DOCSLIB.ORG

Vorwort Gel, Mit Folgenden Worten: „Mein Lie- Uraufführungsdaten Der Drei Suiten Ber! Soeben Sind Meine Drei Suiten Op

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vorwort Gel, Mit Folgenden Worten: „Mein Lie- Uraufführungsdaten Der Drei Suiten Ber! Soeben Sind Meine Drei Suiten Op Vorwort gel, mit folgenden Worten: „Mein Lie- Uraufführungsdaten der drei Suiten ber! Soeben sind meine drei Suiten op. 131 c sind nicht bekannt. Man weiß op. 131 c für Solocello erschienen und lediglich, dass bei einem Max-Reger- ich beeile mich, Dir dieselben, von de- Abend in Aschaffenburg am 18. März Die Drei Suiten für Violoncell allein nen ich Dir Nr. 1 dediziert habe, zu sen- 1916, also etwa zwei Monate vor dem op. 131 c komponierte Max Reger, wie den. Hoffentlich hast Du an den drei Tod des Komponisten, Maurits Frank, aus brieflichen Äußerungen an die Dingern Spaß und geht meine Bitte mit dem Reger im selben Konzert auch Freunde Karl Straube und Hans von dahin, diese drei Dinger möglichst oft seine Violoncellosonate op. 116 musi- Ohlendorff hervorgeht, im Herbst 1914 im Unterricht zu gebrauchen.“ zierte, eine der drei Suiten aufführte. in Meiningen (nicht im Sommer 1915 in Suite Nr. 2 (d-moll) ist Hugo Becker, Jena wie in Fritz Steins Reger-Werkver- Suite Nr. 3 (a-moll) Paul Grümmer de- Bonn, Frühjahr 1992 zeichnis und in der Gesamtausgabe an- diziert. Bei allen drei Widmungsträgern Susanne Shigihara gegeben). Während seiner Rekonvales- handelt es sich um Cellisten, mit denen zenz in Meran im April des Jahres – Reger konzertierte, wobei Julius Klengel Reger erlitt Ende Februar einen schwer- darüber hinaus zum engeren Leipziger Zur Edition wiegenden Zusammenbruch – hatte er Freundeskreis des Komponisten zählte. Grundlage der Edition bildet die Erst- bereits, gleichsam als Einstimmung auf Julius Klengel (1859–1933) galt als ausgabe von N. Simrock (Berlin und die Variationen und Fuge für Orchester der bedeutendste Cellist seiner Zeit. Von Leipzig). Sie erschien im Sommer 1915 über ein Thema von Mozart op. 132, 1881–1924 war er Solocellist des Leip- in drei Heften (Platten-Nummern: seine Präludien und Fugen für Violine ziger Gewandhaus-Orchesters, bis 1930 13698–13700). Die Autographe, auf allein op. 131 a sowie die Drei Duos Mitglied des Gewandhaus-Quartettes denen diese Erstausgabe basiert, müs- (Canons und Fugen) im alten Stil für sowie Professor am Leipziger Konserva- sen als verschollen gelten. zwei Violinen op. 131 b komponiert, die torium. Aus seiner Schule ging unter an- Aufgrund der sorgfältigen Korrektur- im Juli 1914 im Druck vorlagen. Die deren Paul Grümmer hervor, der neben lesung der Fahnen durch Reger darf der Komposition der drei Cellosuiten fiel in Klengel auch Hugo Becker zu seinen Erstdruck als hinlänglich autorisiert eine Zeit, in der Reger, bewegt durch Lehrern zählte. Klengel war an einigen gelten, wenn man auch gelegentlich den Ausbruch des ersten Weltkrieges, Uraufführungen von großen Kammer- gerne auf das Autograph zurückgreifen seine Vaterländische Ouvertüre op. 140 musikwerken Regers beteiligt (op. 102, würde. Einige wenige Detailprobleme verfasst und begonnen hatte, sich dem 118, 133). Reger widmete ihm auch sei- findet man in Fußnoten diskutiert. Vor unvollendet gebliebenen lateinischen ne vierte Violoncellosonate op. 116, die allem der Vergleich der reprisenartigen Requiem zuzuwenden. dieser am 3. April 1911 in Leipzig erst- Parallelstellen lässt manchen Zweifel an Am 15. Januar 1915 reichte er dem aufführte. Hugo Becker (1863–1941) der Korrektheit der Erstausgabe auf- Verlag Simrock die drei Cellosuiten ein, war unter anderem Mitglied des Frank- kommen. So könnten unterschiedlich wobei er dem damaligen Leiter des Hau- furter Museums-Quartetts von Hugo lange Crescendo- bzw. Decrescendo- ses, Regierungsrat Richard Chrzescinski, Heermann sowie des Marteau-Becker- Gabeln im Autograph einheitlich, durch das Manuskript übereignete. Aus der Quartetts und Professor an der Berliner die Umsetzung in den Stich jedoch im Max-Reger-Institut in Bonn befind- Musikhochschule. Ihm hatte Reger leicht voneinander abweichend gesetzt lichen Korrespondenz Regers mit dem bereits seine zweite Violoncellosonate sein. Unterschiedliche Artikulation Hause Simrock lassen sich die Stationen op. 28 gewidmet; er war während könnte hingegen bewusst differenziert der Drucklegung des Werkes genau ver- Regers Münchener Zeit als Cellist des sein. In beiden Fällen