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Mozart-Rezeption in Franz Danzis Der Berggeist1 Adrian Kuhl
»Feingefühlte Charakteristik« Mozart-Rezeption in Franz Danzis Der Berggeist1 Adrian Kuhl I In der Allgemeinen musikalischen Zeitung erschien am 25. März 1804 ein Artikel über Wolfgang Amadeus Mozarts Opern, in dem der anonyme Autor über Charakteristika von dessen Musiktheater reflektiert: Was aber den meisten Menschen entgeht, ist die feingefühlte Charakteristik, nicht allein der einzelnen Personen, sondern der ganzen Handlung einer jeden Oper. Im Don Juan die Mischung von Erhabenheit und Leichtsinn; im Figaro die joviale Haltung des Ganzen; in der Zauberflöte Munterkeit gepaart mit Würde und feyerlichem Ernste; in Così fan tutte die sanften Halbtinten der feinern Welt- verhältnisse, diese süsse Schwärmerey, die von der Ouvertüre bis zum letzten Ak- kord des Schlusschors das schönste, in allen Theilen harmonischste Ganze ausma- chen, das irgend ein Künstler je hervorzubringen vermochte, in der Entführung aus dem Serail diese Nationalcharakteristik in der erhabensten Darstellung – was überhaupt ein Vorzug Mozart’s, und nur bey ihm in der Grösse anzutreffen ist: diese Einheit des Charakters – wer hat das je gefühlt, bemerkt, bewundert? Wenn aber ein jedes seiner theatralischen Werke das grosse, seltene Verdienst der Einheit und Charakteristik, das Gepräge des feinsten Menschenkenners an der Stirne trägt: welchem soll ich den Vorzug geben?2 1 Der folgende Beitrag basiert auf Teilen meines Vortrags bei der Tagung Mozartvariationen. Franz Danzi und die Mozartverehrung im ausgehenden 18. Jahrhundert, die am 15. Juni 2013 anlässlich des 250. Geburtstages des Komponisten von der Forschungsstelle »Geschichte der Südwestdeutschen Hofmusik im 18. Jahrhundert« der Heidelberger Akademie der Wissen- schaften in Schwetzingen ausgerichtet wurde. 2 [Franz Danzi]: »An meinen Freund«, in: Allgemeine musikalische Zeitung 6 (1804), No. -
Halle, the City of Music a Journey Through the History of Music
HALLE, THE CITY OF MUSIC A JOURNEY THROUGH THE HISTORY OF MUSIC 8 WC 9 Wardrobe Ticket office Tour 1 2 7 6 5 4 3 EXHIBITION IN WILHELM FRIEDEMANN BACH HOUSE Wilhelm Friedemann Bach House at Grosse Klausstrasse 12 is one of the most important Renaissance houses in the city of Halle and was formerly the place of residence of Johann Sebastian Bach’s eldest son. An extension built in 1835 houses on its first floor an exhibition which is well worth a visit: “Halle, the City of Music”. 1 Halle, the City of Music 5 Johann Friedrich Reichardt and Carl Loewe Halle has a rich musical history, traces of which are still Johann Friedrich Reichardt (1752–1814) is known as a partially visible today. Minnesingers and wandering musicographer, composer and the publisher of numerous musicians visited Giebichenstein Castle back in the lieder. He moved to Giebichenstein near Halle in 1794. Middle Ages. The Moritzburg and later the Neue On his estate, which was viewed as the centre of Residenz court under Cardinal Albrecht von Brandenburg Romanticism, he received numerous famous figures reached its heyday during the Renaissance. The city’s including Ludwig Tieck, Clemens Brentano, Novalis, three ancient churches – Marktkirche, St. Ulrich and St. Joseph von Eichendorff and Johann Wolfgang von Moritz – have always played an important role in Goethe. He organised musical performances at his home musical culture. Germany’s oldest boys’ choir, the in which his musically gifted daughters and the young Stadtsingechor, sang here. With the founding of Halle Carl Loewe took part. University in 1694, the middle classes began to develop Carl Loewe (1796–1869), born in Löbejün, spent his and with them, a middle-class musical culture. -
Programa Del Otoño Musical Soriano 2016
PRESIDENCIA DE HONOR S.A.R LA INFANTA Dª MARGARITA DE BORBÓN Y EL EXCMO. SR. D. CARLOS ZURITA. DUQUES DE SORIA Director Festival: Jose Manuel Aceña Notas al programa: Sonia Gonzalo Delgado Diseño y maquetación: Estudioayllón Impresión: Imprenta Provincial de Soria Organiza: Plaza Mayor s/n. 42071· SORIA Tel: 975 23 41 14 / 975 23 28 69 [email protected] www.soria.es/festivalmusical Dep. Leg: SO - 55/2016 Saluda del Alcalde Estimados amigos, estimadas amigas, Gracias por compartir un año más esta cita con la música y la cultura en nuestra Ciudad que es el Otoño Musical Soriano. Como podrán com- probar en este programa de mano, la vigesimocuarta edición de nuestro Festival refleja su carácter accesible, atractivo, completo y