DOCSLIB.ORG

Inventory of the Liszt Collection in the Nederlands Muziek Instituut

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Inventory of the Liszt Collection in the Nederlands Muziek Instituut INVENTORY OF THE LISZT COLLECTION IN THE NEDERLANDS MUZIEK INSTITUUT Inv. nr. IIIE F941 2008/2011 Preface The Liszt Collection since 1956 The collection of Lisztiana in the Nederlands Muziek Instituut (Netherlands Music Institute) contains musical autographs, correspondence, other manuscripts, a few printed publications (including concert programmes), and a few iconographical objects. The major part of this has been in the possession of the private collector Robert Bory, and was acquired in 1956 by the then Department for the History of Music of the Gemeentemuseum Den Haag (The Hague Municipal Museum). A few letters have been purchased in December 1960 at Sotheby’s. The musical archives and music library of the Department for the History of Music have moved in 2000 to the building of the Koninklijke Bibliotheek (National Library), and have (together with the Musica Neerlandica Foundation) been transformed into the independent Nederlands Muziek Instituut. As a result of this, part of the Liszt collection is now in trust of the NMI. Later stages of the process of transfer have caused some revisions of this inventory since 2008. Most of the iconographical items are to this date located in the Gemeentemuseum. Collections of Gemeentemuseum and NMI are property of the Municipality of The Hague. The Bory Collection (or the part of it on offer) is described in a typewritten inventory (V1). This largely corresponds to the inventory made by the staff of the Gemeentemuseum, sometime between 1956 and 1960 (V2). The descriptions of those items which are still in the Gemeentemuseum have in this new inventory been literally transcribed from V2. To complete the overview of Lisztiana in the NMI, Liszt photographs and letters in other archives have been included (sections IG and IIIF). With items from the Liszt collection the Gemeentemuseum has in 1962 organized an exhibition. No special attention was then given to the provenance of the collection.1 Iconographic material has been put on display in the exhibitions Portretten in karikatuur (1984) and Franz Liszt (1811-1886) (1986).2 In 2009 the present author edited the four letters to Espérance von Schwartz (IC29-32) in a publication on the NMI website. In 2011 the same was done with two letters (IC1, 14) and two music manuscripts (IA5, 6) in a ‘Bicentenary Presentation’. Physical condition In the past repairs have been done with varying degrees of expertise (annotations: adhesive tape, covered with rice paper etc.). A few manuscripts showed ink corrosion; these still have to be treated. All items have been repacked during the preparation of this inventory. Robert Bory Robert Bory (1891-1960) was a Swiss lawyer, descendant of a family which has produced several generations of notaries. Besides cantonal judge (juge de paix) he has been an 1 Franz Liszt en zijn tijd: Haags Gemeentemuseum 23 December 1961 - 3 Februari 1962 (S.l., s.n., 1962). 2 M. Kyrova: Franz Liszt (1811-1886): prenten en foto's van de muziekafdeling, 18 februari t/m 27 april 1986 ('s-Gravenhage: Haags Gemeentemuseum, 1986). NMI Liszt Collection p. 1 active and energetic administrator and organizer. In his town of Coppet on the north shore of Lake Geneva he has founded a museum for local history and arts and crafts (Musée de Coppet).3 Most of his interest however was directed toward music. He had lessons in composition with Émile Jaques-Dalcroze, and studied conducting with Gustave Doret.4 His reputation in musical historiography derives from his collection of Lisztiana, and the biographical studies which these inspired. A pictorial biography of Liszt of 1936 was followed by similar works about Wagner, Mozart, Chopin and Beethoven. Few data were available about size and composition of the original Bory collection. La vie de Franz Liszt par l’image records