Robert Und Clara Schumann in Weimar
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Recasting Gender
RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Shelley Smith August, 2009 RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN Shelley Smith Thesis Approved: Accepted: _________________________________ _________________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. James Lynn _________________________________ _________________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _________________________________ _________________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. THE SHAPING OF A FEMINIST VERNACULAR AND ITS APPLICATION TO 19TH-CENTURY MUSIC ..............................................1 Introduction ..............................................................................................................1 The Evolution of Feminism .....................................................................................3 19th-Century Gender Ideologies and Their Encoding in Music ...............................................................................................................8 Soundings of Sex ...................................................................................................19 II. ROBERT & CLARA SCHUMANN: EMBRACING AND DEFYING TRADITION -
Handlungsspielräume Von Frauen in Weimar-Jena Um 1800. Sophie Mereau, Johanna Schopenhauer, Henriette Von Egloffstein
Handlungsspielräume von Frauen in Weimar-Jena um 1800. Sophie Mereau, Johanna Schopenhauer, Henriette von Egloffstein Dissertation zur Erlangung des akademischen Grades Doctor philosophiae (Dr. phil.) vorgelegt dem Rat der Philosophischen Fakultät der Friedrich-Schiller-Universität Jena von Julia Frindte geboren am 15. Juni 1976 in Erfurt Gutachter 1. Prof . Dr. Siegrid Westphal 2. Prof. Dr. Georg Schmidt 3. ....................................................................... Tag des Kolloquiums: 12.12.2005 Inhalt 1. EINLEITUNG ......................................................................................................... 1 1.1 FRAGESTELLUNG................................................................................................. 3 1.2 UNTERSUCHUNGSGEGENSTAND .......................................................................... 6 1.3 FORSCHUNGSSTAND ............................................................................................10 1.4 QUELLENGRUNDLAGE .........................................................................................17 1.5 VORGEHENSWEISE...............................................................................................25 2. DAS KONZEPT ‚HANDLUNGSSPIELRAUM’...........................................................28 2.1 HANDLUNGSSPIELRAUM IN ALLTAGSSPRACHE UND FORSCHUNG .......................29 2.2 DAS KONZEPT ‚HANDLUNGSSPIELRAUM’ ...........................................................38 2.2.1 Begriffsverwendung............................................................................38 -
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. -
A Study of Ludwig Van Beethoven's Piano Sonata Op. 111
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Fall 11-4-2011 A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU Ji Hyun Kim [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Kim, Ji Hyun, "A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU" (2011). Research Papers. Paper 174. http://opensiuc.lib.siu.edu/gs_rp/174 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU by JI HYUN KIM B.M., CHUNG- ANG University, 2006 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale November 2011 RESEARCH PAPER APPROVAL A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU By JI HYUN KIM A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Piano Performance Approved by: Dr. Junghwa Lee, Chair Dr. Eric Mandat Dr. -
Clara Schumann at 200 -Study Days
Clara Schumann at 200 -Study Days- 4-5 Oct. 2019 School of Music, University of Ottawa Perez Hall, CreatorSpace Friday, Oct. 4 Saturday, Oct. 5 9:30–10:45. Workshop 1: Clara Schumann’s 9:30–10:45. Workshop 6: Schumann’s “Ihr Bild” Textural Tapestries in David Lewin’s Musical Imagination Julie Pedneault-Deslauriers (University of Nathan Martin (University of Michigan) Ottawa) Coffee break (10:45–11:00) Coffee break (10:45–11:00) 11:00–12:15. Workshop 2: Clara (and Robert) in 11:00–12:15. Workshop 7: Managing the Art of London: Views from Within and Without Listening: Clara Wieck Schumann’s Designing of Julie Hedges Brown (Northern Arizona Concert Programs University) Janina Klassen (Hochschule für Musik