ambicioso que reedita la conexión mágica con ustedes, el público, verdadero artífice de que el Otoño Musical Soriano se supere año a año, convirtiéndose en uno de los principales festivales musicales a nivel europeo. Así lo atestigua el galardón “EFFE Label”, recibido el pasado año desde la Asociación Eu- ropea de Festivales como marca de calidad del Otoño Musical Soriano. A punto de celebrar 25 años de historia desde que el trabajo y el cariño del Maestro Odón Alonso hacia Soria alumbrara esta cita por primera vez, las máximas de compromiso con el talento artístico y la excelen- cia internacional están presentes desde la inauguración a la clausura gracias a la labor de su Director, el Maestro José Manuel Aceña, quien ha sabido comprender y transmitir el legado del Maestro Alonso. Sirvan estas líneas para reconocer una vez más su trabajo al frente del Festival. -
Schiller and Music COLLEGE of ARTS and SCIENCES Imunci Germanic and Slavic Languages and Literatures
Schiller and Music COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Schiller and Music r.m. longyear UNC Studies in the Germanic Languages and Literatures Number 54 Copyright © 1966 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Longyear, R. M. Schiller and Music. Chapel Hill: University of North Carolina Press, 1966. doi: https://doi.org/ 10.5149/9781469657820_Longyear Library of Congress Cataloging-in-Publication Data Names: Longyear, R. M. Title: Schiller and music / by R. M. Longyear. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 54. Description: Chapel Hill : University of North Carolina Press, [1966] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 66064498 | isbn 978-1-4696-5781-3 (pbk: alk. paper) | isbn 978-1-4696-5782-0 (ebook) Subjects: Schiller, Friedrich, 1759-1805 — Criticism and interpretation. -
George Frideric Handel (1685-1759) G
George Frideric Handel (1685-1759) G. F. Handel was born in Halle, Germany. He spent the first twenty years of his life in Germany, where he studied composition with his mentor, Friedrich W. Zachow. In 1703, he went to Hamburg to pursue larger musical opportunities where he premiered his first opera Almira in 1705. He spent five years touring Italy where he met several great composers by the names of Arcangelo Corelli, Alessandro Scarlatti, and his son Domenico Scarlatti. His time in Italy greatly influenced his compositional style. Handel is well known in the Baroque Era for his operas, oratorios, and instrumental compositions. Messiah being the most prolific work which he composed in 1741. The opera Orlando was written for the King’s Theater and debuted in 1733 where it only had ten more performances and was not revived for a great deal of time. The first revival since Handel’s lifetime was given in Halle in 1922. Orlando is an opera seria in three acts. It is a story of a great soldier in Charlemagne’s army – Orlando (Roland). Orlando is in love with the pagan princess Angelica who is in love with another man, Medoro. The great magician Zoroastro casts a spell on Orlando to see a vision urging him to cast away Venus, the goddess of love, and embrace Mars, the god of war. Orlando is kept from his senses until the third act when Zoroastro transforms a grove of palm trees into a cave where he attempts to lift his spell (Sorge infausta una procella). Before he can do so, he burns a cottage down with Medoro in it. -
Was Schön, Was Herrlich Heißen Kann ...«
»... alles, was schön, was herrlich heißen kann ...« Kammermusikkonzert »Kleine Serenade« Im Rahmen des Themenjahres 2020 »Unendlich schön. Monumente für die Ewigkeit« Schlossgarten Schwetzingen am Minervatempel 19 Uhr, 26. August 2020 PROGRAMM CARLO GIUSEPPE TOESCHI (1731–1788) Flötenquartett in C-Dur aus: Six simphonies ou quatuors dialogués, Paris [ca. 1764] Allegro grazioso – Menuetto FERDINAND FRÄNZL (1767–1833) Flötenquartett in D-Dur aus: Deux Quatuors [...] op. 10, Augsburg [ca. 1810] Allegro – Andante – Allegretto FRANZ DANZI (1763-1826) Flötenquartett in d-Moll aus: Trois Quatuors […] op. 56, Offenbach (1819) Allegretto – Andantino – Allegretto Menuetto – Allegretto Manches schöne Bauwerk überdauert seine Zeit und wird von der Nachwelt immer noch bewundert. Carl Theodor von der Pfalz hat sich nicht nur mithilfe der Bau- oder Kunstwerke Denkmäler errichten lassen, sondern ging als Begründer der berühmten kurpfälzischen Hofkapelle in die Musikgeschichte ein. Die Virtuosen und Komponisten seiner Hofmusik waren europaweit bekannt und leisteten gewichtige Beiträge