many objects as “Collection R. Bory” which are not listed in inventory V1. The letters written by Liszt and his children to Princess Marie von Sayn-Wittgenstein, from which he has published extracts and which seem to have been part of his collection, are nowadays in the possession of Harvard University.5 Marie Wittgenstein, daughter of Liszt’s beloved Princess Carolyne von Sayn-Wittgenstein, is represented in the NMI collection by manuscripts IF4, 5, 6. Historical significance As a very small subset in the whole of Liszt’s colossal epistolary output, the forty-seven letters in this collection constitute only a modest treasure. Even so they provide valuable insights into aspects of Liszt’s life and personality. Of the highlights of this collection have appeared in print: IC1 (1824, to Pierre Erard, one of the earliest letters preserved) and IC14 (1855), to his daughters Blandine and Cosima, in which the tense relation between Liszt, his children and their mother Countess Marie D’Agoult is dramatically expressed. The following letters, unpublished as far as could be ascertained, merit special attention: the five letters to Franz von Dingelstedt (IC6-9 and IG), the playwright-theatre manager who through Liszt’s mediation was appointed to direct the Weimar court theatre; the first of the four letters to Dionys Pruckner (about Liszt’s teacher Carl Czerny, IC15); the four letters to Marie Espérance von Schwartz (pen name: Elpis Melena), writer and philanthropist, in which besides the news of the day more philosophical matters are discussed (IC29-32); and the four letters to Sigmund Lebert, relating to Lebert and Stark’s Klavierschule (to which Liszt has contributed compositions) and other publications (IC34- 37). In the interest of future research this inventory contains brief indications of the contents of unpublished letters. Besides Dionys Pruckner, mentioned above, the following Liszt pupils are represented in this collection: Marie Gärtner (letters IC21-23, 28?), Dori Petersen (photographs, some with letters pasted onto them: IIIE26, 50, 52, 57), and especially Lina Schmalhausen, from whom Bory acquired a rich treasure (IIID1, IIIE10, 32, 35, 45, 46, 51, 59, 62, 67, 68, 79, 85, 88, 108, 117, IVA1, 2, 3). Of the music manuscripts the most remarkable are the two Petrarch Sonnets (Nr. 47 en 123, IA5, 6). This is a revision of the vocal version of these works; the piano solo version is included in Volume 2 of the Années de pèlerinage. Lodewijk Muns, December 2008 Revisions: April and October 2009, February 2010, October 2011 3 Th. Marix-Spire: Robert Bory 1er avril 1891 - 9 octobre 1960, in Revue de Musicologie, Vol. 46, No. 122 (Dec., 1960), p. 269-270. 4 A. Hyatt King, articlel Bory, Robert, in New Grove (edition 1980; article cancelled in the 2001 edition). 5 Recently re-published in the original language: Lettres de Franz Liszt à la princesse Marie de Hohenlohe-Schillingsfüst née de Sayn- Wittgenstein. Ed. by P. Pocknell, M. Haine, N. Dufetel (Paris: J. Vrin, 2010) NMI Liszt Collection p. 2 Robert Bory’s publications about Liszt Diverses lettres inédites de Liszt, in: Schweizerisches Jahrbuch für NMI 8 F 24 Musikwissenschaft III (1928), p. 5–25 Correspondance inédite de Liszt et de la Princesse Marie Sayn- NMI Ts (140 D-E) Wittgenstein, in: Revue de Musicologie IX (1928), p. 47–59 Une retraite romantique en Suisse: Liszt et la Contesse d’Agoult (Paris, V. NMI 69 C 37 Attinger 2/1930) (or. ed. Genève, 1923; transl. as: Franz Liszt und Marie d’Agoult in der Schweiz: ein Liebensroman aus der Romantik (Dresden, 1934) La vie de Franz Liszt par l’image: precé dé ́e d'une introduction NMI 131 F 2 biographique par Alfred Cortot (Paris: Editionś des horizons de France, [1935]; also: Genève, 1936) Liszt et ses enfants Blandine, Cosima & Daniel: d'apres̀ une NMI 15 H 29 correspondance inédite avec la princesse Marie Sayn-Wittgenstein (Paris: Corréa, [1936]) Abbreviations The Liszt Collection has archive number 64. This precedes the inventory number (e.g. 64/IIIC24). HGM