DOCSLIB.ORG

Beethoven's Impact on the Sonatas for Piano and Cello by Mendelssohn and Chopin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beethoven's Impact on the Sonatas for Piano and Cello by Mendelssohn and Chopin James Madison University JMU Scholarly Commons Dissertations, 2020-current The Graduate School 12-18-2020 Influence and Innovation: Beethoven's Impact on the Sonatas for Piano and Cello by Mendelssohn and Chopin Patrick Bellah Follow this and additional works at: https://commons.lib.jmu.edu/diss202029 Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Recommended Citation Bellah, Patrick, "Influence and Innovation: Beethoven's Impact on the Sonatas for Piano and Cello by Mendelssohn and Chopin" (2020). Dissertations, 2020-current. 29. https://commons.lib.jmu.edu/diss202029/29 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations, 2020-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Influence and Innovation: Beethoven’s Impact on the Sonatas for Piano and Cello by Mendelssohn and Chopin Patrick Thomas Bellah A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music December 2020 FACULTY COMMITTEE: Committee Chair: Carl Donakowski, DMA Committee Members: Jonathan Gibson, Ph.D. John Peterson, Ph.D. ACKNOWLEDGMENTS As with any substantial scholarly work, this one did not happen in a vacuum and there are many people to whom I owe a great deal of thanks. To Dr. Jonathan Gibson, your steadfast support and mentorship in historical performance practice has been one of my fondest memories while at James Madison University, and certainly helped fuel my interest in this topic. To Dr. John Peterson, your theoretical expertise and unwavering insistence on accuracy were nothing less than vital to my efforts and eventual success in writing this paper. To Dr. Carl Donakowski, thank you for the guidance and wisdom which you have imparted to me over the past four years. I feel confident that, as a result, I have emerged not only a better musician and writer, but also a better human. To all three of you, I wish to convey my deepest gratitude. I would also like to acknowledge the people who have made up my familial support system. To my parents, Terry and Mary Bellah, thank you for making possible the life that I have chosen. I can thank a great many people for their scholarly advice, but none of it would have ever happened were it not for your encouragement from my most formative years in music to the present day. To my brothers, Alex and Griffin Bellah, thank you for keeping my spirits up and making me laugh, even during the most stressful moments of this journey, and for celebrating every one of my victories, large and small. Lastly, I would be utterly remiss if I did not give special mention to my dearest wife, Hannah. To you, the person who decided to pack up and leave everything you have ever known to join me in my quest for a terminal degree halfway across the country, I owe it all. It was you who saw me at my weakest points and refused to let me quit, and it is you whom I choose to celebrate at my strongest. You were there for all of it, and this ii document is as much a product of your ability to listen and empathize as it is my own research and scholarship. iii TABLE OF CONTENTS ACKNOWLEDGMENTS……………………………………………………………… ii TABLE OF CONTENTS………………………………………………………………….………… iii ABSTRACT…………………………………………………………………….………. iv CHAPTER 1: INTRODUCTION……………………………………………………… 1 CHAPTER 2: MENDELSSOHN……………………….……………………………. 15 Plausibility of Influence…………………………………...……………………. 15 Adhering to Beethoven’s Established Model………………………………..…. 23 Mendelssohn’s Progressive Voice…………………………..………………….. 33 CHAPTER 3: CHOPIN…..…………………………………………………………… 43 Plausibility of Influence…………………………………...……………………. 43 Form………………………………...…………………………………………... 54 Conversational Dialogue………………………………………...……………… 60 CONCLUSION………………………………………………………………...……… 65 BIBLIOGRAPHY…………………………………………………………...………… 66 iv ABSTRACT The bulk of the scholarship in this paper centers around Beethoven’s five sonatas written for piano and cello and how he established a new normal within the genre. This is evidenced by what are arguably the two most noteworthy sonatas for the same instrumental medium, written by Mendelssohn and Chopin, following Beethoven’s death. I posit that the five sonatas written by Beethoven establish a series of models upon which the latter two works by his successors are based. Chapters two and three of this document are separated into subsections that detail the plausibility of Beethoven’s influence through circumstantial evidence, musical evidence (i.e. similarities in form, articulation, and melodic distribution), and even the ways in which Chopin and Mendelssohn sought to distance themselves from their illustrious predecessor. The key findings of my research are that Mendelssohn’s Sonata for Piano and Cello in D Major, Op. 58 closely resembles the same