DOCSLIB.ORG

Lottelehmann EU 2/9/07 11:41 AM Page 5

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lottelehmann EU 2/9/07 11:41 AM Page 5 111244 bk LotteLehmann EU 2/9/07 11:41 AM Page 5 FRANZ SCHUBERT (1797 - 1828) 8.111244 Winterreise, D. 911 (excerpts) 30:22 GREAT SINGERS • LEHMANN ADD (Text: Wilhelm Müller) – Gute Nacht (No. 1) 4:23 § Gefrorne Tränen (No. 3) 2:49 ¶ Erstarrung (No. 4)* 2:54 Lotte • Wasserflut (No. 6) 3:25 ª Rast (No. 10) 4:07 Also available: LEHMANN º Frühlingstraum (No. 11) 4:13 ⁄ Einsamkeit (No. 12) 2:41 ¤ Letzte Hoffnung (No. 16) 2:26 Lieder Recordings, Vol. 3 ‹ Der Leiermann (No. 24)* 3:20 1941 Paul Ulanowsky, Piano Recorded 14th and *19th March, 1941 in Los Angeles SCHUMANN Matrices: XCO 30018, CO 29948, CO 30015, XCO 29949, XCO 29953, XCO 29956, CO 29954, Frauenliebe und -Leben XCO 29951 [part], CO 30014 Dichterliebe First issued on Columbia 17367-D through 17369-D in album M-587 and 71174-D through 71176-D in album M-466 SCHUBERT Winterreise (excerpts) 8.111093 8.111094 Bruno Walter Paul Ulanowsky 8.111244 5 6 8.111244 111244 bk LotteLehmann EU 2/9/07 11:41 AM Page 2 Lotte Lehmann (1888-1976) Producer’s Note ROBERT SCHUMANN (1810 - 1856) ROBERT SCHUMANN (1810 - 1856) Lieder by Schumann and Schubert Frauenliebe und –Leben, Op. 42 20:23 Dichterliebe, Op. 48 27:03 These recordings were originally made on lacquer master discs featuring quieter surfaces and a wider frequency (Text: Adalbert von Chamisso) (Text: Heinrich Heine) By 1941, in her fifties Lotte Lehmann was gradually Sometimes intentionally, sometimes involuntarily breaths range than standard 78 rpm shellacs of the time could offer. At their best, the sound is comparable to early 1950s winding down her operatic career, but the long-serving, are taken in the most unlikely places, but that, and some monaural tape recordings. The transfers have been effected from LPs taken from these lacquers. Some 9 Im wunderschönen monat Mai 1:25 imperfections in the original lacquer masters (not from the LP copies) remain in the current transfer. Although warm-hearted soprano was still very active in the field of other moments in terms of pure vocalisation, are forgotten 1 Seit ich ihn geseh’n 2:35 0 Aus meinem Tränen spriessen 0:47 Lieder, a genre that she advocated throughout her and forgiven before the sheer outpouring of the whole. Columbia’s engineers, like Victor’s before them, recorded Lehmann far too close to the microphone in a small, extensive career. For much of the time she had been a Any soul left untouched by her tremendous ‘Ich grolle rather dry studio, I have not added any artificial reverberation so that the details of the original recordings may 2 Er der Herrlichste von Allen 3:00 ! Die Rose, die Lilie, die Taube, die Sonne 0:36 Victor artist, but now she had switched to Columbia, who nicht’ must be damned. Any male heart that doesn’t come through unobscured. 3 Ich kann’s nicht fassen nicht glauben 1:56 @ Wenn ich in deine Augen seh’ 1:27 allowed her to record Dichterliebe and bits of capitulate to the eroticism of ‘Ich will meine Seele Winterreise, cycles usually associated with male singers, tauchen’ or the eager appeal of ‘Allnächtlich im Traume’ Mark Obert-Thorn 4 Du Ring an meinem Finger 2:19 # Ich will meine Seele tauchen 1:04 although she began with Frauenliebe und -Leben, a must be hard indeed. 