DOCSLIB.ORG

Salvaging the Style of Frei Aber Einsam in the Music of Brahms

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Salvaging the Style of Frei Aber Einsam in the Music of Brahms Graduate Theses, Dissertations, and Problem Reports 2018 Salvaging the Style of Frei Aber Einsam in the music of Brahms: Proposing a Historically Informed Performance Practice for the Three Sonatas for Violin and Piano of Johannes Brahms, Opp. 78, 100, and 108 Phillip Alexander Ducreay Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Ducreay, Phillip Alexander, "Salvaging the Style of Frei Aber Einsam in the music of Brahms: Proposing a Historically Informed Performance Practice for the Three Sonatas for Violin and Piano of Johannes Brahms, Opp. 78, 100, and 108" (2018). Graduate Theses, Dissertations, and Problem Reports. 7494. https://researchrepository.wvu.edu/etd/7494 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Salvaging the Style of Frei Aber Einsam in the music of Brahms: Proposing a Historically Informed Performance Practice for the Three Sonatas for Violin and Piano of Johannes Brahms, Opp. 78, 100, and 108 Phillip Alexander Ducreay Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Musicology Evan A. MacCarthy, Ph.D., Chair Travis Stimeling, Ph.D. Andrew Kohn, Ph.D. School of Music Morgantown, West Virginia 2018 Keywords: Brahms, Joachim, Historically Informed Performance, Performance Practice, Early Music, and Violin. Copyright 2018 Phillip Alexander Ducreay ABSTRACT Salvaging the Style of Frei Aber Einsam in the music of Brahms: Proposing a Historically Informed Performance Practice for the Three Sonatas for Violin and Piano of Johannes Brahms, Opp. 78, 100, and 108 Phillip Alexander Ducreay This thesis explores scholarship relevant to assembling a historically informed performance practice of Brahms’s three Violin Sonatas, Opp. 78, 100, and 108 in the nineteenth- century Germanic violin tradition of which, Joseph Joachim was its greatest proponent. This inquiry, which primarily examines surviving evidence of Joachim, his pedagogical ilk, and the circle of Brahms, engages with a variety of 19th and early 20th century Germanic musical and textual evidence, including nineteenth-century musical editions, correspondence and other archival materials, and early recorded performances to propose a historically informed style. In presenting this historiography of materials relevant to forming a historically informed interpretation of these sonatas as well as presenting lacunae in the field, the value of this endeavor becomes evident. Ducreay iii Table of Contents INTRODUCTION...........................................................................................................................1 CHAPTER 1: In search of “Frei aber einsam”: Joseph Joachim as Brahms’s Violinist………...26 CHAPTER 2: Historical Editions and Annotations as Performing Evidence….………………. 50 CHAPTER 3: Recording as Evidence: Capturing the sound of “Frei Aber Einsam”……...........76 CHAPTER 4: Moving Past “Frei Aber Einsam”: New Paths for the Violin Sonatas of Brahms………………………………………………...………………………………………..106 BIBLIOGRAPHY………………………………………………………………………………131 Ducreay 1 Salvaging the Style of Frei Aber Einsam in the music of Brahms: Proposing a Historically Informed Performance Practice for the Three Sonatas for Violin and Piano of Johannes Brahms, Opp. 78, 100, and 108 Phillip Alexander Ducreay This thesis explores available scholarship on forming a historically informed performance practice through the examination of a variety of 19th and early 20th century Germanic musical and textual evidence, including nineteenth-century musical editions, correspondence and other archival materials, and early recorded performances. This inquiry will present both, a historiography of 19th German violin performance practice with an emphasis on the surviving performance evidence of the violinist Joseph Joachim, and several examples of the application of such evidence and scholarship to developing a historically informed performance practice of the Brahms sonatas for Violin and Piano, Opp. 78, 100, and 108. Through a discussion of existing methodologies for developing a historically informed performance derived from such evidence and scholarship, several new directions for its applications will be presented. As the title of this work suggests, Salvaging the Style of Frei Aber Einsam in the music of Brahms: Proposing a Historically Informed Performance Practice for the Three Sonatas for Violin and Piano of Johannes Brahms, Opp. 78, 100, and 108, a large part of this paper is dedicated to navigating the evidence and scholarship dedicated to Joseph Joachim. The personal motto of Joseph Joachim Frei Aber Einsam or Free but Lonely, served as a nexus between Joachim, Brahms, Robert Schumann, and Albert Dietrich throughout their friendship. While the musical cryptogram F.A.E and its inversions were used as cipher and symbol between the men, especially in the F.A.E. Scherzo composed for Joachim in 1853 by Dietrich, Schumann, and Brahms, the motto is inextricably linked with the aesthetic of Joachim. For the purposes of this historiography, the Ducreay 2 motto serves to represent Joachim the artist and his dedication to the ascetic life of a performing musician.1 The body of scholarship in the field of Romantic-era performance practice by Clive Brown, Robin Stowell, David Milsom, Michael Musgrave, and others will provide foundational material upon which I explore existing methodologies for engaging with primary sources such as letters, essays, performance reviews, and editions.2 Each chapter concerns a specific area of scholarship related to the investigating of historically informed interpretation of these sonatas. These chapters will then serve as a venue for comparisons between established theories on interpreting Brahms's music and the suggestion of new directions for the practical application of this scholarship from studies of both primary and secondary sources. It is only through a combination of these different but related research fields that I will be able to suggest several ways to use such scholarship to develop a more complete picture of the scholarship necessary to achieve a synthesized, informed performance of these violin sonatas. The 1 For additional scholarship on F.A.E. and Brahms and Joachim’s connection to it, see Michael Musgrave, “‘Frei Aber Froh’: A Reconsideration,” 19th-Century Music 3, no. 3 (1980): 251–58; Constantin Floros, “Johannes Brahms: ’Frei Aber Einsam’- Ein Leben Für Eine Poetische Musik,” Arche, 1997; Malcolm MacDonald, Brahms (Oxford: Oxford University Press, 2001), 17. 2 Bibliography by these scholars includes Clive Brown, Classical and Romantic Performing Practice 1750 – 1900 (Oxford: Oxford University Press, 1999); Clive Brown, Louis Spohr: A Critical Biography (Cambridge: Cambridge University Press, 2006); Clive Brown, “The decline of the 19th–century German school of violin playing,” CHASE, http://chase.leeds.ac.uk/article/the-decline-of-the-19th-century-german-school-of-violin-playing-clive-brown, (accessed October 12, 2016); Colin Lawson and Robin Stowell, The Historical Performance of Music, An Introduction (Cambridge: Cambridge University Press, 1999); Robin Stowell, Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries (Cambridge: Cambridge University Press, 1985); David Milsom, “Evidence and Incentive: Perspectives upon Joseph Joachim’s Performing Practices and the Viability of Stylistic Revival,” University of Leeds AHRC Fellowships in the Creative and Performing Arts Scheme (June 2007), under “19th Century String Music,” http://www.leeds.ac.uk/music/dm- ahrc/Joseph_Joachim_Article.shtml, accessed Dec 1, 2017; Robin Stowell, Theory and Practice in Late Nineteenth- Century Violin Performance: An examination of Style in Performance, 1850-1900 (Aldershot: Ashgate, 2003); Michael Musgrave, Performing Brahms: Early Evidence of Performance Style (Cambridge. Cambridge University Press, 2003). Ducreay 3 objective of this inquiry is to present materials, both historical and modern that inform the interpretation of these sonatas from not only the perspective of a performer but also from those of historians, members of Brahms's circle, and editors. This diversity of literature will assist in supporting several important aspects in the realization of these works while also exposing those which cannot be proven with the available scholarship. Throughout the thesis, I interact with four assertions from which I develop a broader understanding of historical performance practice within the context of these sonatas by Brahms. First, a historically informed interpretation is possible with the materials that we have available today. Second, there is not one correct style in which to perform these works but
Load more