wurde auf Anglei- folgen: Am 19. Januar 1915 dankt Re- Museums-Quartetts am 30. Dezember chungen verzichtet. Schlüsselwechsel an ger für den Empfang des Honorars von 1904 an der Uraufführung von dessen solchen sonst identischen Passagen wur- 300 Mark, am 23. April mahnt er baldi- Streichquartett d-moll op. 74 beteiligt. den dagegen vereinheitlicht. Die Über- ges Erscheinen an, am 22. Mai schickt Paul Grümmer (1879–1965), Professor fülle von Regers Warnungsakzidentien er – wie immer „in eingeschriebener an verschiedenen Musikinstitutionen, wurde behutsam reduziert. Eingeklam- Rolle“ – die Korrekturabzüge zurück war von 1912–1930 Mitglied des be- merte Zeichen stellen notwendige Er- mit der Bemerkung „es fehlt nur sehr rühmten Busch-Quartetts. Über Adolf gänzungen des Herausgebers dar. wenig; also ist neuer Abzug an mich und Fritz Busch, die Reger in den Jah- nicht nötig.“ Am 2. Juli fragt er erneut ren um 1910 kennen und schätzen ge- München, Frühjahr 1992 nach dem Erscheinungsdatum, und lernt hatte, entstand auch der Kontakt Wolf-Dieter Seiffert am 23. Juli dankt er für den Erhalt der zu Grümmer und anderen Mitgliedern Freiexemplare. des Busch-Kreises, der in Regers letzten Noch am selben Tag übersandte Re- Lebensjahren zu einigen Konzerten mit ger ein Exemplar an den Widmungsträ- den Mitgliedern des Busch-Quartetts ger der Suite Nr. 1 (G-dur), Julius Klen- führte. Preface forward them to you as you bear the played his Cello Sonata, op. 116, on the dedication of the first. I wish you much same occasion. pleasure with the three things and hope you will use them all, as often as possi- Bonn, spring 1992 From Max Reger’s letters to his friends ble, in your lessons.“ Susanne Shigihara Karl Straube and Hans von Ohlendorff, Suite no. 2 (d minor) is dedicated we know that he composed his Three to Hugo Becker; Suite no. 3 (a minor), Suites for Unaccompanied Violoncello, to Paul Grümmer. All three dedicatees Notes on the edition op. 131 c, in Meiningen in autumn 1914 were cellists with whom Reger gave Our edition is based on the first edition – and not in Jena in summer 1915, as concerts; Julius Klengel was in addition, issued by N. Simrock (Berlin and Leip- claimed in Fritz Stein’s catalogue of a member of the composer’s intimate zig). It appeared in summer 1915 Reger’s works and in the complete edi- circle of friends in Leipzig. in three volumes with plate numbers tion. In April, while convalescing in Julius Klengel (1859–1933) was 13698 to 13700. The autograph manu- Merano after a severe breakdown in late considered the leading cellist of his day. scripts used for this edition must be con- February, he had written his Preludes From 1881 to 1924 he was solo cellist of sidered lost. and Fugues for Unaccompanied Violin, the Leipzig Gewandhaus Orchestra, and As Reger painstakingly corrected the op. 131 a, and the Three Duos (Canons until 1930 he was a member of the Ge- proofs, the first edition may be regarded and Fugues) in the Old Style for Two Vi- wandhaus Quartet. He was also a pro- as sufficiently authentic, even if, for sev- olins, op. 131 b. These works, intended fessor at Leipzig Conservatory. Among eral passages, we would be grateful for as a sort of warming-up exercise for the his pupils was Paul Grümmer, who had access to the autograph. Several prob- Variations and Fugue for Orchestra on a also studied with Hugo Becker. Klengel lematical details are discussed in foot- Theme by Mozart, op. 132, were pub- took part in the première performances notes. In particular, a comparison of lished in July 1914. Work on the three of some of Reger’s major pieces of cham- recapitulatory parallel passages raises cello suites came at a time when Reger, ber music: opp. 102, 118 and 133. He some doubts as to the accuracy of the stirred by the outbreak of World War I, was also the dedicatee of Reger’s Fourth first edition. Crescendo and decrescendo wrote his Patriotic Overture, op. 140, Cello Sonata. op. 116. which he pre- marks of differing lengths, though pos- and began to direct his attention to the mièred in Leipzig on 3 April 1911. sibly consistent in the autograph, may unfinished Latin Requiem. Hugo Becker (1863–1941) was, among have been set with slight deviations dur- On 15 January 1915 Reger sent the other things. a member of Hugo Heer- ing the engraving process. Conversely, three cello suites to the publishing house mann’s Frankfurt Museum Quartet and discrepancies in