Haags Gemeentemuseum LW R. Charnin Mueller and M. Eckhardt: Thematisches Verzeichnis der Werke Franz Liszts (München, in preparation; Grove Music Online August 2008) NMI Nederlands Muziek Instituut S Numbering according to H. Searle, article Liszt, Franz in New Grove (1980) NMI Liszt Collection p. 3 Classification I MANUSCRIPTS 7 IA MUSIC MANUSCRIPTS: Works by Liszt (incl. arrangements) IB OTHER MUSIC MANUSCRIPTS IC CORRESPONDENCE: Letters written by Liszt ID CORRESPONDENCE: Letter written by Carolyne von Sayn-Wittgenstein IE CORRESPONDENCE: Visiting cards written in the handwriting of Liszt IF VARIOUS MANUSCRIPTS, WRITING PAPER IG CORRESPONDENCE: Letters by Liszt in other archives II PRINTED PUBLICATIONS 12 IIA BOOKS/JOURNALS/BROCHURES IIB PRINTED MUSIC IIC CONCERT PROGRAMMES III ICONOGRAPHY 13 IIIA PAINTINGS IIIB 1-59 PRINTS: Images of Liszt IIIB 60-68 PRINTS: Liszt in caricatures and fantasies IIIC DRAWINGS AND PRINTS: Images of other persons IIID MEDALS AND PLAQUES IIIE 1-113 PHOTOGRAPHS: Franz Liszt IIIE 114-116 PHOTOGRAPHS: Persons around Liszt IIIE 117-119 PHOTOGRAPHS: Buildings etc. related to Liszt IIIF PHOTOGRAPHS: Liszt images from other archives IIIG PHOTOGRAPHS FROM A LATER PERIOD IV MISCELLANEA 21 IVA OBJECTS, FORMERLY IN THE POSSESSION OF LISZT IVB OTHER OBJECTS V DOCUMENTATION 21 NMI Liszt Collection p. 4 I MANUSCRIPTS IA MUSIC MANUSCRIPTS: Works by Liszt (incl. arrangements) NMI 1. Ave Maria Score (1 p.); 24 x 34,5 cm. Autograph F. Liszt (signed). For piano or harmonium. [1869?]. No part of the Bory collection; provenance unknown. After LW J24 (S38) or LW K4 (S681), shorter and simpler than LW E24 (S504/1). 2. Preludio Sketch (1 p.); 9 x 16,5 cm. Autograph F. Liszt (signed). For piano. [1843?]. Album leaf. Similar to album leaf IIIB27, reproduced in Bory (1936) p. 120. 3. Zwei Episoden / aus / Lenau's Faust / 1 . Der Nächtliche Zug / 2. Der Tanz in der Dorfschenke (Mephisto-Walzer) / von / F. Liszt / 1. Der nächtliche Zug, für das Pianoforte übertragen / von Robert Freund.
Load more

Recommended publications
  • A Sonata Para Guitarra Na Viena De Beethoven E Schubert
    UNIVERSIDADE DO ESTADO DE SANTA CATARINA - UDESC CENTRO DE ARTES - CEART CURSO DE PÓS-GRADUAÇÃO EM MÚSICA - PPGMUS MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT FLORIANÓPOLIS, SC ANO 2013 MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT Dissertação apresentada ao Programa de Pós- graduação em Música/Mestrado da Universidade do Estado de Santa Catarina - UDESC, como requisito parcial para a obtenção do título de Mestre em Música, área de concentração Musicologia/Etnomusicologia. Orientador: Acácio Tadeu de Camargo Piedade FLORIANÓPOLIS, SC 2013 MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT Dissertação apresentada ao Programa de Pós-graduação em Música/Mestrado da Universidade do Estado de Santa Catarina - UDESC, como requisito parcial para a obtenção do título de Mestre em Música, área de concentração Musicologia/Etnomusicologia. Banca Examinadora Orientador: _____________________________________ Prof. Dr. Acácio Tadeu de Camargo Piedade UDESC Membro: _____________________________________ Prof. Dr. Marcos Tadeu Holler UDESC Membro: _____________________________________ Prof. Dr. Gilson Antunes UFPB Florianópolis, SC, 02/04/2013 AGRADECIMENTOS Ao Prof. Dr. Acácio Piedade pelo ensino atencioso e objetivo, e pelos preclaros conselhos que em todo momento impediram digressões tanto desnecessárias quanto prejudiciais. Ao Prof. Dr. Marcos Holler, sem cuja ajuda e conselho teria sido impossível sequer pensar em um mestrado, também pelos ensinamentos e pela dedicação de seu tempo na contribuição com precioso material de consulta para este trabalho. Ao Prof. Dr. Gilson Antunes, pelo interesse nesta pesquisa e sua generosa contribuição com valioso material de consulta. Agradeço especialmente ao Prof. Pedro Martelli, quem acreditou neste projeto ainda antes de ter algum elemento concreto, e cuja confiança e amizade estimularam meus melhores esforços.