vornehmlich auf dem Gebiet der Instrumentalmusik. Ihre Sinfonien und Konzerte hätte man mit einem antiken Minerva- oder Apollo-Tempel vergleichen können. Selbst in kleineren Dimensionen wie in den Werken für kammermusikalische Besetzungen waren sie mitunter federführend. Als die Quartettbesetzung mit einer Flöte, genannt Flötenquartett, ab den 1760er Jahren immer populärer wurde, erfreute sich diese Modeerscheinung auch in Mannheim großer Beliebtheit. Der Konzertmeister und ab 1773 der Kabinettmusikdirektor Carlo Giuseppe Toeschi komponierte – höchstwahrscheinlich ursprünglich für die Musizierstunden seines Dienstherren Carl Theodor – ca. 30 Flötenquartette, die vornehmlich in Paris publiziert wurden. Toeschi wurde zum Vorreiter auf diesem Gebiet, obwohl noch andere Musikerkollegen wie Christian Cannabich, Ignaz Fränzl oder Jean Baptist Wendling Flötenquartette schrieben. Selbst als die Hofkapelle nach München umsiedelte, wurde diese Tradition fortgeführt. -
Indigenous Encounters in Australian Symphonies of the 1950S
Symphonies of the bush: indigenous encounters in Australian symphonies1 Rhoderick McNeill Dr Rhoderick McNeill is Senior Lecturer in Music History and Music Theory at the University of Southern Queensland, Toowoomba. His principal research interest lies in Australian symphonic music of the earlier 20th century, with particular study of Australian symphonies of the 1950s. Between 1985 and 1995 he helped establish the Faculty of Performing Arts at Nommensen University in Medan, Indonesia. Dr McNeill’s two volume Indonesian-language textbook on Music History was published in Jakarta in 1998 and has been reprinted twice. Landscape was a powerful stimulus to many composers working within extended tonal, nationalist idioms in the early 20th century. Sibelius demonstrated this trend in connection with Finland, its landscape, literature, history and myths. Similar cases can be made for British composers like Elgar, Vaughan Williams, Bax and Moeran, and for American composers Copland and Harris. All these composers wrote symphonies and tone poems, and were important figures in the revival of these forms during the 1920s and 30s. Their music formed much of the core of „modern‟ repertoire heard in Australian orchestral concerts prior to 1950. It seemed logical for some Australian composers -by no means all - to seek a home-grown style which would parallel national styles already forged in Finland, Britain and the United States. They believed that depicting the „timeless‟ Australian landscape in their music would introduce this new national style; their feelings on this issue are clearly outlined in the prefaces to their scores or in their writings or by giving their works evocative Australian titles. -
MR 2292 DANZI Concert Piece.Qxp 19.02.2008 15:53 Seite 4
MR 2292 DANZI Concert Piece.qxp 19.02.2008 15:53 Seite 4 Preface Franz Danzi was baptised in Schwetzingen on 15 June 1763. His father was a cellist in the famous Mannheim orchestra, and Franz also joined the orchestra as cellist at the age of 15. After a spell as Kapellmeister in Stuttgart (where he became friends with Weber), Danzi moved to Karlsruhe in 1812. He died there on 13 April 1826. Danzi’s compositions covered the whole spectrum from opera, church music, orchestral works to chamber music. His works for clarinet include three solo pieces for clarinet and or- chestra, a concertante for clarinet and flute, a sonata for clarinet & piano, a sonata for bas- sethorn and piano and eight wind quintets (the works for which he is principally known today). The present work was published by Breitkopf & Härtel around 1813 and this arrangement for clarinet and piano is based on a copy of the original edition in the Deutsche Staatsbib- liothek in Berlin. The title page reads: “Pot-pourri pour la Clarinette avec accompagnement de deux Violons, Viola et Basse, Flûte, 2 Hautbois, 2 Bassons et 2 Cors ad libitum par F. Danzi, op. 45.” The wind parts do not add anything of melodic interest, but feature more or less entirely in the tuttis. The title of the work has here been changed to “Concert Piece No. 1” as Danzi’s later two “Pot-pourris” have already been published as “Concert Pieces Nos. 2 and 3.” There are very few dynamic markings in the original edition. In fact, the clarinet solo part contains only three (in mm. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright ALFRED HILL’S VIOLA CONCERTO: ANALYSIS, COMPOSITIONAL STYLE AND PERFORMANCE AESTHETIC Charlotte Fetherston A thesis submitted in partial fulfillment of requirements for the degree of Doctor of Musical Arts Sydney Conservatorium of Music, University of Sydney, NSW 2014 STATEMENT OF ORIGINALITY ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at the Sydney Conservatorium of Music or any other educational institution, except where due acknowledgement is made in the thesis. -