strategy of equal distribution of melody that Beethoven employs in his Op. 5 and Op. 69 sonatas, and further expands the roles assumed by the pianist and cellist. Similarly, Chopin takes after the same improvisatory spirit utilized in Beethoven’s Op. 102 sonatas and uses an evolved style of conversational dialogue, which stems from Beethoven’s Op. 102, No. 2. v 1 INTRODUCTION The history of the violoncello as a solo instrument is noticeably shorter and follows a much different chronological trajectory than its higher-voiced counterparts. While a few well-known composers during the early and late Baroque era (i.e. Dominico Gabrielli and Johann Sebastian Bach) would write for the instrument in a soloistic capacity, this was mostly only in the context of unaccompanied suites or ricercares rather than accompanied by a supporting ensemble or keyboard accompaniment. Exceptions arise when we advance through the chronology of Western classical music and examine the work of composers and virtuosi such as Vivaldi, Boccherini, and Romberg. Such figures provide the cello with a wealth of accompanied solo repertoire from the Baroque and early Classical eras, but it was Ludwig van Beethoven who would cement the instrument’s status not only as a solo voice, but as a balanced collaborator. In this paper I will argue that, in writing his five sonatas for piano and cello (Op. 5, Op. 69, and Op. 102), Beethoven establishes a series of models that future composers of important cello sonatas would follow. I will use Felix Mendelssohn’s Sonata for Piano and Cello No. 2 in D-major, Op. 58 (1843), and Frédéric Chopin’s Sonata for Cello in G-minor Op. 65 (1846-1847) as representative examples. Both are products of their respective creators’ later output, and, as I will show, both are deeply rooted in the art of composing for piano and cello as established by Beethoven. Before delving into the analytical depths of scores and historical performance practice, this topic warrants a foreword about a primary characteristic of Beethoven’s piano and cello sonatas: melodic balance. By “melodic balance,” I mean the degree to which melodic material is divided between parts. Cellists often colloquially use the word 2 “balanced” as a catch-all descriptor for Beethoven’s sonatas for piano and violoncello. However, the reality is that the degree to which melodic material is equally distributed can vary. I will return to this issue below. Equal distribution of melody between keyboard and cello was not an approach that any composer had taken prior to Beethoven’s sonatas for the same medium. It was a natural occurrence that one instrument in any given cello sonata would take precedence while the other(s) played a supportive role in accompanying the principal voice. Even in his first two sonatas (op. 5), this is the norm for Beethoven. According to Robin Stowell, this texture arises not from the tradition of Baroque continuo playing, but from the accompanied sonata, in which the cello, or other bass instrument, acts as the accompanist.1 The continuo sonata is perhaps best illustrated in this case by Vivaldi’s Cello Sonata in A-minor, RV 43 (pub. 1740) (Example 1). A glance at the first page of the score reveals the same formula used throughout the rest of the sonata between the two (or three) performers. We can see from the outset of the first movement that the solo instrument (in this instance, the cello) is given melodic material, while the continuo part provides chordal accompaniment. It is not as if the continuo part is without any motivic material, but it is usually only a quick deviation from its supportive role to join the soloist in brief moments of unison. 1 Robin Stowell, “The Sonata.” In The Cambridge Companion to the Cello (New York, NY: Cambridge University Press), 121. 3 Example 1: Vivaldi Sonata for Cello in A-minor, RV 432 Luigi Boccherini’s compositional style also favors the solo cellist, but differently than Vivaldi. In terms of counterpoint and interplay between soloist and continuo, the parts are more interdependent and engaging, but still lacking in true melodic equality. A 1968 article by Eve Barsham notes the prevalence of Alberti bass beneath the solo cello and a maturity in how he develops thematic material, but no mention is made of equal treatment among parts.3 This is illustrated in Example 2, where it can be seen that the two parts in his Cello Sonata No. 3 in C-Major, G. 6 (c. 1768) do not share equal ownership of the melody. Boccherini’s sonatas were novel for their time, but they were clearly solo works for cello rather than an equally balanced effort between the two performers, thus exhibiting a total lack of melodic equality. It is worth mentioning that the accompaniment in Boccherini’s sonatas is not written for keyboard, but rather for cello obbligato. Still, it illustrates how unbalanced chamber music for cello was prior to Beethoven.