articulation may be of Simrock, entrusting his manuscript to the Marteau-Becker Quartet as well as a been deliberate. In both cases we have the then director of the firm, the govern- professor at the Berlin Hochschule. Al- declined to unify these passages. On the mental councillor Richard Chrzescinski. ready the dedicatee of Reger’s Second other hand, changes of key in otherwise Reger’s correspondence with Simrock, Cello Sonata, op. 28, Becker, as cellist of identical passages have been unified. now housed in the Max Reger Institute the Museum Quartet, had helped give The superabundance of Reger’s warning in Bonn, allows us to retrace the steps in the d-minor String Quartet, op. 74, its accidentals has been cautiously reduced. the work’s publication. On 19 January première performance on 30 December Signs enclosed in brackets represent 1915 Reger gratefully acknowledged 1904. Paul Grümmer (1879–1965), a necessary additions on the part of the receipt of his fee of 300 marks; on 23 professor at various conservatories, was editor. April he enquired after the work’s forth- a member of the celebrated Busch Quar- coming appearance in print; on 22 May tet from 1912 to 1930. Adolf and Fritz Munich, spring 1992 he returned the corrected proofs (as al- Busch, whom Reger had known and Wolf-Dieter Seiffert ways in a „certified mailing tube“), esteemed since about 1910, brought the remarking that „as very little is wrong, composer into contact with Grümmer it will not be necessary to send a new and other members of their circle, lead- set of proofs“.
Load more

Recommended publications
  • Please Note That This Transcript Is Being Made Available for Research Purposes Only and May Not Be Reproduced Or Disseminated in Any Way
    Please note that this transcript is being made available for research purposes only and may not be reproduced or disseminated in any way. Should you determine you want to quote from the transcript, you must seek written permission from the UCLA Library's Center for Oral History Research: UCLA Center for Oral History Research Room 21564 Charles E. Young Research Library Box 951575 Los Angeles, California 90095-1575 oral-history@library. ucla. edu ALIOS EHLERS: HARPSICHORDIST Completed under the auspices of the Oral History Program University of California Los Angeles 1968 Copyright © The Regents of the University of California This manuscript Is hereby made available for research purposes only* All literary rights in the manuscript^ including the right to publications, are reserved to the University Library of the University of California at Los Angeles• No part of the manuscript may be quoted for publication without the written permission of the University Librarian of the University of California at Los Angeles• TABLE OF CONTENTS Illustrations vi Introduction vli Interview History xi Tape Number: I, Sides One and Two (October 20 and October 30, 19^5) Vienna—Berlin and Landowska—Association with Hindemith—Development of concert career—England and America—Russian tour Tape Number: II, Side One (October 30, 1965) 59 Russian tour—European tours—Israel tours—Association with Schweitzer Tape Number: II, Side Two (November 15> 19^5) 86 Harpsichords owned by Mme. Ehlers—Israel tours—Vienna, England and Scotland Tape Number: III, Sides One and
    [Show full text]
  • June 1911) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1911 Volume 29, Number 06 (June 1911) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 29, Number 06 (June 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/570 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 361 THE ETUDE -4 m UP-TO-DATE PREMIUMS _OF STANDARD QUALITY__ K MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by JAMES FRANCIS COOKE », Alaska, Cuba, Porto Kieo, 50 WEBSTER’S NEW STANDARD 4 DICTIONARY Illustrated. NEW U. S. CENSUS In Combination with THE ETUDE money orders, bank check letter. United States postage ips^are always received for cash. Money sent gerous, and iponsible for its safe T&ke Your THE LAST WORD IN DICTIONARIES Contains DISCONTINUANCE isli the journal Choice o! the THE NEW WORDS Explicit directions Books: as well as ime of expiration, RENEWAL.—No is sent for renewals. The $2.50 Simplified Spelling, „„ ...c next issue sent you will lie printed tile date on wliicli your Webster’s Synonyms and Antonyms, subscription is paid up, which serves as a New Standard receipt for your subscription.