Inhalt / Contents
Inhalt / Contents Grußwort / Greeting........................................... 7 II - Psalmvertonungen und Gebete / Vorwort / Preface................................................ 9 Psalm Settings and Prayers.............. 49 Ganz Europa im Fokus • Die Auswahl als repräsentativer Zeitspiegel und abgestimmt auf die heutige Praxis • Dominus regit m e.................................................. 50 Zur Gliederung der Chorstücke - Ein reichhaltiges Chorreper Carl Nielsen (1865-1931) toire • A cappella oder mit Begleitung? • Zur Interpretation - W ie der Hirsch schreiet / As the Hart Panteth.......... 58 Geistliche Chormusik im „langen 19. Jahrhundert" • Zur Heinrich Bellermann (1832-1903) Verwendung des Romantik-Begriffs im Titel des Chorbuchs • Editorische Anmerkungen - Zu den verwendeten Bibel Sicut cervus........................................................... 64 versionen • Hilfestellungen für die Probenarbeit Charles Gounod (1818-1893) All of Europe in the limelight • The selection as a represen Kot po mrzli studencini / As the Thirsting Hart Pants.. 67 tative reflection of the times, yet in tune with modern Hugolin Sattner (1851-1934) practice - The organisation of the choral pieces • A rich Sende dein Licht (Kanon) / and extensive choral repertoire • A cappella or with accom Send Out Thy Light (Canon)............................... 68 paniment? • Concerning performance • Sacred choral music Friedrich Schneider (1786-1853) in the "long nineteenth century" • On the use of the term "Romantik" in the title of this choir -
Carl Loewe's "Gregor Auf Dem Stein": a Precursor to Late German Romanticism
Carl Loewe's "Gregor auf dem Stein": A Precursor to Late German Romanticism Item Type text; Electronic Dissertation Authors Witkowski, Brian Charles Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 03:11:55 Link to Item http://hdl.handle.net/10150/217070 CARL LOEWE'S “GREGOR AUF DEM STEIN”: A PRECURSOR TO LATE GERMAN ROMANTICISM by Brian Charles Witkowski _____________________ Copyright © Brian Charles Witkowski 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Brian Charles Witkowski entitled Carl Loewe's “Gregor auf dem Stein”: A Precursor to Late German Romanticism and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts ________________________________________________ Date: 11/14/11 Charles Roe ________________________________________________ Date: 11/14/11 Faye Robinson ________________________________________________ Date: 11/14/11 Kristin Dauphinais Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Reconsidering the Nineteenth-Century Potpourri: Johann Nepomuk Hummel’S Op
Reconsidering the Nineteenth-Century Potpourri: Johann Nepomuk Hummel’s Op. 94 for Viola and Orchestra 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 Performance Studies Division of the College-Conservatory of Music 2018 by Fan Yang B. M., Hong Kong Academy for Performing Arts, 2008 M. M., Hong Kong Academy for Performing Arts, 2010 D. M. A. Candidacy, University of Cincinnati, 2013 Abstract The Potpourri for Viola and Orchestra, Op. 94 by Johann Nepomuk Hummel is available in a heavily abridged edition, entitled Fantasy, which causes confusions and problems. To clarify this misperception and help performers choose between the two versions, this document identifies the timeline and sources that exist for Hummel’s Op. 94 and compares the two versions of this work, focusing on material from the Potpourri missing in the Fantasy, to determine in what ways it contributes to the original work. In addition, by examining historical definitions and composed examples of the genre as well as philosophical ideas about the faithfulness to a work—namely, idea of the early nineteenth-century work concept, Werktreue—as well as counter arguments, this research aims to rationalize the choice to perform the Fantasy or Potpourri according to varied situations and purposes, or even to suggest adopting or adapting the Potpourri into a new version. Consequently, a final goal is to spur a reconsideration of the potpourri genre, and encourage performers and audiences alike to include it in their learning and programming.