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A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Schubert: the Nonsense Society Revisited
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Schubert: The Nonsense Society Revisited RITA STEBLIN Twenty years have now passed since I discovered materials belonging to the Unsinnsgesellschaft (Nonsense Society).1 This informal club, active in Vienna from April 1817 to December 1818, consisted mainly of young painters and poets with Schubert as one of its central members. In this essay I will review this discovery, my ensuing interpretations, and provide some new observations. In January 1994, at the start of a research project on Schubert ico- nography, I studied some illustrated documents at the Historisches Museum der Stadt Wien (now the Wienmuseum am Karlsplatz), titled “Unsinniaden.”2 The documents comprise forty-four watercolor pictures and thirty-seven pages of text recording two festive events celebrated by the Nonsense Society: the New Year’s Eve party at the end of 1817 and the group’s first birthday party on 18 April 1818.3 The pictures depict various club members, identified by their code names and dressed in fan- ciful costumes, as well as four group scenes for the first event, including Vivat es lebe Blasius Leks (Long live Blasius Leks; Figure 1), and two group scenes for the second event, including Feuergeister-Scene (Fire Spirit Scene; Figure 6 below).4 Because of the use of code names—and the misidentifi- cations written on the pictures by some previous owner of the -
Amadeus by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 the 411 Major Sponsor: 3 A/S/L & Vocab the Mary Ranken Jordan & Ettie A
2009—2010 SEASON AMADEUS by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 The 411 Major Sponsor: 3 A/S/L & Vocab The Mary Ranken Jordan & Ettie A. Jordan 4 FYI Charitable Foundation 5 HTH 6 F2F 9 B4U 12 IRL 13 RBTL 14 SWDYT? At The Rep, we know MIHYAP: Top Ten Ways to that life moves Stay Connected at The Rep fast—okay, really 10. TBA Ushers will seat your school or class as a group, fast. But we also so even if you are dying to mingle with the group from the know that some all girls school that just walked in the door, stick with your things are worth friends until you have been shown your section in the theatre. slowing down for. We believe that live theatre is one of those pit stops worth making and are excited that you 9. SITD The house lights will dim immediately before the performance begins and then go dark. Fight off that oh-so- are going to stop by for a show. To help you get the most immature urge to whisper, giggle like a grade schooler or yell bang for your buck, we have put together WU? @ THE at this time and during any other blackouts in the show. REP—an IM guide that will give you everything you need to know to get at the top of your theatergoing game—fast. 8. SED Before the performance begins, turn off all cell You’ll find character descriptions (A/S/L), a plot summary phones, pagers, beepers and watch alarms. -
Schubertiade Music & Arts
SCHUBERTIADE MUSIC & ARTS schubertiademusic.com | [email protected] | 617.308.4019 | Brooklyn, NY 2020 NEW YORK ANTIQUARIAN BOOK FAIR BOOTH A-4 Terms & Conditions ALL AUTOGRAPHS GUARANTEED AUTHENTIC Abbreviations: SP = Signed Photo. SPc = Signed Postcard Photo. ALS= Autograph Letter Signed. LS = Letter Signed. ANS = Autograph Note Signed. AQS = Autograph Quotation Signed. AMusQS = Autograph Musical Quotation Signed. DS = Document Signed. TMsS = Typed Manuscript Signed. Terms: Net cash upon receipt of material ordered. We accept payments in cash, money order, personal check, credit cards, and Paypal through our website. Please visit our web site