Marlene Priller
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Historie Der Rheinischen Musikschule Teil 1 Mit Einem Beitrag Von Professor Heinrich Lindlahr
Historie der Rheinischen Musikschule Teil 1 Mit einem Beitrag von Professor Heinrich Lindlahr Zur Geschichte des Musikschulwesens in Köln 1815 - 1925 Zu Beginn des musikfreundlichen 19. Jahrhunderts blieb es in Köln bei hochfliegenden Plänen und deren erfolgreicher Verhinderung. 1815, Köln zählte etwa fünfundzwanzigtausend Seelen, die soeben, wie die Bewohner der Rheinprovinz insgesamt, beim Wiener Kongreß an das Königreich Preußen gefallen waren, 1815 also hatte von Köln aus ein ungenannter Musikenthusiast für die Rheinmetropole eine Ausbildungsstätte nach dem Vorbild des Conservatoire de Paris gefordert. Sein Vorschlag erschien in der von Friedrich Rochlitz herausgegebenen führenden Allgemeinen musikalischen Zeitung zu Leipzig. Doch Aufrufe solcher Art verloren sich hierorts, obschon Ansätze zu einem brauchbaren Musikschulgebilde in Köln bereits bestanden hatten: einmal in Gestalt eines Konservatorienplanes, wie ihn der neue Maire der vormaligen Reichstadt, Herr von VVittgenstein, aus eingezogenen kirchlichen Stiftungen in Vorschlag gebracht hatte, vorwiegend aus Restklassen von Sing- und Kapellschulen an St. Gereon, an St. Aposteln, bei den Ursulinen und anderswo mehr, zum anderen in Gestalt von Heimkursen und Familienkonzerten, wie sie der seit dem Einzug der Franzosen, 1794, stellenlos gewordene Salzmüdder und Domkapellmeister Dr. jur. Bernhard Joseph Mäurer führte. Unklar blieb indessen, ob sich der Zusammenschluss zu einem Gesamtprojekt nach den Vorstellungen Dr. Mäurers oder des Herrn von Wittgenstein oder auch jenes Anonymus deshalb zerschlug, weil die Durchführung von Domkonzerten an Sonn- und Feiertagen kirchenfremden und besatzungsfreundlichen Lehrkräften hätte zufallen sollen, oder mehr noch deshalb, weil es nach wie vor ein nicht überschaubares Hindernisrennen rivalisierender Musikparteien gab, deren manche nach Privatabsichten berechnet werden müssten, wie es die Leipziger Allgemeine musikalische Zeitung von 1815 lakonisch zu kommentieren wusste. -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
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. -
Lebenserinnerungen Einer Komponistin, Inhaltsverzeichnis Bis S
Brigham Young University BYU ScholarsArchive Prose Nonfiction Nonfiction 1910 Lebenserinnerungen einer Komponistin, Inhaltsverzeichnis bis S. 78 Luise Adolpha Le Beau Description This work is part of the Sophie Digital Library, an open-access, full-text-searchable source of literature written by German-speaking women from medieval times through the early 20th century. The oc llection, covers a broad spectrum of genres and is designed to showcase literary works that have been neglected for too long. These works are made available both in facsimiles of their original format, wherever possible, as well as in a PDF transcription that promotes ease of reading and is amenable to keyword searching. Follow this and additional works at: https://scholarsarchive.byu.edu/sophnf_nonfict Part of the German Literature Commons BYU ScholarsArchive Citation Le Beau, Luise Adolpha, "Lebenserinnerungen einer Komponistin, Inhaltsverzeichnis bis S. 78" (1910). Prose Nonfiction. 64. https://scholarsarchive.byu.edu/sophnf_nonfict/64 This Article is brought to you for free and open access by the Nonfiction at BYU ScholarsArchive. It has been accepted for inclusion in Prose Nonfiction by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Lebenserinnerungen einer Komponistin (Autobiography) Inhaltsverzeichnis bis S. 78 [3] Lebenserinnerungen einer Komponistin von Luise Adolpha Le Beau Baden-Baden Emil Sommermeyer, Verlagsbuchhandlung 1910 [4] [5] Inhalts-Verzeichnis Vorwort Seite Meine Eltern . 9 Meine Kindheit . 12 Meine künstlerische Ausbildung . 24 Clara Schumann und Hans von Bülow . 46 Münschen: 1) Kompositionen . 59 2) Konzertreisen . 78 3) Sonstige Erlebnisse . 122 Wiesbaden . 140 Berlin: 1) Musikalisches . 166 2) Allgemeines . 199 Baden-Baden . -
Brahms 17 US 9/10/06 5:15 Pm Page 4