    [Show full text]
  • Ÿòiiì8 ¾Ìâ Ó
    Franz Liszt (1811–1886): Natur denjenigen der Menschheit gegenüber, und diese rials folgen noch mehrere Male die beiden Themen sowie Festklänge • Ce qu’on entend sur la montagne • Hunnenschlacht beiden Elemente werden deutlich von der Musik reflek- ein siegreicher Schluss. tiert. Das Werk beginnt mit einer neuartigen Wirkung – Zu seiner Hunnenschlacht ließ sich Franz Liszt im Franz Liszt wurde 1811 im ungarischen Raiding gebo- lebte. Nach erfolgter Scheidung und Annulierung schien einem von sordinierten Streichern begleiteten, mit mis- Jahre 1857 von einem neuen Fresko des Malers Wilhelm LISZT ren. Sein Vater Adam war Amtmann im Dienste der Fürs- der Weg zur Eheschließung offen, doch beide lebten fort- terioso e tranquillo markierten Wirbel der großen Trom- von Kaulbach anregen. In einem ausführlichen Vorwort tenfamilie Esterházy, deren Kapellmeister Joseph an in getrennten Wohnungen. Liszt empfing schließlich mel (Ce fut d’abord un bruit large, immense confus, / Plus berichtet Liszt, dass Kaulbach während seines Aufent- Haydn einst gewesen war. Schon früh wurde Franz vom die niederen Weihen und lebte abwechselnd in Weimar, vague que le vent dans les arbes touffus / Plein d’accords halts in Rom von der schrecklichen Schlacht gehört habe, Symphonic Poems ungarischen Adel gefördert, so dass er 1822 in Wien bei wo er jüngere Künstlergenerationen unterrichtete, in Rom, éclatants, de suaves murmures – „Es war erst ein großer, die 451 auf den Katalaunischen Feldern vor den Toren der Carl Czerny Unterricht nehmen konnte. Damals kam es wo er seinen geistlichen Interessen nachging, und in enorm verwirrter Lärm / undeutlicher als der Wind im Ewigen Stadt zwischen dem christlichen Kaiser Theo- auch zu der berühmten Begegnung mit Beethoven.
    [Show full text]
  • Programmheft Herunterladen
    Dauer: ca. 1 Stunde 45 Minuten inklusive Pause WDR SINFONIEORCHESTER KÖLN HERBERT BLOMSTEDT DIRIGENT Abo: Orchesterzyklus III – Symphonie um Vier In unserem Haus hören Sie auf allen Plätzen gleich gut – leider auch Husten, Niesen und Handy- klingeln. Ebenfalls aus Rücksicht auf die Künstler bitten wir Sie, von Bild- und Tonaufnahmen während der Vorstellung abzusehen. Wir danken für Ihr Verständnis! 2,50 E 4I5 JOHANNES BRAHMS (1833 – 1897) Tragische Ouvertüre d-moll op. 81 (1880) Sinfonie Nr. 3 F-Dur op. 90 (1883) Allegro con brio Andante Poco Allegretto Allegro – Pause ca. 16.55 Uhr – Variationen für Orchester B-Dur über ein Thema von Joseph Haydn op. 56a (1873) Chorale St. Antoni. Andante Variation I: Poco più animato Variation II: Più vivace Variation III: Con moto Variation IV: Andante con moto Variation V: Vivace Variation VI: Vivace Variation VII: Grazioso Variation VIII: Presto non troppo Finale. Andante Akademische Festouvertüre c-moll op. 80 (1880) 6I7 PROGRAMM 8I9 LaCHEN UND WEINEN wären die unübertrefflichen Worte, die Felix Mendelssohn Bartholdy über den Zusammenhang JOHANNES BRAHMS TRAGISCHE OUVERTÜRE D-MOLL OP. 81 UND AKADEMISCHE FESTOUVER- von Musik und Bedeutung gefunden hat, auch für Brahms gültig: »Es wird soviel über Musik TÜRE C-MOLL OP. 80 gesprochen, aber wenig gesagt. Ich glaube überhaupt, die Worte reichen nicht hin dazu«. Das, was eine »Musik ausspricht«, sind »nicht zu unbestimmte Gedanken, um sie in Worte zu fassen, Seine Tragische Ouvertüre op. 81 komponierte Brahms als Gegenstück zur Akademischen Fest- sondern zu bestimmte.« ouvertüre op. 80 im Sommer 1880 in Bad Ischl. Gegenüber dem Komponisten Carl Reinecke charakterisierte er das Werkpaar mit der ihm ureigenen Lakonie: »Der Ouvertüren sind zwei: die eine weint, die andre lacht«.