5 Helft mir, ihr Schwestern 1:41 $ Im Rhein, im heiligen Strome 2:15 specifically female work, depicting a young woman Lehmann, greatly daring given the fact that this work 6 Süsser Freund, du blickest mich verwundert an 4:09 % Ich grolle nicht 1:53 falling in love, marrying, having a baby and then losing had in her time remained the province of male singers, her husband. It is a cycle of open, unfettered and undertook to perform Winterreise, over some months in 7 An meinem Herzen, an meiner Brust 1:13 ^ Und wüssten’s die Blumen 1:18 dedicated expression of love for a man. Somewhat 1940-41, now with her regular accompanist of the day, 8 Nun hast du mir den ersten Schmerz getan 3:27 & Das ist ein Flöten und Geigen 1:12 frowned on given today’s ideas on feminism, the Paul Ulanowski. Dismissing criticism that this is a man- wonderful setting by Schumann surely is its own only cycle, and putting out of court preconceived ideas * Hör ich das Liedchen klingen 1:50 justification, and Lehmann is the sincere, fully committed about the right voice for the work, she offered a bold, Bruno Walter, Piano ( Ein Jüngling liebt ein Mädchen 1:03 artist to make her own case for it. romantic reading that identifies both with the bleak Lehmann is not a singer to pull any punches. She setting and the protagonist’s awful situation. Recorded 24th June, 1941 in Los Angeles ) Am leuchtenden Sommermorgen 2:13 wholly identifies with all the girl’s emotions, and pours Although we do not have the complete performance Matrices: CO 31508 through 31515 ¡ Ich hab’ im Traum geweinet 1:47 them out in her own, very generous terms. Her word- here, enough is suggested in the chosen songs to get the First issued on Columbia 17362-D through 17365-D ™ Allnächtlich im Traume 1:28 painting is, as ever, something to wonder at, as is her still- flavour of Lehmann’s interpretation, one only matched by warm tone. Portamento is used in a way frowned on a woman in recent times by the equally individual and in album M-539 £ Aus alten Märchen winkt es 2:38 today, but it is part of her interpretative manner, and she involved Brigitte Fassbaender. Like her successor, ¢ Die alten, bösen Lieder 4:05 uses it to telling effect throughout. If the reading is not to Lehmann identifies with the spirit of each song, is not today’s more fastidious taste so much the worse for that averse to ritenuti ad portamenti as a means of expression, taste. If you let yourself relax into Lehmann’s very and, more important, lives every word of the text in a Bruno Walter, Piano personal ways, the rewards are huge. This is an wholly involving way - take, as an example, the final two instinctive, giving artist making Schumann’s cycle her lines of ‘Frühlingstraum’ where she balances the Recorded 13th August, 1941 in Los Angeles very own. Bruno Walter’s playing is another matter - timescale of past and present to perfection. Ulanowsky is Matrices: indulgence is needed to allow for some carelessness in his a faithful partner in all she does, but for better or worse, CO 31380 (Tracks 9-11), CO 31377 (Tracks 12-13), efforts, but - like his singer (a frequent colleague in the lacks the inspired if wayward quality of Walter. opera house) - his idiosyncrasies are forgiven for his As a singer, Lehmann was a force of nature who XCO 31383 (Tracks 14-15), XCO 31381 (Tracks 16-18), many musical revelations. obeyed her own musical and interpretative inclinations CO 31384 (Tracks 19-20), CO 31378 (Tracks 21-22), The same can be said of his contribution to rather than following the stylistic verities. Nothing she Dichterliebe; any mistakes are forgiven in his heartfelt, ever did was lightly undertaken or ill-considered; XCO 31379 (Track 23) and XCO 31382 (Track 24) serene rendering of the long postlude. As for Lehmann everything came from the heart and went to it. A new First issued on Columbia 17295-D, 17296-D, 71308-D once again impassioned delivery, free declamation, utter generation of listeners may at first be disconcerted by her conviction are of the essence as the first song immediately singing but I am sure in the end they will, like me, be and 71309-D in album M-486 reveals. With what meaning she invests the text captivated by a unique artist. throughout: ‘Nur einer