555849bk Brahms 17 US 9/10/06 5:15 pm Page 4 held until 1868, when he moved to Berlin. His protagonist, better known perhaps as the False Dmitry, DDD employment in Hanover allowed him time for is more familiar from Russian operatic treatments of this composition, and among fifty works from this period of episode in their history. Brahms, who had already BRAHMS 8.555849 his life were two violin concertos and four concert transcribed Joachim’s Shakespearian Hamlet Overture overtures. The second of these last was his Demetrius for piano duet and his Henry IV for two pianos, arranged Overture, Op. 6, based on the 1854 tragedy by Hermann the Demetrius Overture, which Joachim had dedicated Grimm, son of Wilhelm Grimm, responsible, with his to Franz Liszt, with whom he was to break definitively Four Hand Piano Music Vol. 17 brother Jakob, for the famous Kinder- und Hausmärchen in 1857, for two pianos, completing it during the first (Grimms’ Fairy Tales). The play itself, not a great years of his friendship with the composer. Piano Concerto No. 1 success at its first staging, treats the same subject as Schiller’s unfinished drama of the same name. The Keith Anderson (Version for two pianos) The Demetrius Overture was recorded using the manuscript with the signature “Nachlass Joseph Joachim, Musikalien, Nr. 22”, kept by the Staats and Hamburg University Library “Carl von Ossietzky”. Silke-Thora Matthies • Christian Köhn Silke-Thora Matthies and Christian Köhn The pianists Silke-Thora Matthies and Christian Köhn, with individual solo careers, came together in 1986 to form a piano duo and played their first concert in public the last day of October 1988. -
Franz Liszt Reproduction from the Original Oil Painting, 1837–39 Klassik Stiftung Weimar, Acc
CHECKLIST Liszt in Paris: Enduring Encounters August 29 through November 16, 2008 Ary Scheffer (1795–1858) Franz Liszt Reproduction from the original oil painting, 1837–39 Klassik Stiftung Weimar, acc. no. LGE/01351 Franz Liszt (1811–1886) Seven Brilliant Variations, for the Piano Forte, to a Theme of Rossini, op. 2 London: T. Boosey & Co., [1825?] First English edition PMC 2036; The Mary Flagler Cary Music Collection Variations on preexisting themes—particularly those taken from operas—were popular during the nineteenth century and frequently cultivated by virtuoso performer-composers. These instrumental works were conceived as a means of displaying a performer’s (rather than a composer’s) skill, brilliance, artistry, and technical prowess. The adolescent Liszt based these variations on the theme “Ah come nascondere la fiamma,” from Rossini’s 1819 opera Ermione. Years later Liszt would compose a virtuosic piece based on the overture to Rossini’s Guillaume Tell. [Playbill for a concert at the Theatre Royal, Covent Garden, England, 2 June 1827] [London: W. Rey, 1827] James Fuld Collection After arriving in Paris in 1823, Liszt and his father made three visits to England (1824, 1825, and 1827). This playbill documents Liszt’s appearance at Covent Garden on 2 June 1827. The featured artist at the end of the first part, Master Liszt performed a fantasia. Such works were of an improvisatory character, introducing familiar tunes that served as themes to be varied and embellished. In this case, Liszt chose the popular melody Rule Britannia. For many years the young virtuoso had already proven most adept at improvising on tunes suggested to him on the spot. -
Romantic Irony in the String Quartets of Felix Mendelssohn Bartholdy and Robert Schumann Robin Wildstein Garvin
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Romantic Irony in the String Quartets of Felix Mendelssohn Bartholdy and Robert Schumann Robin Wildstein Garvin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ROMANTIC IRONY IN THE STRING QUARTETS OF FELIX MENDELSSOHN BARTHOLDY AND ROBERT SCHUMANN By Robin Wildstein Garvin A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree awarded: Fall Semester, 2008 The members of the Committee approve the Dissertation of Robin Wildstein Garvin on September 3, 2008. ______________________________ Douglass Seaton Professor Directing Treatise ______________________________ Eric Walker Outside Committee Member ______________________________ Michael Bakan Committee Member ______________________________ Charles E. Brewer Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my parents Larry and Diane Wildstein iii ACKNOWLEDGEMENTS I would like to thank my major professor, Douglass Seaton, for his unflagging support from the inception of this project to its long-delayed conclusion. Quite apart from his help with my dissertation, he has been instrumental in my development as a musicologist, both as a teacher and a scholar. I would also like to thank committee members Michael Bakan, Charles E. Brewer, and Eric Walker for their careful reading and many helpful suggestions. My parents Larry and Diane Wildstein have supported and encouraged me throughout my academic career. And finally I would like to thank my husband Larry Garvin and our children Hannah, Philip, and Samuel, without whom this dissertation would have been finished a long time ago, but without whom I cannot imagine my life. -