for full terms. Phone and Email orders welcomed: www.schubertiademusic.com [email protected] phone: 617-308-4019 fax : 617-507-5568 Postage Rates: Up to $150: add $10.00 $151 to $400: add $12.00 $401 to $2000: add $20.00 $2001 and up: add $30.00 Overseas Charges: add $25.00 Additional Surchages will apply to Framed Items or Larger Printed Scores and Books. Please Inquire. Domestic Fedex, Express Mail, UPS Surcharge: Add $10.00 All shipping orders subject to review and final approval. Cover Image: Item 49 (Original Photograph of a Jug Band, c. 1900) Schubertiade Music & Arts 617-308-4019 [email protected] https://www.schubertiademusic.com New York Book Fair 2020 Catalog 1. [American Music] Gifford, Isaac. (1772-1843) Decorated Tenor Partbook from Early American Fa-Sol-La Tradition, dated 1797. Autograph musical manuscript, dated 1797, approx. 70 pp., handwritten in ink throughout, followed by additional blank leaves and containing nearly 50 songs in total (with titles such as "French tune", "London tune", "York tune", "Dundee tune", "Dublin tune", "Martyrs tune", "Aby tune", "Newton tune", St. -
Antonio Salieri Stefanie Attinger, Krüger & Ko
Aufnahme / Recording: World Premiere Recordings 28./29.1.07; 29./30.9.07; 28./29.10.07 Gesellschaftshaus Heidelberg, Pfaffengrund Toningenieur und Schnitt / Sound engineer and editing: Eckhard Steiger, Tonstudio van Geest, Sandhausen Musikalischer Berater und Einführungstext / Music consultant and critical editions: Timo Jouko Herrmann English Translation: Für weitere Informationen / For further information: Dr. Miguel Carazo & Association Mannheimer Mozartorchester - Tourneebüro Foto / Photo: Classic arts gmbh · Bergstr. 31 · D-69120 Heidelberg Rosa-Frank.com Tel.: +49-(0) 6221-40 40 16 · Fax: +49-(0) 6221-40 40 17 Grafik / Coverdesign: [email protected] · www.mannheimer-mozartorchester.de Antonio Salieri Stefanie Attinger, Krüger & Ko. Vol. 1 & 2007 hänssler CLASSIC, D-71087 Holzgerlingen Ouvertüren & Ballettmusik Mit freundlicher Unterstützung von Prof. Dr. Dietrich Götze, Heidelberg Overtures & Ballet music Außerdem erschienen / Also available: Felix Mendelssohn Bartholdy Symphony No. 1 C Minor op. 11 / String Symphony No. 8 (Version with winds) / String Symphony No. 13 (Symphonic Movement) Heidelberger Sinfoniker / Thomas Fey CD-No. 98.275 Felix Mendelssohn Bartholdy Symphony No. 4 „Italian“ / String Symphonies Nos. 7 & 12 Heidelberger Sinfoniker / Thomas Fey CD-No. 98.281 Eine große Auswahl von über 700 Klassik-CDs und DVDs finden Sie bei hänssler CLASSIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Downloadmöglichkeiten und Künstlerinformationen. Gerne können Sie auch unseren Gesamtkatalog anfordern Mannheimer Mozartorchester unter der Bestellnummer 955.410. E-Mail-Kontakt: [email protected] Thomas Fey Enjoy a huge selection of more than 700 classical CDs and DVDs from hänssler CLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. You may as well order our printed catalogue, order no.: 955.410. -
Young Persons' Guide to Music Composed in Salzburg
YOUNG PERSONS’ GUIDE TO MUSIC COMPOSED IN SALZBURG CONCERT OF SALZBURG PRE-COLLEGE STUDENTS 20 April 2017 19:30 Solitär of Mozarteum University Mirabellplatz 1 Program Heinrich Ignaz Franz Biber Passacaglia in G-minor from the Heinrich Ignaz Franz Biber Partita in G-minor (1644–1704) Mystery Sonatas for Violin solo (1676) (1644–1704) for two Violins and Basso continuo (1696) Theresa Giehl, Violin Intrada: Alla breve (Class: Brigitte Schmid) Aria: Adagio Balletto: Presto Gigue Cesar Bresgen Five Miniatures for Flute and Guitar (1979) Passacaglia: Adagio / Allegro / Adagio (1913–1988) Julia Klampfer, Flute Magdalena Waldauf, Violin (Class: Britta Bauer) (Class: Klara