Load more

Recommended publications
  • La Generazione Dell'ottanta and the Italian Sound
    LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND A DISSERTATION IN Trumpet Performance Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by ALBERTO RACANATI M.M., Western Illinois University, 2016 B.A., Conservatorio Piccinni, 2010 Kansas City, Missouri 2021 LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND Alberto Racanati, Candidate for the Doctor of Musical Arts Degree University of Missouri-Kansas City, 2021 ABSTRACT . La Generazione dell’Ottanta (The Generation of the Eighties) is a generation of Italian composers born in the 1880s, all of whom reached their artistic maturity between the two World Wars and who made it a point to part ways musically from the preceding generations that were rooted in operatic music, especially in the Verismo tradition. The names commonly associated with the Generazione are Alfredo Casella (1883-1947), Gian Francesco Malipiero (1882-1973), Ildebrando Pizzetti (1880-1968), and Ottorino Respighi (1879- 1936). In their efforts to create a new music that sounded unmistakingly Italian and fueled by the musical nationalism rampant throughout Europe at the time, the four composers took inspiration from the pre-Romantic music of their country. Individually and collectively, they embarked on a journey to bring back what they considered the golden age of Italian music, with each one yielding a different result. iii Through the creation of artistic associations facilitated by the fascist government, the musicians from the Generazione established themselves on the international scene and were involved with performances of their works around the world.
    [Show full text]
  • Statistical Techniques in Music Psychology: an Update
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Goldsmiths Research Online Statistical techniques in music psychology: An update Daniel M¨ullensiefen 1 Introduction Music psychology as a discipline has its origins at the end of the 19th century and ever since then, empirical methods have been a core part in this field of research. While its experimental and analytical methods have mainly been related to methodology employed in general psychology, several statistical techniques have emerged over the course of the past century being specific for empirical research in music psychology. These core methods have been described in a few didactic and summarising publications at several stages of the discipline’s history (see e.g. Wundt, 1882; B¨ottcher & Kerner, 1978; Windsor, 2001, or Beran, 2004 for a very technical overview), and these publications have been valuable resources to students and researchers alike. In contrast to these texts with a rather didactical focus, the objective of this chapter is to provide an overview of a range of novel statistical techniques that have been employed in recent years in music psychology research.1 This overview will give enough insight into each technique as such. The interested reader will then have to turn to the original publications, to obtain a more in-depth knowledge of the details related to maths and the field of application. Empirical research into auditory perception and the psychology of music might have its beginnings in the opening of the psychological laboratory by Wilhelm Wundt in Leipzig in 1879 where experiments on human perception were conducted, and standards for empirical research and analysis were developed.
    [Show full text]
  • Stowell Make-Up
    The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c.
    [Show full text]
  • „Ich Für Meinen Theil Liebe Von Herzen Den Peters… Aber Der Verleger Soll Mich in Ruhe Laßen.“
    Westfälische Wilhelms-Universität Münster Institut für Musikwissenschaft und Musikpädagogik Musikwissenschaftliches Seminar Examensmodul Bachelorarbeit Erstprüfer: Dr. Peter Schmitz Zweitprüfer: Prof. Dr. Jürgen Heidrich „Ich für meinen theil liebe von Herzen den Peters… Aber der Verleger soll mich in ruhe laßen.“ Edition der Briefe des Cellisten und Komponisten Bernhard Romberg an seinen Verleger Carl Friedrich Peters (1815–1827) Maike Thiemann 2-Fach Bachelor Musikwissenschaft/ Germanistik Inhaltsverzeichnis 1. Einleitung ...................................................................................................... 3 2. Briefe von Bernhard Romberg an seinen Verleger Carl Friedrich Peters (1816 - 1827) .................................................................................................... 11 3. Schlussbetrachtung ................................................................................. 163 4. Register ......................................................................................................169 4.1 Personenregister…………………………………………………………….169 4.2 Auszug Stammbaum Familie Romberg/ Familie Peters ........................ 179 4.3 Werkregister ......................................................................................... 180 4.4 Währungen ........................................................................................... 183 4.5 Quellenverzeichnis ................................................................................ 185 5. Anhang .....................................................................................................
    [Show full text]
  • Money from Music: Survey Evidence on Musicians’ Revenue and Lessons About Copyright Incentives
    MONEY FROM MUSIC: SURVEY EVIDENCE ON MUSICIANS’ REVENUE AND LESSONS ABOUT COPYRIGHT INCENTIVES Peter DiCola* According to the incentive theory of copyright, financial rewards are what the public trades for the production of creative works. To know whether this quid pro quo is working, one needs to know how much the creators are getting from the bargain. Based on an original, nationwide survey of more than 5,000 musicians, this Article addresses one of the key links in the incentive theory’s chain of logic. For most musicians, copyright does not provide much of a direct financial reward for what they are producing currently. The survey findings are instead consistent with a winner-take-all or superstar model in which copyright motivates musicians through the promise of large rewards in the future in the rare event of wide popularity. * Associate Professor, Northwestern University School of Law. A.B. 1998, Princeton University; J.D. 2005, Ph.D. (Economics) 2009, University of Michigan. I am grateful to my colleagues Jean Cook and Kristin Thomson of the Future of Music Coalition. We worked together to develop and analyze the Internet survey of musicians discussed in this Article, and I have benefited greatly from our discussions as a research team. The views expressed in this Article are my own, however, and not those of Jean, Kristin, or Future of Music Coalition. My thanks to Ken Ayotte, Scott Baker, Shari Diamond, Zev Eigen, Josh Fischman, Ezra Friedman, William Hubbard, Jessica Litman, Anup Malani, Mark McKenna, Tom Miles, Max Schanzenbach, and Avishalom Tor for helpful comments and advice.
