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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. -
Simply Beethoven
Simply Beethoven Simply Beethoven LEON PLANTINGA SIMPLY CHARLY NEW YORK Copyright © 2020 by Leon Plantinga Cover Illustration by José Ramos Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-64-3 Brought to you by http://simplycharly.com Contents Praise for Simply Beethoven vii Other Great Lives ix Series Editor's Foreword x Preface xi Introduction 1 1. The Beginning 5 2. Beethoven in Vienna: The First Years, 1792-1800 20 3. Into the New Century, 1800-05 38 4. Scaling the Heights, 1806-1809 58 5. Difficult Times, 1809-11 73 6. Distraction and Coping: 1812-15 91 7. 1816–1820: More Difficulties 109 8. Adversity and Triumph, 1821-24 124 9. Struggle and Culmination, 1825-1827 149 10. Beethoven’s Legacy 173 Sources 179 Suggested Reading 180 About the Author 182 A Word from the Publisher 183 Praise for Simply Beethoven “Simply Beethoven is a brief and eminently readable introduction to the life and works of the revered composer.Plantinga offers the lay- man reliable information based on his many years as a renowned scholar of the musical world of late-eighteenth and nineteenth- century Europe. -
The Last Beethoven Overture This Study Is, Above All, the Outcome of A
1 The Last Beethoven Beethoven, deaf, working on the manuscript of the Missa Solemnis (painting by Josef Karl Stieler, 1819) Overture This study is, above all, the outcome of a long-lasting personal concern that goes back to the period of my first music lessons and my attempts to play Beethoven’s music on the piano. My passion for certain musical compositions, the care to interpret them in the way, with the sensitivity and in keeping with their creator’s intentions might be translated as follows: I wish to perform as if he could hear me and could recognize himself in the music I performed. I was filled, at a very early age, with the desire to know as much as possible about his personality, his life, the events and the circumstances that led to the birth of his work. It is obvious and easy to prove, based on Beethoven’s own notes and the testimonies of those who have written about him for nearly two hundred years, that there were external triggers, such as social and even historical events or happenings, which activated certain musical themes that his genius and sensitivity gave expression in the form known to us today. In this study, I will speak, at the appropriate time, about situations, contexts and events of this kind: family problems, like the affair involving his nephew Karl, 2 or sentimental issues, like the “Immortal Beloved” (Der Unsterbliche Geliebte), the drama entailed by hearing loss, the evolution of event on the European stage during the Napoleonic and post-Napoleonic periods, etc. -
By Moisés Kaufman Directed by Nick Bowling
By Moisés Kaufman Directed by Nick Bowling STUDY GUIDE Prepared by Maren Robinson, Dramaturg This Study Guide for 33 Variations was prepared by Maren Robinson and edited by Kerri Hunt and Lara Goetsch for TimeLine Theatre, its patrons and educational outreach. Please request permission to use these materials for any subsequent production. © TimeLine Theatre 2012 — STUDY GUIDE — Table of Contents The Playwright: Moisés Kaufman .................................................................... 3 Tectonic Theater Project .................................................................................... 4 The Play: Production History............................................................................. 4 The Play: A Note on Structure........................................................................... 4 The Conversation: PJ Powers and Andrew Hansen ........................................ 5 The Historical Context ....................................................................................... 9 Timeline of Beethoven’s Life and Times ......................................................... 10 The Composer: Ludwig Van Beethoven .......................................................... 14 The Associates: Anton Diabelli and Anton Schindler..................................... 16 Selected Music Terminology ............................................................................ 17 33 Variations on a Waltz by Anton Diabelli op. 120........................................ 18 Thoughts on the Diabelli Variations from -
6770.Pdf (2.79