kennst meinen Schmerz’ in ‘Und wüssten's die Blumen’, for instance, rends the heart. Ꭿ 2007 Alan Blyth 8.111244 2 3 8.111244 4 8.111244 111244 bk LotteLehmann EU 2/9/07 11:41 AM Page 2 Lotte Lehmann (1888-1976) Producer’s Note ROBERT SCHUMANN (1810 - 1856) ROBERT SCHUMANN (1810 - 1856) Lieder by Schumann and Schubert Frauenliebe und –Leben, Op. 42 20:23 Dichterliebe, Op. 48 27:03 These recordings were originally made on lacquer master discs featuring quieter surfaces and a wider frequency (Text: Adalbert von Chamisso) (Text: Heinrich Heine) By 1941, in her fifties Lotte Lehmann was gradually Sometimes intentionally, sometimes involuntarily breaths range than standard 78 rpm shellacs of the time could offer. At their best, the sound is comparable to early 1950s winding down her operatic career, but the long-serving, are taken in the most unlikely places, but that, and some monaural tape recordings. The transfers have been effected from LPs taken from these lacquers. Some 9 Im wunderschönen monat Mai 1:25 imperfections in the original lacquer masters (not from the LP copies) remain in the current transfer. Although warm-hearted soprano was still very active in the field of other moments in terms of pure vocalisation, are forgotten 1 Seit ich ihn geseh’n 2:35 0 Aus meinem Tränen spriessen 0:47 Lieder, a genre that she advocated throughout her and forgiven before the sheer outpouring of the whole. Columbia’s engineers, like Victor’s before them, recorded Lehmann far too close to the microphone in a small, extensive career. For much of the time she had been a Any soul left untouched by her tremendous ‘Ich grolle rather dry studio, I have not added any artificial reverberation so that the details of the original recordings may 2 Er der Herrlichste von Allen 3:00 ! Die Rose, die Lilie, die Taube, die Sonne 0:36 Victor artist, but now she had switched to Columbia, who nicht’ must be damned.
Load more

Recommended publications
  • California State University, Northridge Collaborative Piano Recital Works by Mozart, Schumann, Schubert, Barber and Stravinsky
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE COLLABORATIVE PIANO RECITAL WORKS BY MOZART, SCHUMANN, SCHUBERT, BARBER AND STRAVINSKY An Graduate project submitted in partial fulfillment of the requirements For the degree of Master of Music in music, in Performance By Ningqi Li May 2016 The Graduate Program of Ningqi Li is approved: _____________________________________ _______________________ Dr. Soo-Yeon Chang Date _____________________________________ _______________________ Dr. Murray, Deanna Date _____________________________________ _______________________ Dr. Dmitry Rachmanov. Chair Date California State University, Northridge ii Table of Contents Signature Page ii Abstract iv Program (Collaborative Piano Recital) 1 iii ABSTRACT COLLABORATIVE PIANO RECITAL WORKS BY MOZART, SCHUMANN, SCHUBERT, BARBER AND STRAVINSKY BY Ningqi Li Master of Music in Music, in performance Violin Sonata in E Minor, K.304 by Wolfgang Amadeus Mozart Mozart lived from 1756 to 1791 in Salzburg. He composed more than 600 brilliant pieces of music such as sonatas, symphonies, concerti, operas, choral pieces, etc. He traveled with his family to Europe many times and The European style influenced him. He also influenced many later composers including Beethoven. In 1777 and 1778, he traveled to Europe again and he fell in love with Aloysia Weber. However, his mother then got sick and died in the same year. Violin Sonata in E Minor, K.304 is special to Mozart, he wrote it in 1778. That year he had traveled to Mannheim, therefore he must have taken some style from there. Also, it was written around his mother’s death. The sonata K.304 may reflect his sad mood and iv it is the only minor key in his violin sonatas.
