 und Historikers Friedrich Schiller. Sein Leben und dizinstudium an der Carlsschule in Stuttgart ge- Korrespondenzadresse Schaffen wurde durch Krankheit und Leiden in wesen ist. Prof. Dr. med. nahezu unerträglicher Weise beeinträchtigt. Viele Hans-Dieter Göring Tumorzentrum Anhalt am Städtischen Klinikum “ Dessau e.V. Im Jahr 2009 gedenken wir des 250. Geburtstages gen am 17. 11. 1780 wurde Friedrich Schiller am Auenweg 38 Friedrich Schillers, des größten deutschen Drama- 15. 12. 1780 aus der Militärakademie in den 06847 Dessau tikers, des bedeutenden Dichters, Autors grundle- Dienst als Militärarzt des Grenadierregiments [email protected] gender historischer und philosophischer Schrif- Augé in Stuttgart entlassen [1,3].
    [Show full text]
  • Unit 7 Romantic Era Notes.Pdf
    The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music.
    [Show full text]
  • 9914396.PDF (12.18Mb)
    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 fece, while others may be from any type of 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 afreet 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, b^inning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnaticn Compare 300 North Zeeb Road, Aim Arbor NO 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR’S GUIDE TO THREE SACRED CHORAL/ ORCHESTRAL WORKS BY ANTONIO CALDARA: Magnificat in C.
    [Show full text]
  • Andréas Hallén's Letters to Hans
    ”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.” ”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.”1 Andréas Hallén’s Letters to Hans Herrig. A Contribution to the Swedish-German Cultural Contacts in the Late Nineteenth Century Martin Knust It is beyond question that the composer Andréas Hallén (1846–1925) never stood in the front line of Swedish musical life. Nevertheless, the ways he composed and promoted his music have to be regarded as very advanced for his time. As this study reveals, Hallén’s work as a composer and music critic may have served as a model for the next generation of composers in Sweden. Moreover, his skills as an orchestra- tor as well as his cleverness in building up networks on the Continent can hardly be overestimated. Hallén turns out to have been quite a modern composer in that he took over the latest music technologies and adapted them to a certain music market. The study of Hallén and his work exposes certain musical and cultural developments that were characteristic for Sweden at the turn of the century. Documents that just recently became accessible to research indicate that it is time to re-evaluate Hallén’s role in Swedish musical life. Correspondence between opera composers and their librettists provides us with a wealth of details about the genesis of these interdisciplinary art works and sometimes even, like the correspondence Strauss–Hofmannsthal, about the essence of opera itself. In the case of the Swedish composer Andréas2 Hallén, his first opera Harald der Wiking was not only an interdisciplinary but also an international project because he worked together with the German dramatist Hans Herrig (1845–1892).
    [Show full text]
  • Franz Schubert: Inside, out (Mus 7903)
    FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E.
    [Show full text]
  • April 2021 Vol.22, No. 4 the Elgar Society Journal 37 Mapledene, Kemnal Road, Chislehurst, Kent, BR7 6LX Email: [email protected]
    Journal April 2021 Vol.22, No. 4 The Elgar Society Journal 37 Mapledene, Kemnal Road, Chislehurst, Kent, BR7 6LX Email: [email protected] April 2021 Vol. 22, No. 4 Editorial 3 President Sir Mark Elder, CH, CBE Ballads and Demons: a context for The Black Knight 5 Julian Rushton Vice-President & Past President Julian Lloyd Webber Elgar and Longfellow 13 Arthur Reynolds Vice-Presidents Diana McVeagh Four Days in April 1920 23 Dame Janet Baker, CH, DBE Some notes regarding the death and burial of Alice Elgar Leonard Slatkin Relf Clark Sir Andrew Davis, CBE Christopher Robinson, CVO, CBE Book reviews 36 Andrew Neill Arthur Reynolds, Relf Clark Martyn Brabbins Tasmin Little, OBE CD Reviews 44 Christopher Morley, Neil Mantle, John Knowles, Adrian Brown, Chairman Tully Potter, Andrew Neill, Steven Halls, Kevin Mitchell, David Morris Neil Mantle, MBE DVD Review 58 Vice-Chairman Andrew Keener Stuart Freed 100 Years Ago... 60 Treasurer Kevin Mitchell Peter Smith Secretary George Smart The Editors do not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Portrait photograph of Longfellow taken at ‘Freshfields’, Isle of Wight in 1868 by Julia Margaret Cameron. Courtesy National Park Service, Longfellow Historical Site. Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much Editorial preferred) in Microsoft Word or Rich Text Format. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if required, are obtained. Professor Russell Stinson, the musicologist, in his chapter on Elgar in his recently issued Bach’s Legacy (reviewed in this issue) states that Elgar had ‘one of the greatest minds in English music’.1 Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, This is a bold claim when considering the array of intellectual ability in English music ranging cued into the text, and have captions.