    [Show full text]
  • 100Th Season Anniversary Celebration Gala Program At
    Friday Evening, May 5, 2000, at 7:30 Peoples’ Symphony Concerts 100th Season Celebration Gala This concert is dedicated with gratitude and affection to the many artists whose generosity and music-making has made PSC possible for its first 100 years ANTON WEBERN (1883-1945) Langsaner Satz for String Quartet (1905) Langsam, mit bewegtem Ausdruck HUGO WOLF (1860-1903) “Italian Serenade” in G Major for String Quartet (1892) Tokyo String Quartet Mikhail Kopelman, violin; Kikuei Ikeda, violin; Kazuhide Isomura, viola; Clive Greensmith, cello LUDWIG VAN BEETHOVEN (1770-1827) Trio for piano, violin and cello in B-flat Major Op. 11 (1798) Allegro con brio Adagio Allegretto con variazione The Kalichstein-Laredo-Robinson Trio Joseph Kalichstein, piano; Jamie Laredo, Violin; Sharon Robinson. cello GYORGY KURTAG (b. 1926) Officium breve in memoriam Andreae Szervánsky 1 Largo 2 Piú andante 3 Sostenuto, quasi giusto 4 Grave, moto sostenuto 5 Presto 6 Molto agitato 7 Sehr fliessend 8 Lento 9 Largo 10 Sehr fliessend 10a A Tempt 11 Sostenuto 12 Sostenuto, quasi guisto 13 Sostenuto, con slancio 14 Disperato, vivo 15 Larghetto Juilliard String Quartet Joel Smirnoff, violin; Ronald Copes, violin; Samuel Rhodes, viola; Joel Krosnick, cello GEORGE GERSHWIN (1898-1937) arr. PETER STOLTZMAN Porgy and Bess Suite (1935) It Ain’t Necessarily So Prayer Summertime Richard Stoltzman, clarinet and Peter Stoltzman, piano intermission MICHAEL DAUGHERTY (b. 1954) Used Car Salesman (2000) Ethos Percussion Group Trey Files, Eric Phinney, Michael Sgouros, Yousif Sheronick New York Premiere Commissined by Hancher Auditorium/The University of Iowa LEOS JANÁCEK (1854-1928) Mládi (Youth) Suite for Wind Instruments (1924) Allegro Andante sostenuto Vivace Allegro animato Musicians from Marlboro Tanya Dusevic Witek, flute; Rudolph Vrbsky, oboe; Anthony McGill, clarinet; Jo-Ann Sternberg, bass clarinet; Daniel Matsukawa, bassoon; David Jolley, horn ZOLTAN KODALY (1882-1967) String Quartet #2 in D minor, Op.
    [Show full text]
  • The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2014 The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire Eric Hilgenstieler University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Education Commons, Music Pedagogy Commons, Music Performance Commons, and the Other Music Commons Recommended Citation Hilgenstieler, Eric, "The Application of Contemporary Double Bass Left Hand Techniques Applied in the Orchestra Repertoire" (2014). Dissertations. 269. https://aquila.usm.edu/dissertations/269 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi THE APPLICATION OF CONTEMPORARY DOUBLE BASS LEFT HAND TECHNIQUES APPLIED IN THE ORCHESTRA REPERTOIRE by Eric Hilgenstieler Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2014 ABSTRACT THE APLICATION OF CONTEMPORARY DOUBLE BASS LEFT-HAND TECHNIQUES APPLIED IN THE ORCHESTRA REPERTOIRE by Eric Hilgenstieler May 2014 The uses of contemporary left hand techniques are related to solo playing in many ways. In fact, most of these techniques were arguably developed for this kind of repertoire. Generally the original solo repertoire is idiomatic for the double bass. The same cannot be said for the orchestral repertoire, which presents many technical problems too difficult to solve using the traditional technique.