Flieder) Gyöngyi Bartha, Guitar Laura-Maria Waldauf, Violin (Class: Maria Isabel Siewers de Pazur) (Class: Esther Hoppe) Hanna Giehl, Violoncello (Class: Barbara Lübke) Wolfgang Amadé Mozart Rondo in D-major Lukas Moser, Harpsichord (1756–1791) for Flute and Orchestra KV Anh. 184 (1781) Fabian Egger, Flute (Class: Britta Bauer) Florian Podgoreanu, Piano Wolfgang Amadé Mozart Allegro from the Violin Concerto (1756–1791) in D-major KV 218 (1775) Yohei Shimizu, Violin Wolfgang Amadé Mozart Allegretto grazioso from Rondo in C-major (Class: Wonji Kim) (1756–1791) for Violin and Orchestra KV 373 (1781) Irma Kliauzaite, Piano Lilli Schneider, Violin (Class: Wonji Kim) Patrick Leung, Piano GCC – Guided Collective Composition* – first release (2017) Composition project of all young students of the composition classes Anton Diabelli Second Menuett from Serenade in the Pre-College Salzburg, -
Antonio Salieri's Revenge
Antonio Salieri’s Revenge newyorker.com/magazine/2019/06/03/antonio-salieris-revenge By Alex Ross 1/13 Many composers are megalomaniacs or misanthropes. Salieri was neither. Illustration by Agostino Iacurci On a chilly, wet day in late November, I visited the Central Cemetery, in Vienna, where 2/13 several of the most familiar figures in musical history lie buried. In a musicians’ grove at the heart of the complex, Beethoven, Schubert, and Brahms rest in close proximity, with a monument to Mozart standing nearby. According to statistics compiled by the Web site Bachtrack, works by those four gentlemen appear in roughly a third of concerts presented around the world in a typical year. Beethoven, whose two-hundred-and-fiftieth birthday arrives next year, will supply a fifth of Carnegie Hall’s 2019-20 season. When I entered the cemetery, I turned left, disregarding Beethoven and company. Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place. Salieri is one of history’s all-time losers—a bystander run over by a Mack truck of malicious gossip. -
Framing a Critical, Interdisciplinary Approach to Film: Teaching Amadeus
Framing a Critical, Interdisciplinary Approach to Film: Teaching Amadeus Nancy Rachel November, University of Auckland Brenda Allen, University of Auckland ow might I interpret the film Amadeus as a Mozart reception doc- ument of the 1980s?” “What does ‘authenticity’ mean in relation to that film’s soundtrack and screenplay?” “How is Salieri char- “Hacterized in the film, and why?” These are the sorts of questions one might wish that students would formulate when considering the popular music biopic (biographical film) Amadeus in relation to music history. The reality can be quite different. Surveys of second year Music History students at the University of Auckland in 2012-2014 show that they tend to view music history as estab- lished fact, and have great difficulty posing complex critical questions and constructing critical, evidence-based arguments. Most writers on the subject of historical literacy agree that the ability to read, write and think critically about a range of media is an especially valuable skill. These abilities not only serve stu- dents’ immediate studies within historical disciplines, but also enable graduates “to negotiate and create the complex texts of the Information Age.”1 This is espe- cially true of music history: one can draw on a broad range of sonic, visual and digital media to answer the increasingly varied questions that music historians address. But how is one to help students prepare for the interdisciplinary skills, attitudes and understandings this requires? How do we best equip students to analyze and read critically the films, YouTube clips, cartoons and diverse other source material they might want and need to study? One useful way to address such questions is for music history teachers to bring co-teachers from other disciplines in to a given music history course: a cartoon historian, for example, or a teacher from film studies, as befits the sub- ject matter. -