    [Show full text]
  • Restitutionsbericht Der Stadt Wien
    Wien, 15. November 2005 An den Gemeinderatsausschuss für Kultur und Wissenschaft Stadtsenat Gemeinderat Sechster Bericht des amtsführenden Stadtrates für Kultur und Wissenschaft über die gemäß dem Gemeinderatsbeschluss vom 29. April 1999 erfolgte Übereignung von Kunst- und Kulturgegenständen aus den Sammlungen der Museen der Stadt Wien sowie der Wiener Stadt- und Landesbibliothek 2 Inhaltsverzeichnis 1. Einleitung 5 2. Wiener Stadt- und Landesbibliothek 7 2.1. Überblick über den Stand der Aktivitäten 2004 7 2.2 Restitutionsgut Buch 8 2.3. Restitution und Erbensuche in der Wiener Stadt- und Landes- bibliothek im Berichtszeitraum 1. November 2004 bis 31. Oktober 2005 11 2.3.1. Direkterwerbungen von jüdischen Vorbesitzern 11 2.3.2. Nach Kriegsende in die Bibliothek verbrachte „herrenlose“ Güter 13 2.3.3. Suche nach Vorbesitzern im Rahmen von Revisionsarbeiten 14 2.3.4. Zur Beschlussfassung vorgelegte Fälle - Übersicht 19 2.3.4.1. Michael Holzmann 20 2.3.4.2. Elise und Helene Richter 39 2.3.4.3. Dr. Hugo Theodor Horwitz 42 2.3.4.4. Ludwig Friedrich 43 2.3.4.5. Im Berichtszeitraum abgeschlossene Restitutionsfälle 48 2.3.4.6. Nicht einzuschätzende Erwerbungen 48 2.3.5. Restitution und Internet 49 2.3.6. Internationale Kontakte 49 2.4 . Ausblick 50 3. Museen der Stadt Wien 52 3.1. Überblick über den Stand der Aktivitäten 1999-2004 52 3.2. Restitution und Erbensuche in den Museen der Stadt Wien im Berichtszeitraum 1. November 2004 bis 31. Oktober 2005: Zur Beschlussfassung vorgelegte Fälle 55 3.2.1. Alfred Menzel 56 3.2.2.a. Dr. Heinrich Rieger(Hartenkampf, Andersen, Dobrowsky, Pauser) 61 3.2.2.b.
    [Show full text]
  • Handout VCV W -P-3-42-19
    vcv(w)-p-3-42-19 1 Die 100 VCV(W)-Vorträge über „Künste in der & um die Romantik“ - ein Zyklus von Vortragsabenden über vorwiegend (spät)romantische ( - aber auch prä/para/post/…/neo-romantische - ) Künste/…/Kunstwerke für Musik/Malerei/…/Architektur-Freundinnen/Freunde und alle anderen Kunstliebhaber(innen) an jedem 2. Dienstag in jedem Monat im „art hotel weimar“ („Freiherr v. Stein“- Allee/Feuerbachstr.) ab 20:00 Uhr (Gesamtleitung: Prof. Wolf-G. Leidel, Vorsitzender des VCV(W) [„Vox coelestis“-e.V. Weimar]) - ---------------------------------------------------------------------- Vortrag Nr. 19 ( = Projekt „VCV(W)-P-3-42-19“) ----------------------------------------------------------------------------------------------- Nicht zum öffentlichen Gebrauch: nur für VCV(W)-Mitglieder und Besucher/Gäste des o.g. Vortragzyklus’! ------------------------------------------------------------------------------------------------------------------------- Stand vom 28. August 2008 --- VCV(W)-Projekt ( = VCV(W)-P-…) „3-42-19“ --- Irrtümer vorbehalten! --- All rights by VCV(W)! ----------------------------------------------------- Das Thema dieses 19. Abends: „Die letzten beiden Opern von Richard Strauss: „Capriccio“ und „Des Esels Schatten““ ----------------------------------------------------- Chr.-M. Wieland AUS EINEM TEXT ZU „DES ESELS SCHATTEN“ "…man kann nicht sagen: „Hier ist Abdera oder da ist Abdera!“: Abdera ist allenthalben, und wir sind gewissermaßen alle da zu Hause…" :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
    [Show full text]
  • Vienna Philharmonic Orchestra New Year's