    [Show full text]
  • Robert Schumann on the Poems of Heinrich Heine
    DICHTERLIEBE opus 48 A Cycle of Sixteen. Songs by Robert Schumann on the poems of Heinrich Heine An Honors Thesis (Honrs 499) by Shawn L. Harrington Thesis Advisor (u,r$/ Mr. John Meadows", . " (! jl'lrli{Lul ~t;(,cY\' Ball State University Muncie, Indiana November, 1995 Expected date of graduation 12/95 !J,:'( ! __ <l !.", .,.' , j:L. ' .. " Purpose of Thesis This project has two components: a written discussion of the music of the Dichterliebe, and the lives of the composer Robert Schumann and the poet Heinrich Heine; and an audio tape of my performance of the Dichterliebe. The performance was the culmination of my study of the Dichterliebe, in particular, and of my voice studies, in general. Through the performance, I set out to share the wonderful music and poetry of the Dichterliebe as well as share my musical and vocal growth over the past four years. The written portion of the project was undertaken to satisfy my personal curiosity of the men who wrote the music and the poetry of the Dichterliebe. A study of the music without knowing the man who composed it or the man who wrote the words would be only half complete at best. Likewise, a study of the men and not the music would also be incomplete. That is why I included both venues of learning and experiencing in this project; and that is why I have included an audio tape of the performance with this written report. Acknowledgements I would like to thank my voice instructor (and thesis advisor), John Meadows. Without his expertise, advise, and instruction, I would not have been able to present the Dichterliebe in a performance.
    [Show full text]
  • History of Music
    HISTORY OF MUSIC THE ROMANTIC ERA Created by J. Rogers (2015) 2 GOWER COLLEGE SWANSEA MUSIC Table of Contents Romantic Era Introduction (1830 – 1910) ............................................. 4 Programme Music ........................................................................................ 5 Concert Overture .............................................................................................. 5 Programme Symphony ....................................................................................... 6 Symphonic Poem ................................................................................................. 9 Romantic Piano Music ............................................................................... 11 Lieder and Song-cycles .............................................................................. 12 Opera and Music Dramas ......................................................................... 15 Italian Opera ..................................................................................................... 15 Music Dramas ................................................................................................... 16 Leitmotifs in The Ring ..................................................................................... 17 GOWER COLLEGE SWANSEA 3 MUSIC History of Music The History of Music can be broadly divided into separate periods of time, each with its own characteristics or musical styles. Musical style does not, of course, change overnight. It can often be a gradual process
    [Show full text]
  • A Dichterliebe by Robert Schumann
    ,A DICHTERLIEBE BY ROBERT SCHUMANN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Hubert Neil Davidson, B. M. Denton, Texas August, 1957 PREFACE The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 1+8) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and perform- ance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal lit.- erature of the Romantic period. An acquaintance with the life of the poet, Heinrich Heine, as well as the life of the composer of these songs and their relationship to each other contributes toward an understanding of the cycle. Each of the sixteen songs in the cycle is analyzed according to its most important characteristics, including text setting, general harmonic structure, important role of the accompaniment, expressive techniques, mood, tempo, rhythm, and dynamics. It is not the aim of this work to offer an extensive formal or harmonic analysis of this song cycle. iii TABLE OF CONTENTS Page PREFACE . iii LIST OF ILLUSTRATIONS.... ..... .v Chapter I. BACKGROUND OF THE DICHTERLIEBE . .1 Biographical Sketch of Robert Schumann The Life and Work of Heinrich Heine Robert Schumann's Relationship with Heinrich Heine History of Song Cycles up to and Past the Dichterliebe II. ANALYSIS OF THE DICHTERLIEBE . 18 I Im wundersch8ne Monat Mai II lus meinen Thranen spriessen III Die Rose, die Lilie, die Taube IV Wenn ich in!~deine Augen~seh1' V IhwiT miieine Seele tauchen VI Im Rhein, im heiligen Strome VII Ich rolle nicht VIII Und, ssten's die Blumen, die kleinen IX Das ist ein Fl8ten und Geigen x 'Tich das Liedchen~klingen XI Emn J17ling liebt ein Mdchen XII Am leuchtenden Sommemorgen XIII Ich hablimTTraum geweinet XIV llnHEhtlich im Traume seh' ich dich XV Aus alten Murchen Winkt es XVI Die alten b6sen Leider BIBLIOGRAPHY 0.