On Conducting by Richard Wagner (Translated by Edward Dannreuther)
On Conducting by Richard Wagner (translated by Edward Dannreuther) TABLE OF CONTENTS POEM FRONTISPIECE TRANSLATOR'S NOTE ON CONDUCTING APPENDIX A APPENDIX B APPENDIX C APPENDIX D POEM FRONTISPIECE (1869). MOTTO NACH GOETHE: "Fliegenschnauz' und Muckennas' Mit euren Anverwandten, Frosch im Laub und Grill' im Gras, Ihr seid mir Musikanten!" * * * * * * * * "Flysnout and Midgenose, With all your kindred, too, Treefrog and Meadow-grig. True musicians, YOU!" (After GOETHE). [The lines travestied are taken from "Oberon und Titanias goldene Hochzeit." Intermezzo, Walpurgisnacht.--Faust I.] TRANSLATOR'S NOTE. Wagner's Ueber das Dirigiren was published simultaneously in the "Neue Zeitschrift fur Musik" and the "New-Yorker Musik-zeitung," 1869. It was immediately issued in book form, Leipzig, 1869, and is now incorporated in the author's collected writings, Vol. VIII. p. 325-410. ("Gesammelte Schriften und Dichtungen von Richard Wagner," ten volumes, Leipzig, 1871-1883.) For various reasons, chiefly personal, the book met with much opposition in Germany, but it was extensively read, and has done a great deal of good. It is unique in the literature of music: a treatise on style in the execution of classical music, written by a great practical master of the grand style. Certain asperities which pervade it from beginning to end could not well be omitted in the translation; care has, however, been taken not to exaggerate them. To elucidate some points in the text sundry extracts from other writings of Wagner have been appended. The footnotes, throughout, are the translator's. ON CONDUCTING The following pages are intended to form a record of my experience in a department of music which has hitherto been left to professional routine and amateur criticism. -
Lebenserinnerungen Einer Komponistin Von
[3] Lebenserinnerungen einer Komponistin von Luise Adolpha Le Beau Baden-Baden Emil Sommermeyer, Verlagsbuchhandlung 1910 [5] Inhalts-Verzeichnis Vorwort Seite Meine Eltern . 9 Meine Kindheit . 12 Meine künstlerische Ausbildung . 24 Clara Schumann und Hans von Bülow . 46 Münschen: 1) Kompositionen . 59 2) Konzertreisen . 78 3) Sonstige Erlebnisse . 122 Wiesbaden . 140 Berlin: 1) Musikalisches . 166 2) Allgemeines . 199 Baden-Baden . 209 __________ Anhang: a) Verzeichnis sämtlicher Kompositionen mit Angabe der Verleger . 280 b) Angabe der “Hof” und Staatsbibliotheken, woselbst die Werke gesammelt sind . 282 ________ Namen-Register . 283 [6] 7 Motto: Der wahre Künstler opfert seiner Kunst Des Volkes Beifall und der Fürsten Gunst; Und sprächen ihm auch alle Krittler Hohn, Was in ihm ist, ist ihm der wahre Lohn! Seume. Vorwort Wenn ich jetzt, im Alter von 59 Jahren, es versuche, meine Erlebnisse so objektiv wie möglich zu schildern, so geschieht dies nicht aus Eitelkeit oder Einbildung, sondern aus verschiedenen anderen Beweggründen. Zunächst war es schon ein Wunsch meines teueren seligen Vaters, daß ich auf die vielen Schwierigkeiten, welche einer Dame auf dem Gebiet der musikalischen Komposition entgegenstehen, auf den Neid und die Mißgunst der Kollegen, sowie auf die Vorurteile und den Unverstand gerade derjenigen Kreise hinweise, welche an meisten berufen und in der Lage wären, ein Talent zu fördern, und daß ich dabei die lautere Wahrheit ohne Scheu oder Rücksicht auf bekannte Namen sage. – Dann wurde ich aber auch von anderen Personen, die im Kunstleben eine Rolle spielten, ermuntert, aus meinem Kunstleben zu erzählen, und nachdem ich durch mancherlei Verhältnisse – nicht zum wenigsten durch meine Referententätigkeit für’s Badener Badelblatt – mich veranlaßt sah, mehr und mehr meine eigenen Interessen zurückzudrängen, und mich ganz aus der Öffentlichkeit zurückzuziehen, fühle ich selbst die Notwendigkeit, mich gegen Vorwürfe zu verteidigen, wie “ich verstünde den Rummel nicht”, oder “ich tue nichts für mich” u. -
By Felix Mendelssohn Bartholdy