    [Show full text]
  • 390 Tonkünstlerfest (40. Jahresversammlung) Frankfurt A. M., [Heidelberg, Mannheim], 27. Mai – 1. Juni 1904
    390 Tonkünstlerfest (40. Jahresversammlung) Frankfurt a. M., [Heidelberg, Mannheim], 27. Mai – 1. Juni 1904 Festdirigent: Siegmund von Hausegger Festchor: Mitglieder des Cäcilienvereins, des Rühlschen Vereins, des Lehrergesangverseins und des Museumschores Ens.: Frankfurter Theaterorchester, verstärkt durch das Orchester der Freitagskonzerte der Museumsgesellschaft 1. Aufführung: Festaufführung, dargeboten von der Intendanz Frankfurt a. M., Opernhaus, Freitag, 27. Mai, 19:00 Uhr Waldemar Edler von Baußnern: Der Bundschuh, Oper in 3 Ltg.: Ernst Kunwald Akten (UA) Reg.: Chr. Krähmer Text: Otto Erler 2. Aufführung: Erstes Orchesterkonzert Frankfurt a. M., Saalbau, großer Saal, Samstag, 28. Mai, 19:00 Uhr 1. Volkmar Andreae: Schwermut - Entrückung - Vision, Ltg.: Volkmar Andreae symphonische Phantasie für großes Orchester, Orgel, Sol.: Ludwig Hess (T) Tenorsolo und Chortenor op. 7 Text: Walter Schädelin ( ≡) 1. „Ein Taumelzug!“ 2. „Tief unter schweren Wolken dämmerndem Gebreit“ 3. „Jahrtausende zogen abwärts in die Ferne“ 2. Emil Nikolaus Frhr. von Rezni ček: Ruhm und Ewigkeit, 4 Ltg.: Emil Nikolaus Frhr. von Rezni ček Gesänge mit Orchester (UA) Sol.: Ejnar Forchhammer Text: Friedrich Nietzsche ( ≡) 1. „Wie lange sitzest du schon“ 2. „Diese Münze“ 3. „Still!“ 4. „Höchstes Gestirn des Seins!“ 3. Bruno Walter: Symphonische Phantasie (UA) Ltg.: Bruno Walter Pause 4. Hermann Karl Joseph Zilcher: Konzert für 2 Violinen und Ltg.: Hermann Karl Joseph Zilcher Orchester d-Moll op. 9 Sol.: Hugo Heermann (V.), Emil Heermann 1. Bewegt (V.) 2. Ruhig, sehr frei im Zeitmaß 3. Sehr lebhaft 5. Georg Alfred Schumann: Totenklage, für Chor und Ltg.: Georg Alfred Schumann Orchester op. 33 Text: Friedrich von Schiller, aus Die Braut von Messina (≡) 6. Heinrich Zöllner: Hymnus der Liebe, für gemischten Ltg.: Heinrich Zöllner Chor, Baritonsolo und großes Orchester op.