    [Show full text]
  • Wagner and Bayreuth Mendelssohn-Bartholdy and Berlin Brahms and Detmold
    MUSIC DOCUMENTARY 30 MIN. VERSIONS Wagner and Bayreuth Arabic, English, French, German, Portuguese, Spanish (01 x 30 min.) No city in the world is so closely identified with a composer as Bayreuth is with Richard Wag- ner. Towards the end of the 19th century Richard Wagner had a Festival Theatre built here and RIGHTS revived the Ancient Greek idea of annual festivals. Nowadays, these festivals are attended by Worldwide, VOD, Mobile around 60,000 people. ORDER NUMBER 66 3238 VERSIONS Mendelssohn-Bartholdy and Berlin Arabic, English, French, German, Portuguese, Spanish (01 x 30 min.) Felix Mendelssohn, one of the most important composers of the 19th century, was influenced decisively by Berlin, which gave shape to the form and development of his music. The televi- RIGHTS sion documentary traces Mendelssohn’s life in the Berlin of the 19th century, as well as show- Worldwide, VOD, Mobile ing the city today. ORDER NUMBER 66 3305 VERSIONS Brahms and Detmold Arabic, English, French, German, Portuguese, Spanish (01 x 30 min.) Around the middle of the 19th century Detmold, a small town in the west of Germany, was a centre of the sort of cultural activity that would normally be expected only of a large city. An RIGHTS artistically-minded local prince saw to it that famous artists came to Detmold and performed in Worldwide, VOD, Mobile the theatre or at his court. For several years the town was the home of composer Johannes Brahms. Here, as Court Musician, he composed some of his most beautiful vocal and instru- ORDER NUMBER ment works. 66 3237 dw-transtel.com Classics | DW Transtel.
    [Show full text]
  • My Musical Lineage Since the 1600S
    Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent
    [Show full text]
  • Opera, Liberalism, and Antisemitism in Nineteenth-Century France the Politics of Halevy’S´ La Juive
    Opera, Liberalism, and Antisemitism in Nineteenth-Century France The Politics of Halevy’s´ La Juive Diana R. Hallman published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Diana R. Hallman 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Dante MT 10.75/14 pt System LATEX 2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Hallman, Diana R. Opera, liberalism, and antisemitism in nineteenth-century France: the politics of Halevy’s´ La Juive / by Diana R. Hallman. p. cm. – (Cambridge studies in opera) Includes bibliographical references and index. isbn 0 521 65086 0 1. Halevy,´ F., 1799–1862. Juive. 2. Opera – France – 19th century. 3. Antisemitism – France – History – 19th century. 4. Liberalism – France – History – 19th century. i. Title. ii. Series. ml410.h17 h35 2002 782.1 –dc21 2001052446 isbn 0 521 65086 0
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • 8Th Annual Gamut Conference Program
    The Graduate Association of Musicologists und Theorists presents the 8th annual GAMuT Graduate Student Conference Saturday, February 6, 2021, 9:00am–5:45pm CST Held via Zoom, University of North Texas Keynote Speaker: Olivia Bloechl (University of Pittsburgh) “Doing Music History Where We Are” Generously Supported by The Division of Music History, Theory, and Ethnomusicology Program 9:00 Welcome and Opening remarks Peter Kohanski, GAMuT President/Conference Co-Chair Benjamin Brand, PhD, Professor of Music History and Chair of the Division of Music History, Theory, and Ethnomusicology 9:15 Race and Culture in the Contemporary Music Scene Session Chair: Rachel Schuck “Sounds of the 'Hyperghetto': Sounded Counternarratives in Newark, New Jersey Club Music Production and Performance” Jasmine A. Henry (Rutgers University) “‘I Opened the Lock in My Mind’: Centering the Development of Aeham Ahmad’s Oriental Jazz Style from Syria to Germany” Katelin Webster (Ohio State University) “Keeping the Tradition Alive: The Virtual Irish Session in the time of COVID-19” Andrew Bobker (Michigan State University) 10:45 Break 11:00 Reconsidering 20th-Century Styles and Aesthetics Session Chair: Rachel Gain “Diatonic Chromaticism?: Juxtaposition and Superimposition as Process in Penderecki's Song of the Cherubim” Jesse Kiser (University of Buffalo) “Adjusting the Sound, Closing the Mind: Foucault's Episteme and the Cultural Isolation of Contemporary Music” Paul David Flood (University of California, Irvine) 12:00 Lunch, on your own 1:00 Keynote Address Session
    [Show full text]