Freiburg) Lunch (12h15–13h30) Lunch (12:15–13:30) 13:30–14:45. Workshop 3: Expressive 13:30–14:45. Workshop 8: Clara Schumann’s Declamation in Clara Schumann’s Lieder Nightingales Harald Krebs (University of Victoria) Sharon Krebs, soprano Coffee break (14:45 – 15:00) Coffee break (14:45 – 15:00) 15:00–16:15. Workshop 4: Clara Schumann's 15:00–16:15. Workshop 9: Musical and Poetic 1840s Compositions and her Midcentury Persona Closure in Clara Schumann’s Lieder Alexander Stefaniak (Washington University in Stephen Rodgers (University of Oregon) St. Louis) Coffee break (16:15 – 16:30) 16:15 – 16:30: Closing remarks 16:30–17:45. Workshop 5: Clara Schumann and the Poetry of Emanuel Geibel Susan Youens (University of Notre-Dame) Info: [email protected] Clara Schumann’s Textural Tapestries Julie Pedneault-Deslauriers (University of Ottawa) Building on my past scholarship on Clara Schumann’s use of descending basslines as a means of formal organization, I turn in my workshop to her ascending basslines as a lens into some of her recurrent harmonic techniques and their kaleidoscopic textural arrangements. -
Clara Wieck Schumann
Volume 7, Issue 2 The Kapralova Society Journal Fall 2009 A Journal of Women in Music Clara Schumann: A Composer’s Wife as Composer Eugene Gates In an age when musical talent in a as little as I spoke. But I had female was seldom developed beyond the always been accustomed to level of an accomplishment--a means of en- hear a great deal of piano hancing her matrimonial prospects--Clara playing and my ear became Schumann, née Wieck, received an envi- more sensitive to musical able musical education, and enjoyed a bril- sounds than to those of liant performing career that kept her before speech.2 the public for more than half a century. Best remembered today as one of the foremost Clara inherited her prodigious musical pianists of the nineteenth century, and as the gifts from both parents. Friedrich Wieck devoted wife and musical helpmate of Rob- (1785-1873), though largely self-educated in ert Schumann, Clara Schumann was also music (he held a degree in theology), was a highly respected during her lifetime as a shrewd businessman and a remarkable composer1--a fact rarely mentioned in music teacher of piano and singing. Obsessed with history textbooks. This article examines her a burning ambition to acquire musical distinc- Special points of interest: life and works, and the forces that impeded tion, he was also an opportunist who ex- her progress as a musical creator. ploited the talents of his immediate family to The details of Clara Wieck's early enhance his reputation as a teacher.3 years are preserved in a diary which Clara's mother, Marianne Tromlitz Clara Schumann Friedrich Wieck, her father-teacher- Wieck (1797-1872), was an uncommonly tal- Jennifer Higdon manager, began for her when she was ented singer and pianist. -
Formal and Harmonic Considerations in Clara Schumann's Drei Romanzen, Op. 21, No. 1
FORMAL AND HARMONIC CONSIDERATIONS IN CLARA SCHUMANN'S DREI ROMANZEN, OP. 21, NO. 1 Katie Lakner A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2015 Committee: Gregory Decker, Advisor Gene Trantham © 2015 Katie Lakner All Rights Reserved iii ABSTRACT Gregory Decker, Advisor As one of her most mature works, Clara Schumann’s Drei Romanzen, op. 21, no. 1, composed in 1855, simultaneously encapsulates her musical preferences after half a lifetime of extensive musical study and reflects the strictures applied to “women’s music” at the time. During the Common Practice Period, music critics would deride music by women that sounded too “masculine” or at least not “feminine” enough. Women could not write more progressive music without risking a backlash from the music critics. However, Schumann’s music also had to earn the respect of her more progressive fellow composers. In this piece, she achieved that balance by employing a very Classical formal structure and a distinctly Romantic, if somewhat restrained, harmonic language. Her true artistic and compositional talents shine forth despite, and perhaps even due to, the limits in which her music had to reside. iv Dedicated to Dennis and Janet Lakner. v ACKNOWLEDGMENTS Thanks the Gregory Decker and Gene Trantham for their incredible patience and guidance throughout the writing of this paper. Thanks to Dennis and Janet Lakner and Debra Unterreiner for their constant encouragement and mental and emotional support. Finally, special thanks to the baristas at the Barnes and Noble café in Fenton, MO, for providing the copious amounts of caffeine necessary for the completion of this paper. -