    [Show full text]
  • Fingering Strategies in the Prelude of J.S. Bach's Sixth
    FINGERING STRATEGIES IN THE PRELUDE OF J.S. BACH’S SIXTH SUITE FOR SOLO CELLO ALEXANDRA CLAIRE PARTRIDGE A dissertation submitted to Massey University and Victoria University of Wellington in partial fulfilment of the degree Masters of Musical Arts in Classical Performance New Zealand School of Music 2014 ABSTRACT The introduction of this exegesis presents a brief history of Bach’s cello suites, explores the relevance and reliability of the manuscript sources and discusses the intended five-stringed instrument for Suite No. 6. Part One compares and contrasts the fingering patterns within selected extracts from eleven different editions of the Prelude. It examines the varying interpretations and takes into account the fingering choices that have been adopted in the publications. Part Two of this exegesis comprises this author’s version of the Prelude. This incorporates the technically and musically convincing fingering patterns found from the research in prior parts of this study, as well as using the author’s own knowledge of cello pedagogy. The ultimate purpose of this research is to provide a comprehensive and informed version in which challenges of playing this movement are largely minimised. ii ACKNOWLEDGEMENTS First and foremost, my gratitude goes to my family. If it weren’t for their love, support and dedication to my musical growth right from day one, my passion would never have been ignited. A huge thank you goes to my past and present teachers, particularly to David Chickering who first delighted me with the Bach Suites, and to Inbal Megiddo for her encouragement and mentorship. Lastly, I would like to express my appreciation to my supervisor Professor Donald Maurice, because his wisdom, guidance and patience helped me through each stage of this exegesis.
    [Show full text]
  • 557541Bk Kelemen 3+3 15/8/11 9:38 PM Page 1
    9.70149bk Horn Reger:557541bk Kelemen 3+3 15/8/11 9:38 PM Page 1 abschließende Fuge der ersten Suite den Meister am Werk. Gewandhausorchesters und seit 1881 Professor am Ulrich Horn Gerade die Komposition von Präludien und Fugen für Leipziger Konveratorium, wo er zum legendären »euro- German cellist Ulrich Horn studied with Peter Vogler at the Solostreicher hatte Reger mit den Violinwerken Opus 117 päischen Cellistenmacher« wurde, zu dessen Schülern Hanns Eisler Music College in Berlin as well as with REGER und 131a intensiv erkundet. Gregor Piatigorsky, Guilhermina Suggia, Rudolf Metz- Ludwig Quandt and Georg Faust as a member of the Das Präludium der zweiten Suite d-Moll – diesmal ein macher und Emanuel Feuermann gehörten. Er brachte Karajan Academy of the Berlin Philharmonic. He has won Largo-Satz – ist formal ähnlich strukturiert wie der drei große Kammermusikwerke Regers zur Uraufführung several awards including first prize in the Competition for Three Suites for Kopfsatz der ersten Suite. Noch weitaus stärker als dort und war außerdem Widmungsträger der Cellosonate a-Moll Young Talent in Rostock and the Johann Sebastian Bach erkundet Reger hier aber die Grenzen der Tonalität; auch op. 116. Hugo Becker (1863-1941), Lehrer u.a. von Beat- Competition in Leipzig. Ulrich Horn has performed as die mehrfache Anweisung »espressivo« und die differ- rice Harrison und Enrico Mainardi, erwarb sich auch als soloist with orchestras in Asia and Europe such as the Solo Cello, Op. 131c enzierte Dynamik, die von pp bis ff reicht (mit einem Exponent kammermusikalischer Novitäten große Neubrandenburg Philharmonic and the Leipzig Radio Ende in ppp), weist auf den expressiven Gestus der Verdienste; ihm hatte Reger schon 1898 seine Cellosonate Symphony for a live TV broadcast.
    [Show full text]
  • SWR2 Musikstunde
    SWR2 MANUSKRIPT SWR2 Musikstunde Das abenteuerliche Leben des Cellisten Gregor Piatigorsky (2) "Wo ist der Cello Kratzer?" Mit Susanne Herzog Sendung: 02. Mai 2018 Redaktion: Dr. Ulla Zierau Produktion: SWR 2018 Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Service: SWR2 Musikstunde können Sie auch als Live-Stream hören im SWR2 Webradio unter www.swr2.de Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2- Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de SWR2 Musikstunde mit Susanne Herzog 30. April – 04. Mai 2018 Das abenteuerliche Leben des Cellisten Gregor Piatigorsky (2) "Wo ist der Cello Kratzer?" Mit Susanne Herzog und der zweiten Folge zum Leben des Cellisten Gregor Piatigorsky. Herzlich Willkommen. Gregor Piatigorsky ist Solocellist am Bolschoi Theater, eine großartige Position. Doch Piatigorsky hat einen Traum: er will in Westeuropa bei berühmten Cellisten studieren. Eine Gelegenheit zur Flucht aus Russland ergibt sich, als das neue sowjetische Regime Piatigorsky auf Konzerttournee schickt: quer durchs Land zu den Arbeitern. Er ist unterwegs mit zwei Sängern, dem Konzertmeister des Bolschoi Theaters Mischa Mischakoff, einem Pianisten und einem Manager. Sie treten nach und nach in immer kleineren Orten auf und irgendwann spielen sie ganz nah an der polnischen Grenze. Das ist die Gelegenheit! Schmuggler schicken die Gruppe bei dunkler Nacht los.
