Rehearing Beethoven Festival Program 4, Christopher Taylor
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Schubert's!Voice!In!The!Symphonies!
! ! ! ! A!Search!for!Schubert’s!Voice!in!the!Symphonies! ! ! ! ! ! ! ! ! ! ! ! Camille!Anne!Ramos9Klee! ! Submitted!to!the!Department!of!Music!of!Amherst!College!in!partial!fulfillment! of!the!requirements!for!the!degree!of!Bachelor!of!Arts!with!honors! ! Faculty!Advisor:!Klara!Moricz! April!16,!2012! ! ! ! ! ! In!Memory!of!Walter!“Doc”!Daniel!Marino!(191291999),! for!sharing!your!love!of!music!with!me!in!my!early!years!and!always!treating!me!like! one!of!your!own!grandchildren! ! ! ! ! ! ! Table!of!Contents! ! ! Introduction! Schubert,!Beethoven,!and!the!World!of!the!Sonata!! 2! ! ! ! Chapter!One! Student!Works! 10! ! ! ! Chapter!Two! The!Transitional!Symphonies! 37! ! ! ! Chapter!Three! Mature!Works! 63! ! ! ! Bibliography! 87! ! ! Acknowledgements! ! ! First!and!foremost!I!would!like!to!eXpress!my!immense!gratitude!to!my!advisor,! Klara!Moricz.!This!thesis!would!not!have!been!possible!without!your!patience!and! careful!guidance.!Your!support!has!allowed!me!to!become!a!better!writer,!and!I!am! forever!grateful.! To!the!professors!and!instructors!I!have!studied!with!during!my!years!at! Amherst:!Alison!Hale,!Graham!Hunt,!Jenny!Kallick,!Karen!Rosenak,!David!Schneider,! Mark!Swanson,!and!Eric!Wubbels.!The!lessons!I!have!learned!from!all!of!you!have! helped!shape!this!thesis.!Thank!you!for!giving!me!a!thorough!music!education!in!my! four!years!here!at!Amherst.! To!the!rest!of!the!Music!Department:!Thank!you!for!creating!a!warm,!open! environment!in!which!I!have!grown!as!both!a!student!and!musician.!! To!the!staff!of!the!Music!Library!at!the!University!of!Minnesota:!Thank!you!for! -
A Chronology of All Artists' Appearances with the Chamber
75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 Season, 1938 – 1939 Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 Season, 1939 – 1940 The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 Season, 1940 – 1941 Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian PianoString Quartet The Coolidge Quartet th 4 Season, 1941 – 1942 The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 Season, 1942 – 1943 The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 Season, 1943 – 1944 The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 Season, 1944 – 1945 The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 Season, 1945 – 1946 The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 Season, 1946 – 1947 The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 Season, 1947 – 1948 Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 Season, 1948 – 1949 The Alma Trio -
December 3, 2006 2595Th Concert
For the convenience of concertgoers the Garden Cafe remains open until 6:00 pm. The use of cameras or recording equipment during the performance is not allowed. Please be sure that cell phones, pagers, and other electronic devices are turned off. Please note that late entry or reentry of The Sixty-fifth Season of the West Building after 6:30 pm is not permitted. The William Nelson Cromwell and F. Lammot Belin Concerts “Sixty-five, but not retiring” National Gallery of Art Music Department 2,595th Concert National Gallery of Art Sixth Street and Constitution Avenue nw Washington, DC Shaun Tirrell, pianist Mailing address 2000B South Club Drive Landover, md 20785 www.nga.gov December 3, 2006 Sunday Evening, 6:30 pm West Building, West Garden Court Admission free Program Domenico Scarlatti (1685-1757) Sonata in F Minor, K. 466 (1738) Frederic Chopin (1810-1849) Ballade in F Major, op. 38 (1840) Franz Liszt (1811-1886) Funerailles (1849) Vallot d’Obtrmann (1855) INTERMISSION Sergey Rachmaninoff (1873-1943) Sonata no. 2 in B-flat Minor, op. 36 (1913) The Mason and Hamlin concert grand piano used in this performance Allegro agitato was provided by Piano Craft of Gaithersburg, Maryland. Lento Allegro molto The Musician Program Notes Shaun Tirrell is an internationally acclaimed pianist who has made his In this program, Shaun Tirrell shares with the National Gallery audience his home in the Washington, dc, area since 1995. A graduate of the Peabody skill in interpreting both baroque and romantic music. To represent the music Conservatory of Music in Baltimore, where he studied under Julian Martin of the early eighteenth-century masters of the harpsichord (the keyboard and earned a master of music degree and an artist diploma, he received a instrument of choice in that era), he has chosen a sonata by Domenico rave review in the Washington Post for his 1995 debut recital at the Kennedy Scarlatti. -
PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and -
Espressivo Program Notes April 2018 the Evolution of Chamber Music For
Espressivo Program Notes April 2018 The evolution of chamber music for a mixed ensemble of winds and strings coincides with the domestication of the double bass. Previously used as an orchestral instrument or in dance music, the instrument was admitted into the salon in the late eighteenth century. The granddaddy of the genre is Beethoven’s Septet of 1800, for four strings, clarinet, horn and bassoon. Beethoven seems to have discovered that the largest string instrument, essentially doubling the cello an octave lower and with the capability to play six notes below the lowest note on the bassoon, provided overtones that enhanced the vibrations of the higher instruments. In any case, the popularity of the Septet, which sustains to this day, caused the original players to have a similar work commissioned from Franz Schubert, who added a second violin for his Octet (1824). (Espressivo performed it last season.) It is possible, if not probable, that Schubert’s good friend Franz Lachner wrote his Nonet for the same group, adding a flute, but the origins, and even the date of the composition are in dispute. An indicator might be the highlighting of the virtuosic violin part, as it would have been played by Ignaz Schuppanzigh, who had premiered both the Septet and the Octet. All three works, Septet, Octet and Nonet, have slow introductions to the first and last uptempo movements, and all include a minuet. All seem intended to please rather than to challenge. Beethoven’s Septet was commissioned by a noble patron for the delectation of his guests, as was Schubert’s Octet. -
Takács Quartet Beethoven String Quartet Cycle
Takács Quartet Beethoven String Quartet Cycle Concerts V and VI March 25–26, 2017 Rackham Auditorium Ann Arbor CONTENT Concert V Saturday, March 25, 8:00 pm 3 Beethoven’s Impact: Steven Mackey 7 Beethoven’s Impact: Adam Sliwinski 13 Concert VI Sunday, March 26, 4:00 pm 15 Beethoven’s Impact: Lowell Liebermann 18 Beethoven’s Impact: Augusta Read Thomas 21 Artists 25 Takács Quartet Concert V Edward Dusinberre / Violin Károly Schranz / Violin Geraldine Walther / Viola András Fejér / Cello Saturday Evening, March 25, 2017 at 8:00 Rackham Auditorium Ann Arbor 51st Performance of the 138th Annual Season 54th Annual Chamber Arts Series This evening’s presenting sponsor is the William R. Kinney Endowment. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. Special thanks to Steven Whiting for his participation in events surrounding this weekend’s performances. The Takács Quartet records for Hyperion and Decca/London Records. The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at Wigmore Hall, London. The Takács Quartet appears by arrangement with Seldy Cramer Artists. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Beethoven String Quartets Concert V String Quartet in B-flat Major, Op. 18, No. 6 Allegro con brio Adagio ma non troppo Scherzo: Allegro La malinconia: Adagio — Allegretto quasi Allegro String Quartet in F Major, Op. 135 Allegretto Vivace Lento assai e cantante tranquillo Grave — Allegro — Grave, ma non troppo tratto — Allegro Intermission String Quartet in C Major, Op. -
THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13. -
Ludwig Van Beethoven Franz Schubert Wolfgang
STIFTUNG MOZARTEUM SALZBURG WEEK LUDWIG VAN BEETHOVEN PIANO CONCERTO NO. 1 FRANZ SCHUBERT SYMPHONY NO. 5 WOLFGANG AMADEUS MOZART PIANO CONCERTO NO. 23 ANDRÁS SCHIFF CAPPELLA ANDREA BARCA WEEK LUDWIG VAN BEETHOVEN Vienna - once the music hub of Europe - attracted all the Piano Concerto No. 1 in C major, Op. 15 greatest composers of its day, among them Beethoven, Schubert and Mozart. This concert given by András Schiff and FRANZ SCHUBERT the Capella Andrea Barca during the Salzburg Mozart Week Symphony No. 5 in B flat major, D 485 brings together three works by these great composers, which WOLFGANG AMADEUS MOZART each of them created early in life at the start of an impressive Piano Concerto No. 23 in E flat major, KV 482 Viennese career. The programme opens with Beethoven’s First Piano Concerto: Piano & Conductor András Schiff “Sensitively supported by the rich and supple tone of the strings, Orchestra Cappella Andrea Barca Schiff’s pianistic virtuosity explores the length and breadth of Beethoven’s early work, from the opulent to the playful, with a Produced by idagio.production palpable delight rarely found in such measure in a pianist”, was Video Director Oliver Becker the admiring verdict of the Salzburg press. Length: approx. 