An Analytical Comparison of the Variation Movement from Ludwig van Beethoven’s Piano Sonata in E Major, Op. 109 to Johann Sebastian Bach’s Aria mit verschiedenen Veränderungen, BWV 988 (“Goldberg Variations”) A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Keyboard Studies Division of the College-Conservatory of Music by Eliana Maria Murphy BM, University of Colorado-Boulder, 2003 MM, University of Colorado-Boulder, 2005 Committee Chair: bruce d. mcclung, PhD Abstract The correlations between J. S. Bach’s Aria mit verschiedenen Veränderungen, BWV 988 (“Goldberg Variations”) (1741) and the variation movement of Ludwig van Beethoven’s Piano Sonata in E Major, Op. 109 (1820) may not be apparent at a cursory glance, yet upon closer examination, some striking parallels emerge. This document compares relevant excerpts of J. S. Bach’s “Goldberg Variations” and Beethoven’s Op. 109 variation movement, offering evidence that Beethoven indeed did use the “Goldberg Variations” as the inspiration for his musical invention in Op. 109’s last movement. While there is no proof that Beethoven ever heard a performance or read through a score of the “Goldberg Variations,” much circumstantial evidence points to the conclusion that he had several opportunities to do so. In the first chapter, I explore how Beethoven’s exposure to Bach’s music influenced his development as a composer, especially in his last compositional period. Special emphasis is given to the role that Gottfried, Baron van Swieten played in introducing Beethoven to many of Bach’s scores. -
33 Variations a Play at the Chapel Street Players Information Collected and Adapted from Various Internet Sources
33 Variations A Play at the Chapel Street Players Information collected and adapted from various Internet sources. [JFW] Apr 17, 18, 23, 24, 25 @ 8pm / Apr 19 @ 2pm / 2015 Written by Moisés Kaufman Music by Ludwig van Beethoven Directed by William Fellner With the acting talents of Caitlin E. Adams, Ray Barto, Patrick Cathcart, Hugh Dugan, James Galloway, April Kendra, Jim Simpers and Carol Van Zoeren Drama, imagery, and music combine to tell a story of compassion, love, and obsession across two centuries and two continents. It received five Tony nominations for 2009 (one win), including Best Play. Online: Reservation Page Tel: (302) 368-2248 Email: [email protected] In 1819, Anton Diabelli, a Viennese music publisher, invited 50 composers to submit one variation each on a waltz of his own composition. Only Ludwig van Beethoven, then at the height of his musical power, declined. He regarded Diabelli’s waltz as a trivial patchwork. But then, strangely, Beethoven began writing variation after variation, ultimately 33 in all. Some 200 years later, the musicologist Katherine Brandt is determined to understand why. In the course of these parallel journeys, a mother will be reconciled with her daughter, a composer with his genius. Background ..................................................................................................1 Synopsis & Critique ......................................................................................4 Detailed Scene-by-Scene Activity.................................................................6 Background The era in which Beethoven lived was a tempestuous one. Revolutions in America, France and later Spain sparked fears of revolution amongst the Nobility in countries across Europe. The age gave us the Romantic poets Lord Byron, John Keats, Percy Bysshe Shelly, and authors Johann Wolfgang von 33_Variations_Info JFW Feb 2015 Page 1 of 1 Goethe, Victor Hugo and Jane Austen. -
The Last Beethoven Lavinia-Nadiana Simonis
The last Beethoven Lavinia-Nadiana Simonis To cite this version: Lavinia-Nadiana Simonis. The last Beethoven. Art and art history. Université Panthéon-Sorbonne - Paris I, 2015. English. NNT : 2015PA010545. tel-01825801 HAL Id: tel-01825801 https://tel.archives-ouvertes.fr/tel-01825801 Submitted on 28 Jun 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 1 The Last Beethoven Beethoven, deaf, working on the manuscript of the Missa Solemnis (painting by Josef Karl Stieler, 1819) Overture This study is, above all, the outcome of a long-lasting personal concern that goes back to the period of my first music lessons and my attempts to play Beethoven’s music on the piano. My passion for certain musical compositions, the care to interpret them in the way, with the sensitivity and in keeping with their creator’s intentions might be translated as follows: I wish to perform as if he could hear me and could recognize himself in the music I performed. I was filled, at a very early age, with the desire to know as much as possible about his personality, his life, the events and the circumstances that led to the birth of his work.