Balman 1 Forrest Balman Dr. Ellison MUS 551 March 28Th, 2019 Franz
Balman 1 Forrest Balman Dr. Ellison MUS 551 March 28th, 2019 Franz Schubert Arguably the composer who produced the largest quantity of work in proportion to his lifespan, Franz Schubert served an integral role in the history of Western music. According to Christopher H. Gibbs, author of The Cambridge Companion to Schubert, Schubert composed more than 1,500 works over the course of his short lifespan. Schubert’s principal focus was the composition of lieder, or German art songs, which comprised more than one third of his total catalog (Gibbs 21). Schubert’s songwriting epitomizes his importance as a transitional composer, whose compositional idioms projected what would become the musical norm well into the late 19th century. Despite never achieving the international acclaim of some of the other Austrian-born composers, such as Mozart and Haydn, Schubert was an idolic cultural figure in his community. According to Gibbs in an article titled The Life of Schubert, “During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as Schubertiads” (Gibbs 61). Although his music wouldn’t become a universally accepted part of the Western repertoire until after his death, Schubert’s musical contributions comment on his innovation and untamed creativity. Franz Peter Schubert was born in Vienna on January 31, 1797. His father, Franz Theodor Florian Schubert, was a Viennese schoolmaster, and his mother, Maria Elizabeth Katharina Vietz was a housemaid. Schubert demonstrated an innate talent for music early in his life. The first Balman 2 music instruction Schubert received were informal keyboard lessons from his elder brother, Ignaz Schubert. -
Franz Schubert Eine Sendereihe Von Christine Lemke-Matwey
Sonntag, 18. Juli 2021 15.03 – 17.00 Uhr Franz Schubert Eine Sendereihe von Christine Lemke-Matwey Glauben ohne Pfaffen: Schuberts Verhältnis zur Kirche (3/21) „Ave Maria! Jungfrau mild, Erhöre einer Jungfrau Flehen, Aus diesem Felsen starr und wild Soll mein Gebet zu dir hinwehen. Wir schlafen sicher bis zum Morgen, Ob Menschen noch so grausam sind. O Jungfrau, sieh der Jungfrau Sorgen, O Mutter, hör ein bittend Kind!“ … mit diesen Versen des schottischen Dichters Walter Scott, in deutscher Übersetzung, begrüße ich Sie zu dieser Sendung. Eine Höhle, Vater und Tochter darin, ein feindlicher König davor, das ist hier die romantische Situation. Ellen, das Mädchen, die Tochter, bittet um Schutz für die Nacht, sie betet zur Jungfrau Maria. Schubert vertont das 1825, neben sechs anderen Gedichten von Scott, und mit diesem hier, Ellens drittem Gesang, gelingt ihm ein absoluter Hit. Hochzeiten, Beerdigungen: Bis heute ist dieses Lied nicht nur aus der Kirche nicht mehr wegzudenken, sondern auch aus unseren Fußgängerzonen und Wunschkonzer- ten nicht. Gesungen, gepfiffen, auf der Säge gesägt oder auf der Quetschkommode gespielt: diese Musik ist unverwüstlich. Und bleibt doch im Kern ein Gebet. „Glauben ohne Pfaffen: Schuberts Verhältnis zur Kirche“ - das soll heute mein Thema sein. 1 TELDEC CLASSICS Franz Schubert 6‘15 LC 06019 „Ellens Gesang III“ (Ave Maria) D 839 4509-90873-2 Barbara Bonney, Sopran Tr. 1 Geoffrey Parssons, Klavier (1994) Barbara Bonney und Geoffrey Parssons, mit „Ellens Gesang III“, besser bekannt als Schuberts „Ave Maria“. Ein symptomatisches Stück für Schuberts Begriff vom Glauben und von Reli- giosität. Warum? Weil sich hier alles mit allem verschränkt, das Geistliche mit dem Weltli- chen, das Romantische mit dem Andächtigen, Religion und Ästhetik, Funktion und Kunstan- spruch. -