“CH’IO T’ABBANDONO” BY FELIX MENDELSSOHN BARTHOLDY: A DRAMATIC IMAGE OF THE EDUCATION AND APTITUDES OF THE COMPOSER Charles Turley, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2002 APPROVED: Linda di Fiore, Major Professor John Michael Cooper, Minor Professor Jeffrey Snider, Committee Member and Voice Division Chair James C. Scott, Dean of College of Music C. Neal Tate, Dean of Robert B. Toulouse School of Graduate Studies Turley, Charles William, “Ch’io t’abbandono” by Felix Mendelssohn Bartholdy: A Dramatic Image of the Education and Aptitudes of the Composer. Doctor of Musical Arts (Performance), August 2002, 64 pages, 2 tables, 12 musical examples and illustrations, references, 39 titles. The unpublished concert aria, “Ch’io t’abbandono,” by Felix Mendelssohn Bartholdy (1825), is representative of the adolescent composer’s developing musical aesthetic. In this study, Mendelssohn’s education, work ethic, and perfectionism are revealed, paradoxically, as both the catalysts for the piece’s composition and also the reasons it was not published during Mendelssohn’s lifetime. An exploration of the text, form, thematic usage, and performance demands of the aria yields specific examples of his uniquely balanced romantic-classicist style. A consideration of possible original performers of the piece, Franz Hauser and Eduard Devrient, leads to further discussion about the nature of the work as both a reflection of Mendelssohn’s romantic self-expression and his appreciation for the Baroque melismatic style. The significance of the aria, both stylistic and biographical, is further delineated by a presentation of possible motivations for its composition. -
Luise Adolpha Le Beau
Le Beau, Luise Adolpha B. Keil und Willi H. Bauer anlässlich des 150. Geburtsta- ges der Komponistin, Gaggenau: Verlag Willi Bauer, 1999, S. 279, p. 279) Profile Luise Adolpha Le Beau saw herself primarily as professio- nal composer; a pianist virtuoso career was out of the qu- estion for her, amongst other things, for health reasons. When her work as a critic in Baden-Baden affected her re- lationship with the town authorities she completely with- drew from public life as pianist and composer. Her main concern was to become accepted as a female composer; she also discussed this in her memoirs. Cities an countries Born in Rastatt, Luise Adolpha Le Beau and her parents first moved to Mannheim in 1857, then, in early 1859, back to Rastatt and later in 1859 to Karlsruhe. From the- re she visited Heidelberg in 1870, took piano lessons wi- th Clara Schumann in 1873 in Baden-Baden, and started a concert tour to Holland in 1874. In spring 1874 the fa- mily moved to Munich. Le Beau lived there for eleven ye- ars. During that time she gave concerts in Leipzig, Salz- burg and Vienna, and travelled to Bayreuth, Weimar and other German cities. From 1885 to 1890 the family lived Luise Adolpha Le Beau. Stahlstich, um 1880. in Wiesbaden to eventually move to Berlin at the father’s request. After three years in Berlin Le Beau and her par- Luise Adolpha Le Beau ents moved back to Baden-Baden in 1893, where she kept her residence even after the parents’ deaths apart * 25 April 1850 in Rastatt, from private journeys to Italy, southern France and Pa- † 17 July 1927 in Baden-Baden, ris. -
3093.Pdf (330.5Kb)
from the solo quartet sounds in the second measure. as the players get down to Universilyof Washington business. The cballenges that Schumann placed on the soloists' stands are phe THE SCHOOL OF MUSIC S'f1 nomenal! The sheer difficulty of the wort for all four players may be the reason 199'( fot the very rare performances of this piece. The second movement, Romtl1lU: ZeimJich langsam. doch n;chl schleppend (Romance - somewbat slowly, without presents the t( -11 dra88ing), follows without pause. The warm colors betray Schumann's skill as orchestrator and melodist A short transition leads to the finale, Sehr lebhaft (Very lively). With wit, joy, and perhaps a tip of the bat to his friend Felix Mendelssohn's (1809-1847) Midsummer Night s Dream the movement closes brilliandy with a flourish from the quartet. When 23-year-old GUSTAV MAHLER left Vienna in 1883, be was already UNIVERSITY well into a long string of relatively unimportant Kapellmeister (conductor) jobs. After stints in places like Laibach (1881), Olmutz (1882), and Vienna (1883), be went to Kassel (in late 1883) and stayed put for two years. When be wasn't COD ducting, he composed. SYMPHONY The genesis of Mahler's Symphony No. 1 in D is closely wound with his Ikder eines /ahrendell Gesellen (Sollgs 0/ a Way/arer). The songs, autobio gmpbical. in nature, were begun in Kassel and completed there in 1885; the Sym phony. also begun in Kassel in 1884, was completed in Leipzig in 1888. Mahler Peter Eros, Conductor is the wayfarer in the Gesellen songs. writing into the cycle his struggles with life and love, not unlike Franz Schubert (1797-1828) in Die Winterreise: 'A lonely.