Vol. 20 No 2 August 2017
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Christoph Eschenbach Dirigiert Mahler 6
Eschenbach dirigiert Mahler 6 Samstag, 08.04.17 — 19.30 Uhr Lübeck, Musik- und Kongresshalle GUSTAV MAHLER Sinfonie Nr. 6 a-Moll ChristopH ESchenbAcH Dirigent „Glück flammt hoch am Rande des Grauens“ Am 20. Mai 1906 machte sich Gustav Mahler auf die Meine VI. wird Reise nach Essen, um die Uraufführung seiner Sechs Rätsel aufgeben, ten Sinfonie vorzubereiten – mit gemischten Gefüh len. Denn zum einen zweifelte er an der Leistungs an die sich nur fähigkeit des Essener Orchesters, das qualitativ dem eine Generation Kölner GürzenichOrchester, mit dem er zwei Jahre zuvor seine Fünfte erarbeitet hatte, klar unterlegen heranwagen darf, NDR ELbpHilharmoNiE war. Zum anderen hatte man aufgrund der großen die meine ersten Orchester Besetzung das Orchester der Stadt Utrecht zur Verstär kung holen müssen, über dessen Güte sich Mahler fünf in sich auf- zuvor bei seinem Freund Willem Mengelberg zwar genommen hat. ausführlich erkundigt hatte und beruhigt worden war. Doch würden sich beide Orchester problemlos zu Gustav Mahler im Jahr 1904 einem Klangkörper zusammenfügen lassen? Mahlers Bedenken sollten sich als unbegründet erweisen. „Sehr zufrieden von der 1. Probe!“, heißt es Gustav Mahler (1860 – 1911) in einem Brief an Alma Mahler vom 2. Mai 1906. Sinfonie Nr. 6 aMoll „Orchester hält sich famos und klingen thut Alles, Entstehung: 1903 – 04 | Uraufführung: Essen, 27. Mai 1906 | Dauer: ca. 85 Min. wie ich es wünschen kann.“ Dennoch wurde die Pre I. Allegro energico, ma non troppo. miere am 27. Mai 1906 im Essener Saalbau nur ein Heftig, aber markig Achtungserfolg, bei dem laut den Erinnerungen des II. Scherzo. Wuchtig – Trio. Altväterisch, grazioso damals anwesenden Dirigenten Klaus Pringsheim III. -
The Chesterian (1915-1961)
Introduction to: Liesbeth Hoedemaeker, The Chesterian (1915-1940, 1947-1961) Répertoire international de la presse musicale (www.ripm.org) Copyright © 2013 RIPM Consortium Ltd The Chesterian 1915-1961 The Chesterian [CHE], one of England’s most important journals dealing with the development of musical composition and style during the first half of the twentieth century, was published by J. & W. Chester, the well-known music publisher. The journal1 was issued in two series, the first from 1915-1919; the second, titled New Series, from 1919-1961. Publication was interrupted from 1940 to 1947, years of the Second World War. The journal’s format is small: ca. 11 x 19 cm. The volumes were published annually from September to July. The first series consists of twenty, sixteen-page issues containing 320 numbered pages. The New Series consists of two- hundred-and-eight issues and 8,632 pages, including unnumbered pages. The number of annual issues begins at eight per volume in September 1919; declines to six in September 1932 until 1939; and, after the interruption, to four issues in 1947. The cover pages often contain information, such as lists of contributors, opinions of subscribers, contents of earlier issues and advertisements. The appearance of the New Series sparked sufficient interest to be recognized in the New York Tribune which offered an extensive preliminary list of contributors, citing letters as being of special interest: A feature of this magazine will be letters from various music centres containing information of current musical events. Ernest Newman, René Chalupt, Guido M. Gatti and Adolfo Salazar will be the respective contributors of letters from London, Paris, Italy and Spain.2 The journal’s appearance was also noted in The Musical Times: The Chesterian will be a … very readable little circular … In its new form it will appear eight times in the year. -
MOZART Così FAN TUTTE Wolfgang Sawallisch