100' As in his opening piece, Schiff again succeeded in Schubert’s Shot in HDTV 1080/50i symphony “from the first note to the last in creating a sound Cat. no. A 045 50045 0000 world that flooded the mind’s eye with images” Drehpunkt( Kultur). A co-production of The climax of the concert was the Mozart piano concerto. -
THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize. -
Chapter 5 – the Enlightenment and the American Revolution I. Philosophy in the Age of Reason (5-1) A
Chapter 5 – The Enlightenment and the American Revolution I. Philosophy in the Age of Reason (5-1) A. Scientific Revolution Sparks the Enlightenment 1. Natural Law: Rules or discoveries made by reason B. Hobbes and Lock Have Conflicting Views 1. Hobbes Believes in Powerful Government a. Thomas Hobbes distrusts humans (cruel-greedy-selfish) and favors strong government to keep order b. Promotes social contract—gaining order by giving up freedoms to government c. Outlined his ideas in his work called Leviathan (1651) 2. Locke Advocates Natural Rights a. Philosopher John Locke believed people were good and had natural rights—right to life, liberty, and property b. In his Two Treatises of Government, Lock argued that government’s obligation is to protect people’s natural rights and not take advantage of their position in power C. The Philosophes 1. Philosophes: enlightenment thinkers that believed that the use of reason could lead to reforms of government, law, and society 2. Montesquieu Advances the Idea of Separation of Powers a. Montesquieu—had sharp criticism of absolute monarchy and admired Britain for dividing the government into three branches b. The Spirit of the Laws—outlined his belief in the separation of powers (legislative, executive, and judicial branches) to check each other to stop one branch from gaining too much power 3. Voltaire Defends Freedom of Thought a. Voltaire—most famous of the philosophe who published many works arguing for tolerance and reason—believed in the freedom of religions and speech b. He spoke out against the French government and Catholic Church— makes powerful enemies and is imprisoned twice for his views 4. -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time. -
20Th-Century Repertory
Mikrokosmos List 629. - 2 - January 2018 ....20TH-CENTURY REPERTORY 1 Agababov: Passacaglia, Ballet Suite - cond.E.Khachaturian 10" MELODIYA D 12839 A 30 2 Akbarov: Khamza film music - Kabulova, cond.Shamsutdinov 10" MELODIYA D 8693 A 15 3 Amemiya, Yasukazu: Summer Prayer, Monochrome Sea Both with tape)/Morton RCA RVC 2154 A 15 Feldman: The King of Denmark - Y.Amemiya percussions (Japanese issue) (1977) S 4 Andriessen, Louis: Nocturnen/Flothuis, Marius: Canti e Giuochi/Orthel, Leon: DONEMUS DAVS 6504 A 8 Scherzo II - E.Lugt sop, cond.Haitink, Jordans (complete score) 1965 10" 5 Antheil: Sym 5/ W.Josten: Endymion ballet - Vienna PO, cond.Haefner SPA 16 A 10 6 Arel: Electronic Music #1, Fragment, Prel/Davidovsky: Study #2/Ussachevsky: SON-NOVA SN 1988 A 25 Metamorphosis (all electronic music) S 7 Arnestad, Finn: Violin Concerto (O.Bohn vln, cond.Ingebretsen), INRI (cond.Kamu) NORWEGIAN NC 6007 A 10 (p.1985) S 8 Arutyunyan: Pno Concertino (comp.pno)/ Morzoyan: Dance Suite - Armenian SSO, MELODIYA D 3084 A 18 cond.Maluntsyan 10" 9 Asakawa, Haruo: Piano Sonata/O.Katsuki: 3 Poems/K.Hattori: Divertimento for 12 JFC JFC-R 8002 A 8 Voices & 2 Celli/A.Komori: Psalterium for Percs S 10 Ashley, Robert: In Memoriam Crazy Horse (Sym)/G.Cacioppo: Time on Time in ADVANCE FGR 5 A 85 Miracles, Cassiopeia (2 pfs)/G.Mumma: Music from the Venezia/D.Scavarda: Landscape Jurney (1966) 11 Auric, Georges: Fontaine de Jouvence Suite, Malborough ballet (cond.Leibowitz)/ RENAISSANC X 41 A 15 P.Gradwohl: Divertissement Champetre (cond.comp) 12 Auric: Partita for 2