    [Show full text]
  • Julius Stockhausen's Early Performances of Franz Schubert's
    19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16.
    [Show full text]
  • Dichterliebe Schumann Julian Prégardien Éric Le Sage Sandrine Piau MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS
    DICHTERLIEBE SCHUMANN JULIAN PRÉGARDIEN ÉRIC LE SAGE SANDRINE PIAU MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS ROBERT SCHUMANN (1810-1856) SPANISCHES LIEDERSPIEL, OP.74 1 NO.4 IN DER NACHT 4’24 CLARA SCHUMANN (1819-1896) 3 ROMANCES, OP.11 2 NO.2 ANDANte – allegrO PASSIONATO – aNDANTE 5’29 ROBERT SCHUMANN 3 GESÄNGE, OP.31 3 NO.1 DIE LÖWENBRAUT 7’53 CLARA SCHUMANN 4 WENN ICH EIN VÖGLEIN WÄR 1’08 ROBERT SCHUMANN 3 ZWEISTIMMIGE LIEDER, OP.43 (OSSIA GENOVEVA, OP.81, ACT II) 5 NO.5 WENN ICH EIN VÖGLEIN WÄR 1’27 MYRTHEN, OP.25 6 NO.15 AUS DEN HEBRÄISCHEN GESÄNGEN (MEIN HERZ IST SCHWER) 4’32 DICHTERLIEBE, OP.48 7 I. IM WUNDERSCHÖNEN MONAT MAI 1’32 8 II. AUS MEINEN TRÄNEN SPRIEßEN 0’45 9 III. DIE ROSE, DIE LILIE 0’34 10 IV. WENN ICH IN DEINE AUGEN seh’ 1’31 11 V. ICH WILL MEINE SEELE TAUCHEN 0’55 12 VI. IM RHEIN, IM HEILIGEN STROME 2’27 13 VII. ICH GROLLE NICHT 1’27 14 VIII. UND WÜSSTEN’s die BLUMEN 1’12 15 IX. DAS IST EIN FLÖTEN UND GEIGEN 1’17 16 X. Hör’ ich das LIEDCHEN KLINGEN 1’46 17 XI. EIN JÜNGLING LIEBT EIN MÄDCHEN 0’52 18 XII. AM LEUCHTENDEN SOMMERMORGEN 2’16 19 XIII. Ich hab’ im TRAUM GEWEINET 2’36 20 XIV. ALLNÄCHTLICH IM TRAUME 1’22 21 XV. AUS ALTEN MÄRCHEN WINKT ES 2’05 22 XVI. DIE ALTEN BÖSEN LIEDER 4’00 SECHS FRÜHE LIEDER, WOO 21 23 NO.4 KURZES ERWACHEN 2’16 5 LIEDER UND GESÄNGE, OP.127 24 NO.1 SÄNGERS TROST 2’05 3 ROMANZEN, OP.28 25 NO.1 SEHR MARKIRT 3’22 26 NO.2 EINFACH 3’23 4 GESÄNGE, OP.142 27 NO.4 MEIN WAGEN ROLLET LANGSAM 3’03 TOTAL TIME: 66’15 JULIAN PRÉGARDIEN TENOR ÉRIC LE SAGE FORTEPIANO FORTEPIANO BY JULIUS BLÜTHNER, LEIPZIG 1856, RESTORED BY CHRISTOPH KERN SANDRINE PIAU SOPRANO (1,3,4,5) › MENU Jedes musikalische Werk durchläuft eine Entstehungsgeschichte.