Understanding Music Nineteenth-Century Music and Romanticism
N ineteenth-Century Music and Romanticism 6Jeff Kluball and Elizabeth Kramer 6.1 OBJECTIVES 1. Demonstrate knowledge of historical and cultural contexts of nineteenth- century music, including musical Romanticism and nationalism 2. Aurally identify selected genres of nineteenth century music and their associated expressive aims, uses, and styles 3. Aurally identify the music of selected composers of nineteenth century music and their associated styles 4. Explain ways in which music and other cultural forms interact in nineteenth century music in genres such as the art song, program music, opera, and musical nationalism 6.2 KEY TERMS AND INDIVIDUALS • 1848 revolutions • Exoticism • Antonín Dvořák • Fanny Mendelssohn Hensel • art song • Felix Mendelssohn-Bartholdy • Augmented second • Francisco de Goya • Bedřich Smetana • Franz Liszt • Beethoven • Franz Schubert • Caspar David Friedrich • Fryderyk Chopin • chamber music • Giuseppe Verdi • chromaticism • idée fixe • concerto • Johann Wolfgang von Goethe • conductor • John Philip Sousa • drone • leitmotiv • Eugène Delacroix • lied Page | 160 UNDERSTANDING MUSIC NINETEENTH-CENTURY MUSIC AND ROMANTICISM • Louis Moreau Gottschalk • soirée • Mary Shelley • sonata • mazurka • sonata form (exposition, • nationalism development, recapitulation) • opera • song cycle • program symphony • string quartet • Pyotr Tchaikovsky • strophic • Richard Wagner • symphonic poem • Robert and Clara Schumann • Symphony • Romanticism • ternary form • rubato • through-composed • salon • V.E.R.D.I. • scena ad aria (recitative, • William Wordsworth cantabile, cabaletta) 6.3 INTRODUCTION AND HISTORICAL CONTEXT This chapter considers music of the nineteenth century, a period often called the “Romantic era” in music. Romanticism might be defined as a cultural move- ment stressing emotion, imagination, and individuality. It started in literature around 1800 and then spread to art and music. -
Cadenzas Written for the First Movement Of
Abstract This thesis is an analytical study of various cadenzas written for the first movement of Mozart’s Piano Concerto No.20 in D minor, K.466. As one of the six of his own concertos for which Mozart did not provide an original cadenza, the D minor concerto poses an important challenge to the performer: should she compose or improvise her own cadenza, or should she select one written by someone else? Many composer/pianists active during the nineteenth and twentieth centuries penned cadenzas to this concerto for their own use, and this thesis explores those by August Eberhard Müller, Emanuel Aloys Förster, Ludwig van Beethoven, Johann Nepomuk Hummel, Charles-Valentin Alkan, Clara Schumann, Johannes Brahms, Ferruccio Busoni, Bedrich Smetana and Paul Badura-Skoda. In addition to these written-out cadenzas, it also discusses improvised cadenzas in the recordings by Robert Levin and Chick Corea. Each composer/pianist’s unique compositional style is illuminated through the study of each cadenza, and consideration of these styles allows multiple views on a single concerto. A discussion of the meaning and history of cadenzas precedes the analytical study, and in conclusion, the author contributes her own cadenza. Acknowledgments Dr. Karim Al-Zand, for your guidance and wonderful insight during my research. Dr. Jon Kimura Parker, for being the endless source of my inspiration, in every way. Dr. Robert Roux and Dr. Richard Lavenda for your continuous support throughout my five years of study at Rice University. And my deepest love and gratitude to my parents, for always believing in me. Table of Contents Abstract Acknowledgements Introduction.......................................................................................................1 I. -
Sachstandsbericht Verkehrsprojekte Deutsche Einheit – Stand: Juni 2014
Sachstandsbericht Verkehrsprojekte Deutsche Einheit (Stand: Juni 2014) - 2 - 1 Überblick 1.1 Gesamtüberblick Auf der Grundlage von Vorarbeiten der deutsch-deutschen Verkehrswegekommission 1990 und auf der Basis ergänzender Voruntersuchungen hatte die Bundesregierung am 9. April 1991 die Verkehrsprojekte Deutsche Einheit (VDE) und deren vordringliche Durchführung beschlos- sen. Dieses Investitionsprogramm mit einem aktuellen Volumen von rund 39,7 Mrd. € umfasst neun Schienen- und sieben Autobahnprojekte sowie ein Wasserstraßenprojekt. Nach vertieften Pro- jektuntersuchungen hatten sich für alle VDE günstige Nutzen-Kosten-Verhältnisse ergeben, so dass die Bundesregierung 1992 im Rahmen der Bundesverkehrswegeplanung die Notwendig- keit und Priorität dieser