    [Show full text]
  • Three Transcriptions for Viola and Piano
    Three Transcriptions for Viola and Piano Clara Mathilde Faisst (1872-1948) Adagio Consolante Clara Faisst was born in Karlsruhe in 1872. Her formal education took place in Karlsruhe and Berlin, where her composi- tion teachers included Max Bruch (1838-1920) and Woldemar Bargiel (1828-1897; step-brother of Clara Schumann). She studied piano with Ernst Rudorff (1840-1916; pupil of Clara Schumann). She earned a living in Karlsruhe by teaching, performing, and composing. Her circle of friends included some of the greatest musicians of that era, particularly Albert Schweitzer (1875-1965) with whom she corresponded. Adagio Consolante, opus 7 #1, originally for cello and piano, was published by Simrock in 1902. The composition is ro- mantic, and in spite of the time of publication, is not “salon-style.” The work has a finely crafted melodic line and her use of chromaticism is sophisticated. Numerous slur discrepancies are found when comparing the piano score and the separate cello part. Preference has been given to the markings in the separate cello part because they provide much more logical bow- ings. Performers can compare the markings in the viola transcription to the cello line in the score to see where these discrep- ancies occur. Other discrepancies that demand more detailed resolutions follow. All down-bow and up-bow markings and fingerings are editorial. ps = piano score cp = separate cello part. Measure Problem Solution 8 half note in cp, whole note in ps half note for bowing-ease 13 p in cp, not ps include 21 rit. in ps, not cp include 23 p in ps, not cp include 24 rit.
    [Show full text]
  • Performance Practices in Johannes Brahms's Chamber Music" by Clive Brown, Neal Peres Da Costa, and Kate Bennett Aw Dsworth Michael Musgrave the Juilliard School
    Performance Practice Review Volume 21 | Number 1 Article 1 "Performance Practices in Johannes Brahms's Chamber Music" by Clive Brown, Neal Peres da Costa, and Kate Bennett aW dsworth Michael Musgrave The Juilliard School Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Performance Commons, and the Music Practice Commons Musgrave, Michael (2016) ""Performance Practices in Johannes Brahms's Chamber Music" by Clive Brown, Neal Peres da Costa, and Kate Bennett aW dsworth," Performance Practice Review: Vol. 21: No. 1, Article 1. DOI: 10.5642/perfpr.201621.01.01 Available at: http://scholarship.claremont.edu/ppr/vol21/iss1/1 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. Brown, Clive, Neal Peres da Costa, Kate Bennett Wadsworth. Performance Practices in Johannes Brahms’s Chamber Music. Kassel, Basel, London, New York, Praha: Bärenreiter, 2015 [2nd printing 2016]. Michael Musgrave Serious modern discussion of Brahms performance practice has come from the extension of earlier historical performing practice studies into the Romantic period on the valid grounds that Brahms was himself a continuation of this tradition as performer as well as composer. Representative stages have been the recordings of Roger Norrington of the symphonies and German Requiem with the London Classical Players (1991-1996), Robert Pascall’s Playing Brahms: A Study in 19th-century Performance Practice (1991), which partly provided the scholarly background to these recordings, and the collected essays in Performing Brahms: Early Evidence of Performance Practice, (ed.