MOZART COSì FAN TUTTE Price · Fassbaender ∙ Grist Schreier · Brendel · Adam Wolfgang Sawallisch Bayerische Live Staatsoper ORFEO D' OR Live Recording 25. Februar 1978 BAYERISCHE STAATSOPER LIVE Unser Opernerbe ist nirgendwo in einer to theatrical spirit. Here are live perfor- so herausragenden Bühnentradition auf- mances captured in the heat of the pro- geführt worden wie an der Bayerischen methean forge – warts and all! Staatsoper München. Die Edition BAYE- Every Opera production is a prototype – RISCHE STAATSOPER LIVE liefert uns nicht an individual bespoke act of creative in- nur wertvolle historische Dokumente, son- terpretation resulting in that live experien- dern auch ein Gegenargument zu der ce we share. Here are some of those mo- Behauptung, Aufnahmen stellten für den ments preserved in aspic and re-ignit-ed Geist des Theaters eine Bedrohung dar. into life by the flame of technology. Let us Hier haben wir Aufführungen live, direkt aus treasure them and look forward to more der Glut der prometheischen Schmiede, riches that are promised from the past of mitsamt ihren kleinen Unebenheiten und our distinguished company! Schwächen! Jede Operninszenierung ist eine Art Pro- Jamais les opéras de notre patrimoine totyp: ein individueller Akt kreativer Inter- n’ont trouvé une aussi éminente tradition pretation, dessen Ergebnis wir gemein- théâtrale qu’à Munich, à la « Bayerische sam live erleben. Einige solcher Augen- Staatsoper ». Cette série d’enregistrement blicke finden wir hier wie in Bernstein ein- en direct – BAYERISCHE STAATSOPER LIVE geschlossen und durch die Technik wie- – ne constitue pas seulement un docu- der zu neuem Leben entfacht. Hüten wir ment historique de valeur, mais s’oppose diesen Schatz, und freuen wir uns auf das, à l’affirmation selon laquelle les enregis- was aus der reichen Vergangenheit un- trements menaceraient l’esprit théâtral. -
Solving Elgar's Enigma
Solving Elgar's Enigma Charles Richard Santa and Matthew Santa On June 19, 1899, Elgar's opus 36, Variations on a Theme, was introduced to the public for the first time. It was accompanied by an unusual program note: It is true that I have sketched for their amusement and mine, the idiosyn crasies of fourteen of my friends, not necessarily musicians; but this is a personal matter, and need not have been mentioned publicly. The Varia tions should stand simply as a "piece" of music. The Enigma I will not explain-its "dark saying" must be left unguessed, and I warn you that the connexion between the Variations and the Theme is often of the slightest texture; further, through and over the whole set [of variations 1 another and larger theme "goes" but is not played ... So the principal Theme never appears, even as in some late dramas-e.g., Maeterlinck's "L'Intruse" and "Les sept Princesses" -the chief character is never on the stage. (Burley and Carruthers 1972:119) After this premier Elgar give hints about the piece's "Enigma;' but he never gave the solution outright and took the secret to his grave. Since that time scholars, music lovers, and cryptologists have been trying to solve the Enigma. Because the solution has not been discovered in spite of over 108 years of searching, many people have assumed that it would never be found. In fact, some have speculated that there is no solution, and that the promise of an Enigma was Elgar's rather shrewd way of garnering publicity for the piece. -
AUGUST JAEGER: PORTRAIT of NIMROD Frontispiece Visiting the Sick