Projekte nachdrücklich bestätigen konnte. Nunmehr galt es, die VDE rasch zu verwirklichen, da diesen Projekten beim Aufbau der Verkehrsinfrastruktur in den neuen Ländern und bei der Wiederherstellung leistungsfähiger Verkehrswege zwischen Ost und West eine Schlüsselfunktion zukam und auch noch immer zukommt. Deutschland ist seit Öffnung des europäischen Binnenmarktes bereits Transitland Nr. 1. Durch die Öffnung der Grenzen nach Osteuropa ist zudem eine rasante Verkehrsentwicklung eingetre- ten, die vor allem auf dem vorhandenen Autobahnnetz in den neuen Ländern nicht mehr bewäl- tigt werden konnte. Die bisherigen Nord-Süd-Verkehrsströme wurden überlagert durch neue Verkehre in Ost-West-Richtung. Aus dieser Situation heraus leitete sich nicht nur die Rechtfertigung, sondern auch die Notwen- digkeit ab, dass Bund und Länder im gesamtstaatlichen Interesse alle Möglichkeiten genutzt haben und auch noch nutzen, um die erforderlichen Voraussetzungen für die rasche Verwirkli- chung der VDE zu schaffen. In die VDE wurden im Zeitraum von 1991 bis Ende 2013 rd. 34 Mrd. € investiert. Davon ent- fallen auf die Schienenprojekte: rd. 16,9 Mrd. -
Schumann & Beethoven
Schumann & Beethoven Friday, Feb. 23 10:30am Johannes Brahms, German Composer (1833-1897) Famously named one of the 3 B’s of classical music, among greats like Bach and Beethoven, Brahms was an innovative, though self-conscious composer. Many of his compositions came from partnerships with performers he was impressed by. His repertoire is especially important for violin and clarinet players. Variations on a Theme by Haydn Composed 1873 Duration is 18 minutes Famously referred to as the “St. Anthony Variations,” this piece states a theme written by composer Joseph Haydn, followed by eight variations on that theme. REPERTOIRE There is a controversy surrounding the theme itself. Though titled “Theme By Haydn,” historians argue whether Haydn was actually the author of the theme, or if a BRAHMS publisher attached his name to the piece in order to sell more copies. Brahms was Variations on a introduced to this theme from a friend who Theme by Haydn was writing a biography of Haydn, and had uncovered a piece titled Divertimento no. 1, with BEETHOVEN a movement titled “St. Anthony Chorale,” from Symphony No. 4 which Brahms extracts his theme. This piece is said to be the first theme and SCHUMANN variations written for full orchestra. Usually reserved for solo players, a theme and variation Piano Concerto in showcases technical power as the variations Joseph Haydn A Minor grow more and more virtuosic. Ludwig Van Beethoven, German Composer (1770-1827) You know him, I know him, we all know him! Beethoven’s legacy in classical music has become a symbol of triumph in the face of adversity. -
Nachrichten Der Deutschen Liszt-Gesellschaft N° 12 / 2008
Liszt-Nachrichten Nachrichten der Deutschen Liszt-Gesellschaft N° 12 / 2008 Liszts erster Besuch in Weimar Eduard Hanslick versus Franz Liszt Robert und Clara Schumann und Franz Liszt Franz Liszt auf Nonnenwerth Editorial Inhalt Liebe Leser, unerwartet ist aus der diesjährigen Frühjahrsaugabe der Liszt-Nachrichten eher einer Frühsommer-Ausgabe ge- worden, wir bitten unsere Leser um Nachsicht. Dafür bietet Ihnen diese Ausgabe aber auch wieder Be- sonderes: Evelyn Liepschs Beitrag über Franz Liszts ers- ten Besuch in Weimar im Jahr 1840, der nicht nur von den Weimarern damals nahezu unbemerkt verlief, son- dern auch von der Forschung lange unentdeckt blieb. Außerdem wollen wir Ihnen zwei Bücher vorstellen, die sich zum einen mit dem Verhältnis Liszts zum Kritiker- papst des 19. Jahrhunderts Eduard Hanslick (Markus Gärtner), zum anderen zu Robert und Clara Schumann (Wolfgang Seibold) befassen. Dann stellen wir Ihnen ein Radio-Feature vor, das der Autor Lutz Neitzert für den SWR geschrieben hat und das sich klug und humorvoll mit Liszts Besuchen auf der Rheininsel Nonnenwerth auseinandersetzt. Interessierte können das Feature über die Redaktion erhalten (Dank an Herrn Neitzert!). Auch für die kommende Ausgabe, die wie stets im Herbst erscheint, hat sich in der Redaktion schon manches an- gesammelt und eingefunden. In ihrem Zentrum werden aber sicherlich die Berichte über die Reise stehen, die die Deutsche Liszt-Gesellschaft in diesem Jahr nach Raiding und Sopron führt. Auf Einladung der dortigen Liszt- gesellschaften und unter sachkundiger Führung wer- Evelyn Liepsch: den die dortigen Gedenkstätten und Veranstaltungsorte Liszts erster Besuch in Weimar – unbemerkt besucht. Interessante Begegnungen und musikalische und unspektakulär Seite 3 Genüsse sind schon jetzt zu erwarten.