    [Show full text]
  • Brahms and Clara Schumann
    Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. BRAHMS AND CLARA SCHUMANN BY FERDINAND SCHUMANN.' 1894 7NTOVEMBER 9. Brahms arrived here to-day from Vienna, and is living with us. At dinner I saw him for the first time in a long while-a corpulent little gentleman, with a full beard beginning to turn gray. The very odd mustache is fiery red on one side and gray on the other. His voice is un- usually high and clear and sounds as if it were cracked.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 29,1909
    ACADEMY OF MUSIC . BROOKLYN Twenty-ninth Season, J909-I9J0 MAX FIEDLER, Conductor programme of % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, MARCH 25 AT 8.15 COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively PlSNO. THE JOHN CHURCH CO., 37 West 3 ad Street New York City » '-.— >* .- ?» . Boston Symphony Orchestra PERSONNEL Twenty-1tiinth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J Noack, S. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Goldstein, H. Goldstein, S Kurth, R. Werner, H. Violas. Fenr, E. Heindl, H. Rennert, B. Kolster, A. Zahn, F. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W Violoncellos. Warnke, H. Nagel, R. Barth, C. Belinski, M. Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, P Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones Tuba. Hess, M. Wendler, G. Kloepfel, L.
    [Show full text]
  • Progrt^AAE Established 1833
    PRoGRT^AAE Established 1833 WEBSTER • AND ATLAS NATIONAL BANK OF BOSTON Washington and Court Streets AMORY ELIOT. President RAYMOND B. COX. Vice-President JOSEPH L. FOSTER. Cashiar. ROBERT E. HILL, Asst. Cashier PRANK B. BUTTS. Asst. Cashier Capital $1,000,000 Surplus and Profits $1,500,000 Deposits $10,000,000 The well established position of this bank in the community, the character of its Board of Directors, and its reputation as a solid, conservative institution recommend it as a particularly desirable depository for ACCOUNTS of TRUSTEES, EXECUTORS, and INDIVIDUALS For commercial accounts it is known as A STRONG BANK OF DEPENDABLE SERVICE DIRECTORS CHARLES B. BARNES RAYMOND B. COX WALTER HUNNEWELL TOSEPH S. BIGELOW AMORY ELIOT HOMER B. RICHARDSON ROBERT A, BOIT JOHN W. FARWELL DUDLEY P. ROGERS THEODORE G. BREMER ROBERT H. GARDINBR THOMAS W. THACHER WILLIAM R. CORDTNGLEY EDWARD W. GREW WALTER TUFTS SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephones {\ TicketIicketOfnceOffice / p id iaq9 Administration ^^ Branch Exchange ( Offices ] THIRTY-SEVENTH SEASON. 1917-1918 Dr. KARL MUCK. Conductor eweml Aft^ WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, JANUARY 4 AT 2.30 O'CLOCK SATURDAY EVENING. JANUARY 5 AT 8.00 O'CLOCK COPYRIGHT, 1918, BY C.A.ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 641 FROM the very beginning of a musical education, nothing is so important as a correct appreciation of tone. Hence the child should receive its early impressions from a Steinv^ay Piano. The exquisite Steinway tone is recognized as ideal, and it has made this instrument world- famous. Superior craftsmanship builds the Steinway for lifetime usage, and all the strain of "prac- tice years" does not make its action uneven or lessen its sweet- ness and resonance of tone.
    [Show full text]
  • Viewed the Thesis/Dissertation in Its Final Electronic Format and Certify That It Is an Accurate Copy of the Document Reviewed and Approved by the Committee
    U UNIVERSITY OF CINCINNATI Date: I, , hereby submit this original work as part of the requirements for the degree of: in It is entitled: Student Signature: This work and its defense approved by: Committee Chair: Approval of the electronic document: I have reviewed the Thesis/Dissertation in its final electronic format and certify that it is an accurate copy of the document reviewed and approved by the committee. Committee Chair signature: A Pedagogical and Analytic Comparison of Auguste Franchomme’s Twelve Caprices, Op. 7 and Alfredo Piatti’s Twelve Caprices, Op. 25 A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS (D.M.A.) In the Performance Studies Division of the College-Conservatory of Music 2009 by Fang-Yi Shen BM, National Taiwan Normal University, 2001 MM, College-Conservatory of Cincinnati, 2004 Committee Chairs: Dr. David Carson Berry Dr. Jonathan Kregor Prof. Lee Fiser Abstract The etude has a long history in the cello repertoire, evidenced by the volume of pedagogical works in the form of etudes, exercises, studies, and concert etudes available today. The sets of 12 Caprices by Franchomme and Piatti are concert etudes which are studied and performed frequently today. Selected works of these two standard etude books have been examined and analyzed, with regard to technical issues and issues of musicality. This document focuses on the these two books, exploring the history of the cello techniques covered, explaining aspects of the music from a Schenkerian point of view, comparing the similarities and differences in technique and compositional style, and integrating aspects of performance and analysis.
    [Show full text]