    [Show full text]
  • Marbacher Schiller-Bibliographie 2011
    NICOLAI RIEDEL In Zusammenarbeit mit Herman Moens MARBACHER SCHILLER-BIBLIOGRAPHIE 2011 und Nachträge Vorbemerkung Die großen Schiller-Jubiläumsjahre 2005 und 2009 haben ihre langen Schatten vorausgeworfen und eine ungewöhnliche Reichhaltigkeit wissenschaftlicher Ver- öffentlichungen hervorgebracht, sie haben aber auch ein dichtes Netzwerk von Spuren hinterlassen und verzweigte Gleissysteme in die Forschungslandschaften gelegt. Waren in der Bibliographie für das Berichtsjahr 2010 »nur« etwa 460 Titel dokumentiert, was ziemlich genau dem Durchschnitt des vorangegangenen De- zenniums entspricht, so sind es für 2011 genau 801 Nachweise. Diese hohe Zahl mag zunächst Erstaunen hervorrufen, denn es handelt sich um eine Steigerung von rund 43 %. Die statistischen und quantifizierenden Überlegungen, wie sie in den Vorbemerkungen von 2010 formuliert wurden, sollen hier aber nicht weiter- geführt werden, denn es hat sich herausgestellt, dass eine personenbezogene For- schung in den seltensten Fällen messbar und prognostizierbar ist. Die Summe der Nachweise setzt sich im Wesentlichen aus vier Faktoren zusammen, die im Fol- genden knapp umrissen werden sollen: 1. Im Berichtsjahr 2010 wurde absichtlich darauf verzichtet, solche Titel aufzunehmen, die erst nach Redaktionsschluss der Bibliographie verifiziert werden konnten, um Buchstabenzusätze bei den Refe- renznummern zu vermeiden. Auf diese Weise gelangten schon sehr viele Titel aus der Warteschleife in die Basis-Datei für 2011. – 2. Für das Berichtsjahr 2011 ist dieses Prinzip zugunsten eines verbesserten Informationsflusses wieder auf- gegeben worden. Nach Redaktionsschluss wurden noch einmal 26 autopsierte Nachweise in die Systematik integriert. Diese sind nun (aus typographischen Er- wägungen) nicht mehr mit a, b und c gekennzeichnet, sondern mit dezenten hoch- gestellten Ziffern (z. B. 5121, 5122). – 3. Der Redaktionsschluss der Bibliographie wurde um einen Monat nach hinten verschoben, d.
    [Show full text]
  • Schiller and Music COLLEGE of ARTS and SCIENCES Imunci Germanic and Slavic Languages and Literatures
    Schiller and Music COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Schiller and Music r.m. longyear UNC Studies in the Germanic Languages and Literatures Number 54 Copyright © 1966 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Longyear, R. M. Schiller and Music. Chapel Hill: University of North Carolina Press, 1966. doi: https://doi.org/ 10.5149/9781469657820_Longyear Library of Congress Cataloging-in-Publication Data Names: Longyear, R. M. Title: Schiller and music / by R. M. Longyear. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 54. Description: Chapel Hill : University of North Carolina Press, [1966] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 66064498 | isbn 978-1-4696-5781-3 (pbk: alk. paper) | isbn 978-1-4696-5782-0 (ebook) Subjects: Schiller, Friedrich, 1759-1805 — Criticism and interpretation.