    [Show full text]
  • Dichterliebe
    Schumann, Heine, and Romantic Irony: Music and Poems in the First Five Songs of Dichterliebe Lauri Suurpaa Heine's Lyrisches Intermezzo and Schumann's Dichterliebe^ Schumann composed Dichterliebe op. 48 - probably die best known of his song cycles - in one week at the end of May 1840.2 The year 1840 has been called Schumann's year of songs. Besides Dichterliebe, he composed the song cycles Myrthen op. 25, Liederkreis op. 39, and Frauenliebe und -leben op. 42. The vast and sudden production of songs is notable, as before 1840 Schumann had composed songs only as a very young man during the years 1 827-28. 3 Vocal music occupied an ambiguous position in the early part of the nineteenth century. The bourgeoisie of the time showed great interest in vocal music: people sang lieder and were active in choral societies. However, the writers of the early Romantic period considered instrumental music superior to vocal music. They claimed that instrumental music could approach the infinite - highly important for early romantic aesthetics - more M wish to acknowledge my gratitude to Professors Edward Laufer and Carl Schachter for their valuable comments during the preparation of this article. 2For a discussion on the compositional history of Dichterliebe, see Rufus E. Hallmark, The Genesis of Schumann's Dichterliebe: A Source Book (Ann Arbor:' UMI Research Press, 1976). ^Reasons for this sudden interest in songs have been sought in an idea, growing in Schumann's mind, that instrumental music would no longer be progressing (see Leon P. Plantinga, Schumann as Critic [New Haven: Yale University Press, 1967], 179-183), and from Schumann's eagerness to raise his social status that he might marry Clara Wieck (see Barbara Turchin, "Schumann's Conversion to Vocal Music: A Reconsideration," The Musical Quarterly [July 1981]: 392-404).
    [Show full text]
  • R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
    Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research.
    [Show full text]
  • Heinrich Heine - Robert Schumann
    Heinrich Heine - Robert Schumann Dokumente und Interpretationen zu einer glücklichen deutsch-jüdischen Begegnung Martin Zenck (Univ. Bamberg) Unabhängig davon, ob die Begegnung zwischen Schumann und Heine auch im religiösen Sinne eines assimilierten Judentums „glücklich“ gewesen ist und sich später auch möglicherweise durch den Gegensatz zwischen einem „klassizistischen Weimar“ und der „Pariser Moderne“ verdunkelt hat, unabhängig also von diesen Problemen, den ich mich später zuwenden möchte, kann die literarisch-musikalische Berührung zwischen dem Dichter Heinrich Heine und dem Musiker Robert Schumann in doppelter Hinsicht als „geglückt“ bezeichnet werden. Schumann ist nicht nur der Dichter, wie ihn Henri Pousseur mit Blick auf die Komposition der „Dichterliebe“ bezeichnet hat, weil die musikalische Lektüre Schumanns der Gedichte aus Heines „Buch der Lieder“ als dichterisch aufgefasst werden kann, sondern weil Schumann sich vor allem in seinen jungen Jahren als Dichter fühlte wie auf vergleichbare, wenn auch entgegengesetzte Weise Heine sich als „Musiker“ verstanden hat. Freilich nicht in der Form, dass er so komponiert hätte, wie Schumann literarische Texte schrieb, aber seine genuine Verwandtschaft mit der Musik zeigt sich einmal in seinen Korrespondenten-Berichten aus Paris für die Augsburger „Allgemeine Zeitung“ und für die „Allgemeine Theater-Revue“, in der er als Musikkritiker Konzerte und Opernaufführungen mit stupender Sachkenntnis und musikalisch tief eindringender Einsicht bespricht, zum anderen dokumentiert seine Abhandlung über „Die romantische Schule“ einen Überblick über die literarischen Generationen der Frühromantik und der späteren Romantik, die zwischen dem politischen Vormärz und dem Biedermeier sich bewegte. Vor allem hervorzuheben ist die Tatsache, dass er wohl als Erster die ingeniöse Bedeutung der Gedichte von Wilhelm Müller erkannte, genauer deren Musikalität, die in den beiden Liederzyklen der „Schönen Müllerin“ und der „Winterreise“ von Schubert so unvergleichlich in klingende Musik umgesetzt wurde.