    Information Booklet Vienna Philharmonic New Year’s Concert 2019 INFORMATION BOOKLET VIENNA PHILHARMONIC ORCHESTRA NEW YEAR’S CONCERT 2019 01.01.2019 LIVE FROM THE WIENER MUSIKVEREIN VIENNA PHILHARMONIC ORCHESTRA CONDUCTOR: CHRISTIAN THIELEMANN 1 Information Booklet Vienna Philharmonic New Year’s Concert 2019 PRESS RELEASE Year after year, the New Year’s Concert allows the Vienna Philharmonic to present itself as Austria's most important musical ambassador. Their traditional greeting to the world is born of a spirit of hope, friendship and peace. January 1st 2019 marks 60 years that ORF will have been accompanying this "Concert of Concerts" with its television cameras. In fact, the programme is now broadcasted in almost 100 countries worldwide. A historical journey through time documenting the extent to which the broadcast has changed over the years, "Prelude to the New Year's Concert", will be shown at 10:40 on ORF2. Once again there will be a New Year’s Concert newcomer: German conductor Christian Thielemann. His engagement at the New Year’s Concert has long been anticipated by the music world, having been connected musically to the Vienna Philharmonic since 2000 and having often conducted at the Vienna State Opera. As chief conductor of the Sächsischen Staatskapelle Orchestra, Christian Thielemann has performed many concerts in Austria, not least in Salzburg, where he has been artistic director of the Easter Festival since 2013. ’Kapellmeister’ Thielemann (who prefers not to be referred to as Maestro) is very familiar with the music of the Strauss dynasty and the world of operetta. Nevertheless, his interpretation of this music especially at the New Year’s Concert represents a new level of achievement for him.
    [Show full text]
  • [Sample Title Page]
    PORTRAIT OF A FRIENDSHIP: LISZT AND CHOPIN IN 1830S PARIS by Mark De Zwaan Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Karen Shaw, Research Director, Chair ______________________________________ Evelyne Brancart ______________________________________ Arnaldo Cohen May 4, 2018 ii Copyright © 2018 Mark De Zwaan iii To Karen Shaw, my mentor and guiding light for over a decade. iv Table of Contents Table of Contents ............................................................................................................................. v List of Figures ................................................................................................................................. vi Introduction ...................................................................................................................................... 1 Chapter 1: Intuitive Obstinacy ......................................................................................................... 3 Chapter 2: Language of Emotions ................................................................................................... 7 Chapter 3: Chasing Leopold .........................................................................................................
    [Show full text]
  • 4 ` Cicero' on the (Theatre) Stage
    4 CI` CERO' ON THE(THEATRE) STAGE The earliest dramas in which ‘Cicero’ appears on stage as acharacter date from the last quarter of the sixteenth century: apiece in France, one in Germany and (at least) three in Britain were produced in fairly quick succession. In all of these ‘Cicero’ is not the protagonist after whom the plays are named; instead, he is a more or less important figure involved in the dramatic action. 4.1 Robert Garnier, Corne´ lie (1574) Context Robert Garnier ( c. 1545–1590) studied law and did legal work in Paris before becoming amagistrate in his native district of Maine (a region in France) and later amember of the Grand Conseil du Royaume in Paris. From his student days onwards Garnier wrote literary works, starting with lyric and later turning to dramatic poetry.Heisnow regarded as one of the most significant French dramatists of the sixteenth century. The majority of Garnier’splays dramatize stories from the ancient world: Porcie (1568), Corne´ lie (1574), Hippolyte (1574), Marc-Antoine (1578), La Troade (1579) and Antigone (1580). At the same time the themes have contemporary resonance: the pieces share an emphasis on civil war,are characterized by arepublican outlook and were published during the turbulent period of the French Wars of Religion.1 As for their form, Garnier’splays feature little dramatic action and rather consist of an alternation of rhetorically developed speeches and choruses; they are based on the model of Seneca’sLatin tragedies.2 28 R EVIVING C ICEROIN D RAMA Corne´ lie was first performed in 1573; it was first published in 1574 and then included in an edition of Garnier’stragedies in 1585.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 51,1931
    ACADEMY OF MUSIC . BROOKLYN Friday Evening, April 8, at 8.15 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn PR5GR7WVE BOSTON SYMPHONY ORCHESTRA : 188M931" By M. A. De WOLFE HOWE Semicentennial Edition It is seventeen years since M. A. De Wolfe Howe's history of the Boston Symphony Orchestra was published. The Fiftieth season of the Orches- tra seemed a fitting time to re-publish this prized narrative of its earlier days, and likewise to record, in additional chapters, the last years of Dr. Muck's conductorship, and the years of Henri Rabaud, Pierre Monteux, and Dr. Serge Koussevitzky. New appendices include a complete list of the music played at the regular concerts, giving the dates of performances. The soloists and the personnel through fifty years are also recorded, and the address on Henry Lee Higginson made by Bliss Perry at the Bach Festival, March 25, 1931. Now on sale at the Box Office, or by money order to Symphony Hall, Boston Price |1,50 (postage included) ACADEMY OF MUSIC BROOKLYN FIFTY-FIRST SEASON, 1931-1932 INC. Di. SERGE KOUSSEVITZKY, Conductor FRIDAY EVENING, APRIL 8, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1932, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. BENTLEY W. WARREN President ERNEST B. DANE •. Treasurer ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL WILLIAM PHILLIPS M. A. DE WOLFE HOWE EDWARD M. PICKMAN FREDERICK E. LOWELL HENRY B. SAWYER BENTLEY W. WARREN W. H. BRENNAN, Manager G.
    [Show full text]
  • Fidelio Wiener Staatsoper
    Wiener Staatsoper d F i 16 i d L e u l i d o w i g v a n B e e t h o v e n S t a g i o n e d ’ O 9 settembre 2011 p e r a 2 0 1 0 / 2 di LuFdwigdvaenlBieoethoven 0 1 1 Stagione d’Opera 2010 / 2011 Fidelio Opera in due atti Musica di Ludwig van Beethoven Libretto di Joseph Ferdinand Sonnleithner e Georg Friedrich Treitschke Progetto di scambio culturale con la Wiener Staatsoper (Opera di Stato di Vienna) EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA Venerdì, 9 settembre 2011, ore 20 Esecuzione in forma di concerto SOMMARIO PAGINA 4 L’opera in breve Claudio Toscani PAGINA 7 Il soggetto (ital. - franc. - ingl. - ted. - giapp.) PAGINA 13 Beethoven, teatralità del Fidelio Giorgio Pestelli PAGINA 31 Ludwig van Beethoven. Cronologia della vita e delle opere Marco Mattarozzi PAGINA 37 Discografia Luigi Bellingardi PAGINA 46 La Wiener Staatsoper PAGINA 53 Franz Welser-Möst PAGINA 55 Orchestra e Coro della Wiener Staatsoper PAGINA 56 Fidelio. I cantanti solisti PAGINA 58 Il Teatro alla Scala In copertina: Jakob Alt. Theater an der Wien, ca. 1820. Acquarello (Vienna, Historisches Museum der Stadt Wien). A destra: Louis Letronne (incisione di Blasius Höfel da). Ludwig van Beethoven Il ritratto è del 1814, anno della terza e definitiva versione di Fidelio . (Milano, Museo Teatrale alla Scala). L’opera in breve Claudio Toscani Negli anni del Terrore incarcerazioni e li - to ai tempi della Rivoluzione, del quale già berazioni inattese dovevano essere, in si era servito Jean-Nicolas Bouilly per la Francia, all’ordine del giorno.