Ludwig Van Beethoven Eine Sendereihe Von Eleonore Büning
Sonntag, 18. Oktober 2020 15.04 – 17.00 Uhr Ludwig van Beethoven Eine Sendereihe von Eleonore Büning 42. Folge: „Musik über Musik“ Willkommen, ich grüße Sie. „Musik über Musik“ – so heißt diese Folge. Das dürfen Sie wörtlich nehmen! Heute hören Sie hier nämlich nur erstklassige „Second- Hand“-Musik. „Musik über Musik“, das besagt: Ein Komponist schreibt ein Stück, indem er sich ein anderes, schon vorhandenes Stück ausborgt und es verändert, sich aneignet, es verdaut und etwas Neues daraus macht. Vergleichbares gibt es natürlich auch in der Literatur und der bildenden Kunst: Es gibt Romane über Romane, Bilder über Bilder. Doch das ist jeweils wohl eher die Ausnahme. „Musik über Musik“ dagegen umfasst eine Fülle von allen möglichen Formaten: Arrangements, Parodien, Improvisationen, Transkriptionen, Paraphrasen, Fantasien, Kontrafakturen und Variationen. Typisch für die flüchtige Luftkunst Musik, dass sie sich in diesem schöpferischen Zwischen-reich so stark hat verankern können! Hier, zum Auftakt, ein berühmtes Beispiel: Opus 111 1) Ludwig van Beethoven: Diabelli-Variationen op.120 0:45 OP 30384 Daraus: Variation Nr.22 Kein LC Grigori Sokolov (Klavier) Track <22> 1985/2000 „Notte e giorno faticar“/ „Keine Ruh bei Tag und Nacht…“. Grigori Sokolov spielte ein Klavierstück von Beethoven über eine Arie von Mozart UND über einen Walzer von Diabelli. Es handelt sich hier um eine Doppelvariation, einen verschärften Fall von „Second-Hand“-Musik. Erstens verarbeitet Beethoven hier die Auftrittsarie von Leporello aus „Don Giovanni“ (aus einer Oper, deren Sujet er angeblich unmoralisch fand). Zweitens verarbeitet Beethoven ein Walzerthema (das ihm, als ein billiges „Thema mit Schusterfleck“ angeblich ebenfalls nicht gefiel). Dieses Thema hatte der Wiener Musikverleger Anton Diabelli im Jahr 1819 an alle möglichen Komponisten verschickt, mit der Bitte, ihm dazu je eine Variation zu schreiben. -
Winterreise.Pdf
FRANZ SCHUBERT WinterPOETRY OF" WILHELM Journey MÜLLER " 1. GUTE NACHT 13. DIE POST 2. DIE WETTERFAHNE 14. DER GREISE KOPF SCHUBERT 3. GEFROR’NE TRÄNEN 15. DIE KRÄHE 4. ERSTARRUNG 16. LETZTE HOFFNUNG 5. DER LINDENBAUM 17. IM DORFE 6. WASSERFLUT 18. DER STÜRMISCHE MORGEN 7. AUF DEM FLUSSE 19. TÄUSCHUNG RANDALL SCARLATA 8. RÜCKBLICK 20. DER WEGWEISER GILBERT KALISH 9. IRRLICHT 21. DAS WIRTSHAUS 10. RAST 22. MUT 11. FRÜHLINGSTRAUM 23. DIE NEBENSONNEN 12. EINSAMKEIT " 24. DER LEIERMANN RANDALL SCARLATA | BARITONE GILBERT KALISH | PIANO BRIDGE 9494 FRANZ SCHUBERT POETRY OF" WILHELM MÜLLER 1. GUTE NACHT 13. DIE POST 2. DIE WETTERFAHNE 14. DER GREISE KOPF Recorded January 10-12, 2015 in Madeline Wing Adler Theater 3. GEFROR’NE TRÄNEN 15. DIE KRÄHE at West Chester University 4. ERSTARRUNG 16. LETZTE HOFFNUNG Adam Abeshouse, recording engineer 5. DER LINDENBAUM 17. IM DORFE 6. WASSERFLUT 18. DER STÜRMISCHE MORGEN Photo of Mr. Scarlata and Mr. Kalish: Tristan Cook 7. AUF DEM FLUSSE 19. TÄUSCHUNG CD Art: Molly Graver 8. RÜCKBLICK 20. DER WEGWEISER This recording was made possible by a grant from 9. 21. IRRLICHT DAS WIRTSHAUS West Chester University’s Faculty Development Fund. 10. RAST 22. MUT 11. FRÜHLINGSTRAUM 23. DIE NEBENSONNEN 12. EINSAMKEIT " 24. DER LEIERMANN RANDALL SCARLATA | BARITONE GILBERT KALISH | PIANO " Standing alone in Schubert’sWinter tiny “Death Journey Apartment” in Vienna, it is not hard to " imagine the last days of the composer’s life. Suffering with the later stages of Syphilis, Schubert’s doctor recommended he move in with his brother Ferdinand, where his “Lieder sang ich nun lange, lange Jahre.