AUGUST JAEGER: PORTRAIT OF NIMROD Frontispiece Visiting the sick. Lady Olga Wood and Professor Sanford take their leave of Jaeger and the children outside 37 Curzon Road, Muswell Hill, c. 1905. August Jaeger: Portrait of Nimrod A Life in Letters and Other Writings KEVIN ALLEN First published 2000 by Ashgate Publishing Reissued 2018 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Kevin Allen, 2000 The author has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Publisher s Note The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original copies may be apparent. Disclaimer The publisher has made every effort to trace copyright holders and welcomes correspondence from those they have been unable to contact. A Library of Congress record exists under LC control number: 00023684 Typeset in Garamond by The Midlands Book Typesetting Company, Loughborough, Leics. ISBN 13: 978-1-138-73208-7 (hbk) ISBN 13: 978-1-315-18862-1 (ebk) Contents list of Plates vii Foreword by Percy M. -
Edward Elgar: Enigma Variations What Secret? Perusal Script Not for Performance Use Copyright © 2010 Chicago Symphony Orchestra
Edward Elgar: Enigma Variations What Secret? Perusal script Not for performance use Copyright © 2010 Chicago Symphony Orchestra. Duplication and distribution prohibited. In addition to the orchestra and conductor: Five performers Edward Elgar, an Englishman from Worcestershire, 41 years old Actor 2 (female) playing: Caroline Alice Elgar, the composer's wife Carice Elgar, the composer's daughter Dora Penny, a young woman in her early twenties Snobbish older woman Actor 3 (male) playing: William Langland, the mediaeval poet Arthur Troyte Griffith (Ninepin), an architect in Malvern Richard Baxter Townsend, a retired adventurer William Meath Baker, a wealthy landowner George Robertson Sinclair, a cathedral organist August Jaeger (Nimrod), a German music-editor William Baker, son of William Meath Baker Old-fashioned musical journalist Pianist Narrator Page 1 of 21 ME 1 Orchestra, theme, from opening to figure 1 48" VO 1 Embedded Audio 1: distant birdsong NARRATOR The Malvern Hills... A nine-mile ridge of rock in the far west of England standing about a thousand feet above the surrounding countryside... From up here on a clear day you can see far into the distance... on one side... across the patchwork fields of Herefordshire to Wales and the Black Mountains... on another... over the river Severn... Shakespeare's beloved river Avon... and the Vale of Evesham... to the Cotswolds... Page 2 of 21 and... if you're lucky... to the north, you can just make out the ancient city of Worcesteri... and the tall square tower of its cathedral... in the shadow of which... Edward Elgar spent his childhood and his youth.. -
380 XXXIX. Tonkünstler-Versammlung Basel
380 XXXIX. Tonkünstler-Versammlung Basel, [Karlsruhe], [11.] 12. – 15. Juni 1903 Festdirigenten: Hans Huber, Hermann Suter Festchor: Basler Gesangverein, Basler Liedertafel, Reveillechor der Basler Liedertafel Ens.: Orchester der Allgemeinen Musikgesellschaft Basel, verstärkt durch Mitglieder der Meininger Hofkapelle und des Orchestre symphonique de Lausanne sowie hiesige und auswärtige Künstler (110 Musiker) 1. Aufführung: Festvorstellung Karlsruhe, Großhzgl. Hoftheater, Donnerstag, 11. Juni Friedrich Klose: Das Märlein vom Fischer und seiner Frau, Oper 2. Aufführung: I. Konzert [auch: für Soli, Männerchor und Orchester ] Basel, Musiksaal, Freitag, 12. Juni, 19:00 Uhr 1. Émile Jaques-Dalcroze: Sancho, Comédie lyrique Vorspiel für Orchester 2. Friedrich Hegar: Männerchöre a cappella Ch.: Basler Liedertafel a) Das Märchen vom Mummelsee (Ms.) Text: C.A. Schnezler (≡) b) Walpurga op. 31 Text: Carl Spitteler ( ≡) 3. Ernest Bloch: Symphonie cis-Moll (Ms.) 1. 2. Largo 2. 3. Vivace 4. Max von Schillings: Das Hexenlied, mit begleitender Sol.: Ernst von Possart (Rez.) Musik für Orchester op. 15 Text: Ernst von Wildenbruch 5. Waldemar Pahnke: Concert für Violine und Orchester c- Sol.: Henri Marteau (V.) Moll (Ms.) 1. Moderato con moto 2. Allegro vivace ---- 6. Hans Huber: Caenis (die Verwandlung), für Männerchor, Sol.: Maria Cäcilia Philippi (A) Altsolo und Orchester op. 101 Ch.: Basler Liedertafel Text: Joseph Victor Widmann, nach einer antiken Sage (≡) 7. Gesänge für Bariton mit Orchester Sol.: Richard Koennecke (Bar.) a) Klaus Pringsheim: Venedig Text: Friedrich Nietzsche (≡) Oskar C. Posa: b) Tod in Aehren Text: Detlev von Liliencron (≡) c) „Mit Trommeln und Pfeifen“ (Ms.) Text: Detlev von Liliencron (≡) 8. Ernst Boehe: Aus Odysseus Fahrten, 4 Episoden für grosses Orchester gesetzt op. -