    [Show full text]
  • Franz Liszt Uns Sein Kreis in Briefen Und Dokumenten Aus
    Öberösterreichisches© Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at Landesmuseum i \M W ! H AFTLICHE ARBEITEN 11M BURGENLAND - ....................................... ........................ p Heft 66 MARIA P. ECKHARDT — CORNELIA KNOTIK FRANZ LISZT UND SEIN KREIS IN BRIEFEN UND DOKUMENTEN AUS DEN BESTÄNDEN DES BURGENLÄNDISCHEN LANDESMUSEUMS 1 HERAUSGEGEBEN VOM BURG EN LÄNDISCH EN LANDESMUSEUM IN EISENSTADT © Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at 0 .0 . LANDESMÜS*»* »IBUOIHES © Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at WISSENSCHAFTLICHE ARBEITEN AUS DEM BURGENLAND MARIA P. ECKHARDT — CORNELIA KNOTIK FRANZ LISZT UND SEIN KREIS IN BRIEFEN UND DOKUMENTEN AUS DEN BESTÄNDEN DES BURGENLÄNDISCHEN LANDESMUSEUMS HEFT 66 EISENSTADT, 1983 OÖLM LINZ hXOM37225Q8 HERAUSGEGEBEN VOM BURGENLÄNDISCHEN LANDESMUSEUM, EISENSTADT (Amt der Burgenländischen Landesregierung, Abt. XII/3) ISBN 3-85405-0844 © Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at REDAKTION UND VERTRIEB: BURGENLÄNDISCHES LANDESMUSEUM, A-7000 EISENSTADT MUSEUMGASSE 1—5, BURGENLAND ÖSTERREICH Schriftleitung Wirkl. Hofrat Dr. Hanns Schmid — Oberregierungsrat Dr. Peter Krajasich. Für den Inhalt verantwortlich die beiden Autoren. Jeder Nachdruck, auch auszugsweise, nur mit Genehmigung des Herausgebers. Druck: Rötzer-Druck, Ges. m. b. H., A-7000 Eisenstadt, Mattersburger Straße 2 5. Siegel: WAB 66 ISBN 3-85405-084-4 © Landesmuseum für Burgenland, Austria, download
    [Show full text]
  • Autographen-Auktion 1
    AUTOGRAPHEN-AUKTION 1. April 2006 47807 Krefeld, Steinrath 10 Los 1581 Sigmund Freud Axel Schmolt Autographen-Auktionen 47807 Krefeld Steinrath 10 Telefon 02151-93 10 90 Telefax 02151-93 10 9 99 E-Mail: [email protected] AUTOGRAPHEN-AUKTION Inhaltsverzeichnis Los-Nr. ! Geschichte - Bayern - Haus Wittelsbach 1 - 6 - Deutsche Geschichte ohne Bayern und Preußen 7 - 16 - Preußen 17 - 57 - I. Weltkrieg 58 - 81 - Weimarer Republik 82 - 110 - Deutschland 1933-1945 111 - 216 - Deutsche Geschichte seit 1945 217 - 304 - Geschichte des Auslands bis 1945 305 - 345 - Geschichte des Auslands seit 1945 346 - 482 - Kirche-Religion 483 - 513 ! Literatur 514 - 660 ! Musik 661 - 936 - Oper-Operette (Sänger/- innen) 937 - 1106 ! Bühne - Film - Tanz 1107 - 1365 ! Bildende Kunst 1366 - 1557 ! Wissenschaft 1558 - 1646 - Forschungsreisende und Geographen 1647 - 166 ! Luftfahrt 1663 - 1674 ! Weltraumfahrt 1675 - 1705 ! Sport 1706 - 1764 ! Widmungsexemplare - Signierte Bücher 1765 - 1880 ! Sammlungen - Konvolute 1881 - 1903 Autographen – Auktion am Samstag, den 01. April 2006 47807 Krefeld, Steinrath 10 Die Versteigerung beginnt um 10.00 Uhr. Pausen nach den Gebieten Literatur und Bühne-Film-Tanz Im Auktionssaal sind wir zu erreichen: Telefon (02151) 93 10 90 und Fax (02151) 93 10 999 Während der Auktion findet im Auktionssaal keine Besichtigung statt. Die Besichtigung in unseren Geschäftsräumen kann zu den nachfolgenden Terminen wahrgenommen werden oder nach vorheriger Vereinbarung. 25.03.2006 (Samstag) von 10.00 bis 16.00 Uhr 27.03.2006 – 31.03.2006 von 10.00 bis 17.00 Uhr Bei Überweisung der Katalogschutzgebühr von EUR 10,- senden wir Ihnen gerne die Ergebnisliste der Auktion zu. Autographen - Auktionen Axel Schmolt Steinrath 10, 47807 Krefeld Tel.
    [Show full text]