    [Show full text]
  • The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors
    The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito.
    [Show full text]
  • Robert Schumann 1810–1856
    Jodi Levitz Carla Moore The Benvenue Fortepiano Trio 2 Robert Schumann 1810–1856 Märchenbilder Op.113* 1 I. Nicht schnell 3.29 2 II. Lebhaft 3.58 3 III. Rasch 2.32 4 IV. Langsam 5.26 Fünf Stücke im Volkston Op.102 † 5 I. Mit Humor 3.05 6 II. Langsam 3.21 7 III. Nicht schnell 4.13 8 IV. Nicht zu rasch 1.53 9 V. Stark und markiert 3.00 Piano Quintet in E flat Op.44° 10 I. Allegro brillante 9.04 11 II. In modo d’un marcia 7.50 12 III. Scherzo 4.51 13 IV. Allegro ma non troppo 7.06 59.48 The Benvenue Fortepiano Trio on period instruments * † ° Eric Zivian fortepiano (Franz Rausch, Vienna, 1841) ° Monica Huggett violin (Dutch [Cuypers School], circa 1770) † ° Tanya Tomkins cello (Joseph Panormo, London, 1811) *°Jodi Levitz viola (Andrea Ghisalberti, Parma, 1729) ° Carla Moore violin (Johann Georg Thir, Vienna, 1754) 3 When Robert Schumann finally married Clara Wieck on 12 September 1840, it marked the end of a long battle with Clara’s father, Friedrich Wieck, who considered the 30-year-old composer unfit for her. As Wieck’s arguments fell away and it became clear that the young lovers would soon be able to marry, Schumann entered an extraordinary phase of compositional productivity. During 1840 and into 1841 – known as the composer’s Liederjahr or ‘year of song’ – he composed no fewer than 125 Lieder, casting them off at white heat, sometimes at the rate of two a day. This prodigious activity continued into the next year, when he turned his mind to the orchestra, composing the First Symphony and the original version of the Fourth, along with the Overture, Scherzo and Finale and the piano Phantasie, which was to become the first movement of the Piano Concerto a few years later.
    [Show full text]
  • A Study of Vocal Influences in Robert Schumann's
    WHEN CONCERTO MEETS SONG CYCLE: A STUDY OF VOCAL INFLUENCES IN ROBERT SCHUMANN’S CELLO CONCERTO IN A MINOR, OP. 129, WITH REFERENCE TO HIS DICHTERLIEBE, OP. 48 BY KA-WAI YU THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Cello Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2011 Urbana, Illinois Doctoral Committee: Assistant Professor Reynold Tharp, Chair and Director of Research Assistant Professor Christina Bashford Professor Charlotte Mattax Moersch Assistant Professor Brandon Vamos Associate Professor Ann Yeung © Copyright by Ka-Wai Yu, 2011 ABSTRACT This thesis responds to the long-existing doubts, prejudices and mixed critical views about the value of Schumann’s Cello Concerto and his late music with new ideas and possibly answers. It focuses on analyzing influences from Schumann’s vocal music in the concerto. Dichterliebe, Op. 48, which is one of Schumann’s most successful song cycles and reflects the composer’s mature vocal style, will be used as a reference throughout the thesis, besides examples from Schumann’s other early and late vocal works. The analysis of the concerto is divided into four main sections: structure, tonality, rhetoric, and orchestration. The first section examines how the musical material and sections/movements in the concerto are organically connected like the structure of a song cycle through studying the miniature scale of the work, cyclic recurrences of thematic material, structural unity and ambiguity, fragmentation, and possible song form in the concerto. The second part is an analysis of the concerto’s tonal and harmonic language.
    [Show full text]