The Dream of Gerontius. a Musical Analysis
The Dream of Gerontius. A Musical Analysis A Musical Tour of the Work conducted by Frank Beck One of Elgar's favourite walks while writing Gerontius was from his cottage, Birchwood Lodge, down this lane to the village of Knightwick. 'The trees are singing my music,' Elgar wrote. "Or have I sung theirs?" (Photograph by Ann Vernau) "The poem has been soaking in my mind for at least eight years," Elgar told a newspaper reporter during the summer of 1900, just weeks before the première ofThe Dream of Gerontius in Birmingham. Those eight years were crucial to Elgar's development as a composer. From 1892 to 1900 he wrote six large-scale works for voices, beginning with The Black Knight in 1892 and including King Olaf in 1896, Caractacus in 1898 and Sea Pictures in 1899. He also conducted the premières of each one, gaining valuable experience in the practical side of vocal music. Most importantly, perhaps, he gained confidence, particularly after the great success of the Enigma Variations in 1899 made him a national figure. At forty-two, Elgar had waited long for recognition, and he now felt able to take on a subject that offered an imaginative scope far beyond anything he had done before: Cardinal Newman's famous poem of spiritual discovery. Elgar set slightly less than half of the poem, cutting whole sections and shortening others to focus on its central narrative: the story of a man's death and his soul's journey into the next world. Part 1 Gerontius is written for tenor, mezzo-soprano, bass, chorus and orchestra. -
Ibsenstudies Norastayed Accepted Manuscript-Kopi
Christian Janss Førsteamanuensis Universitetet i Oslo, HF/ILOS P.b. 1003 Blindern NO-0315 OSLO [email protected] +47 22 85 68 71 WHEN NORA STAYED MORE LIGHT ON THE GERMAN ENDING This is an Accepted Manuscript of an article published by Taylor & Francis Group in Ibsen Studies on 11/05/2017, available online: http://www.tandfonline.com/doi/full/10.1080/15021866.2017.1324359 Embargo for nettpubl. av Accepted Manuscript til 11. 11. 2018 INTRODUCTION Henrik Ibsen’s A Doll’s House (Et dukkehjem. Skuespil i tre akter, 1879) owes its world wide reputation to the last scene, where Nora leaves her husband and chil- dren. A little less known is the German, alternative ending of Nora – the title commonly used in the German speaking world – where she stays. In the field of theatre studies, this ending is commonly recognized. The fact that Ibsen himself wrote it in 1879 – and tolerated its performance for a while – also belongs to es- tablished knowledge. The circumstances of the genesis and distribution of this very special piece of text have, however, not yet been presented in a manner giv- ing attention to all aspects. My main arguments are: a) The one to ‘blame’ for the alternative ending of Nora is not the actress Hedwig Niemann-Raabe, but rather the translator Wilhelm Lange and the theatre director Heinrich Laube. b) The conciliatory ending was necessary in order to accommodate the ex- pectations of German theatre audiences around 1880. c) The alternative ending had a wider circulation than previously known. It has been repeatedly claimed that the unwillingness on the part of a certain ac- tress and a theatre director to let Nora go was the triggering reason for Ibsen to write this alternative, conciliatory ending (cf. -
508642 VOL2.Pdf