    [Show full text]
  • George Frideric Handel (1685-1759) G
    George Frideric Handel (1685-1759) G. F. Handel was born in Halle, Germany. He spent the first twenty years of his life in Germany, where he studied composition with his mentor, Friedrich W. Zachow. In 1703, he went to Hamburg to pursue larger musical opportunities where he premiered his first opera Almira in 1705. He spent five years touring Italy where he met several great composers by the names of Arcangelo Corelli, Alessandro Scarlatti, and his son Domenico Scarlatti. His time in Italy greatly influenced his compositional style. Handel is well known in the Baroque Era for his operas, oratorios, and instrumental compositions. Messiah being the most prolific work which he composed in 1741. The opera Orlando was written for the King’s Theater and debuted in 1733 where it only had ten more performances and was not revived for a great deal of time. The first revival since Handel’s lifetime was given in Halle in 1922. Orlando is an opera seria in three acts. It is a story of a great soldier in Charlemagne’s army – Orlando (Roland). Orlando is in love with the pagan princess Angelica who is in love with another man, Medoro. The great magician Zoroastro casts a spell on Orlando to see a vision urging him to cast away Venus, the goddess of love, and embrace Mars, the god of war. Orlando is kept from his senses until the third act when Zoroastro transforms a grove of palm trees into a cave where he attempts to lift his spell (Sorge infausta una procella). Before he can do so, he burns a cottage down with Medoro in it.
    [Show full text]
  • Památník Zpěvačky Marty Procházkové, Manželky Ludevíta Procházky 3 a R T I C U L I
    1 »Má milá, přemilá – já jsem tulácký pták, který si nedá jakživ předpisovat notu své písničky – tíhnu jen, sama nevím kam – nejspíše tam kde není pro mne zimy... Ale A cosi přece jen má na mne vliv: tiše neodbytně mne po- R nouká, navádí a napomíná: ›Melodii milá holka – jen ať T to má melodii…‹« JANA VOJTĚŠKOVÁ 1 Gabriela Preissová: Z povídky Rozmaryja (Praha) I C méno zpěvačky Marty Procházkové, rozené Reisingero- U vé (1849-1903), upadlo po smrti jejího manžela Dr. Lu- devíta Procházky v roce 1888 téměř v zapomenutí. In- Památník zpěvačky Marty L Jtenzívní deset let trvající kariéra na prknech převážně I německých operních scén nestačila k tomu, aby se Mar- Procházkové, manželky ta Procházková trvale zapsala do dějin pěveckého umění. Ludevíta Procházky Dnes není její jméno uvedeno ani v několikasvazkovém slovníku zpěváků Großes Sängerlexikon2 ani v Hudebním divadle v českých zemích (Osobnosti 19. století).3 Motto, které je předesláno tomuto článku, vepsala ja- ko poslední zápis do památníku Marty Procházkové Ga- briela Preissová. A jistě se ptáte, co měly tyto dvě ženy The Album of Marta Procházková, the společného. Nevíme, zda spisovatelka Gabriela Preissová znala pěvkyni Martu Procházkovou za jejího života, spíše wife of Ludevít Procházka nikoli. Jistě jí ale o ní vyprávěla její snacha Milka Preis- The article is dedicated to singer Martha Procházková, sová, rozená Procházková, neteř Marty a Ludevíta Pro- born Reisinger (1849-1903), the wife of Ludevít Procház- cházkových. V roce 1932 – dvacet jedna let po smrti zpě- ka (1837-1888); her name is not mentioned in today’s vačky – jí Milka pravděpodobně ukázala památník Marty dictionaries of the 19th-century opera singers.
    [Show full text]
  • Schumann's Op. 25: Finding the Narrative Within
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2012-12-07 Schumann's Op. 25: Finding the Narrative Within Renee Danielle Gaarder Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Music Commons BYU ScholarsArchive Citation Gaarder, Renee Danielle, "Schumann's Op. 25: Finding the Narrative Within" (2012). Theses and Dissertations. 3438. https://scholarsarchive.byu.edu/etd/3438 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Schumann’s Op. 25: Finding the Narrative Within Renée Danielle Gaarder A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Stephan Lindeman, Chair Brian Harker Steven Johnson School of Music Brigham Young University November 2012 Copyright © 2012 Renée Danielle Gaarder All Rights Reserved ABSTRACT Schumann’s Op. 25: Finding the Narrative Within Renée Danielle Gaarder School of Music, BYU Master of Arts Many of the song cycles written by Schumann have been studied over the years and it is well known that his most prolific time of song production was the year 1840. Myrthen, Op. 25, has been studied less than some of his other cycles because it calls into question the modern view of the song cycle and for this reason is difficult to classify. What is most difficult about the classification of Op. 25 is that there is no immediately apparent narrative.
    [Show full text]