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Lord Berners : Aspects of a Biography Gifford, Mary The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 23. Sep. 2021 LORD BERNERS: ASPECTS OF A BIOGRAPHY Name: MARY GIFFORD College: KING'S COLLEGE LONDON, UNIVERSITY OF LONDON Examination: PhD VOLUME2 Selected bibliography 186 Published music by Berners 200 Recorded music 204 Tables (working documents) 1. -
Vol. 13, No. 5 July 2004
Chantant • Reminiscences • Harmony Music • Promena Evesham Andante • Rosemary (That's for Remembran Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Ga Salut d'Amour • Mot d'AmourElgar • Bizarrerie Society • O Happy Eyes • My Dwelt in a Northern Land • Froissart • Spanish Serenad Capricieuse • Serenadeournal • The Black Knight • Sursum Corda Snow • Fly, Singing Bird • From the Bavarian Highlands • The L Life • King Olaf • Imperial March • The Banner of St George • Te and Benedictus • Caractacus • Variations on an Original T (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Matin • Characteristic Pieces • The Dream of Gerontius • Serenade Ly Pomp and Circumstance • Cockaigne (In London Town) • C Allegro • Grania and Diarmid • May Song • Dream Chil Coronation Ode • Weary Wind of the West • Skizze • Offertoire Apostles • In The South (Alassio) • Introduction and Allegro • Ev Scene • In Smyrna • The Kingdom • Wand of Youth • How Calm Evening • Pleading • Go, Song of Mine • Elegy • Violin Concer minor • Romance • Symphony No 2 • O Hearken Thou • Coro March • Crown of India • Great is the Lord • Cantique • The Makers • Falstaff • Carissima • Sospiri • The Birthright • The Win • Death on the Hills • Give Unto the Lord • Carillon • Polonia • Un dans le Desert • The Starlight Express • Le Drapeau Belge • The of England • The Fringes of the Fleet • The Sanguine Fan • SonataJULY in E 2004minor Vol.13, • String No .5Quartet in E minor • Piano Quint minor • Cello Concerto in E minor • King Arthur • The Wand E i M h Th H ld B B l -
MUSIK – Nicht Nur Von RICHARD STRAUSS
MUSIK – nicht nur von RICHARD STRAUSS ____________________ KATALOG NR. 471 Inhaltsverzeichnis Nr. 1-462 Noten Nr. 463-480 Karl Böhm Nr. 481-740 Bücher Nr. 741-882 Sammelstücke MUSIKANTIQUARIAT HANS SCHNEIDER D 82327 TUTZING Es gelten die gesetzlichen Regelungen der Bundesrepublik Deutschland. Alle Angebote sind freibleibend. Preise einschließlich Mehrwertsteuer in Euro (€). Meine Rechnungen sind nach Erhalt ohne Abzug zahlbar. Falls Zahlungen nicht in Euro lauten, bitte ich, die Bankspesen in Höhe von € 10.– dem Rechnungsbetrag hinzuzufügen. Versandkosten zu Lasten des Empfängers. Begründete Reklamationen bitte ich innerhalb von 8 Tagen nach Empfang der Ware geltend zu machen. (Keine Ersatzleistungspflicht). Gerichtsstand und Erfüllungsort für beide Teile Sitz der Lieferfirma. Eigentumsvorbehalt gemäß § 455 BGB. Die angebotenen Werke befinden sich in gutem Erhaltungszustand, soweit nicht anders vermerkt. Unwesentliche Mängel (z. B. Namenseintrag) sind nicht immer angezeigt, sondern durch Preisherabsetzung berücksichtigt. Über bereits verkaufte, nicht mehr lieferbare Titel erfolgt keine separate Benachrichtigung. Mit der Aufgabe einer Bestellung werden meine Lieferbedingungen anerkannt. Format der Bücher, soweit nicht anders angegeben, 8°, das der Noten fol., Einband, falls nicht vermerkt, kartoniert oder broschiert. ABKÜRZUNGEN: S. = Seiten Pp. = Pappband Bl. (Bll.) = Blatt Kart. = Kartoniert Aufl. = Auflage Brosch. = Broschiert Bd. (Bde.) = Band (Bände) d. Zt. = der Zeit Diss. = Dissertation besch. = beschädigt PN = Platten-Nummer verm. = vermehrt VN = Verlags-Nummer hg. = herausgegeben Abb. = Abbildung bearb. = bearbeitet Taf. = Tafel Lpz. = Leipzig Ungeb. = Ungebunden Mchn. = München o. U. = ohne Umschlag Stgt. = Stuttgart O = Originaleinband Bln. = Berlin des Verlegers Ffm. = Frankfurt/Main Pgt. (Hpgt.) = (Halb-)Pergament o. O. = ohne Verlagsort Ldr. (Hldr.) = (Halb-)Leder o. V. = ohne Verlagsangabe Ln. (Hln.) = (Halb-)Leinen BD = Bibliotheksdublette Köchel6 = Köchel 6.