Recommended publications
  • Josef Joachim Freund Von Clara Schumann (*.Pdf, 293.00
    1 Joseph Joachim im Alter von ca. 11 Jahren. Fotographische Reproduktion nach einer Daguerrotypie (ca. 1915) Archiv-Nr. 07.337-B2 Die um 1843 entstandene originale Daguerrotypie stammte aus dem Nachlass Robert Schumanns und war zuletzt nachweisbar im Besitz von Ferdinand Schumann in Reinsdorf, der zwei Exemplare dieser fotographischen Reproduktion ans Robert-Schumann-Haus gab. 2 Neue Zeitschrift für Musik XIX/17: 28.8.1843, S. 68 Archiv-Nr. 75,h-C2 Rezension des ersten öffentlichen Leipziger Auftritts Joseph Joachims in einem Konzert mit Pauline Viardot- Garcia und Clara Schumann. Der zwölfjährige Joachim wird als „Schüler des Hrn. Böhm“ in Wien bezeichnet, im letzten Absatz berichtet Rezensent Julius Becker, dass das Wunderkind mit doppeltem Missgeschick zu kämpfen hatte, indem „ihm erst eine Saite riß“ und dann ein Feueralarm sein Spiel störte: „Nichtsdestoweniger wurde ihm reicher Beifall gezollt, wie es sein Spiel in jedem Bezug verdiente.“ 3 Brief von Paul Fischer an F. Gustav Jansen, Zittau 16. Dezember 1883 Archiv-Nr. 4533,2–A2 Der mit Joachim befreundete Fischer teilt dem Schumann-Forscher Jansen eine Anekdote aus dem Dezember 1843 mit; Joachim war kurz zuvor nach Leipzig gekommen und wohnte bei seinem Onkel, dem Kaufmann Wittgenstein: „Joachim hatte von Mendelssohn die Erlaubnis erhalten, einen Sonntag um den anderen den Meister besuchen zu dürfen, ihm vorzuspielen, mit ihm zu musiziren. [...] So geschah es auch an jenem Sonntag, wo Schumanns ‚Paradies und Peri’ zum 1. (oder 2.) Male in Leipzig aufgeführt wurde. Joachim hatte sich nicht getraut, den fälligen Besuch bei Mendelssohn der Peri wegen zu unterlassen. Er wurde aber mit den Worten empfangen: Das müssen Sie hören, da müssen Sie hin! Mendelssohn nahm ihn mit und kaufte ihm selbst das Billet.“ 4 Programmzettel des Leipziger Gewandhauses, 3.
    [Show full text]
  • Cimf20201520program20lr.Pdf
    CONCERT CALENDAR See page 1 Beethoven I 1 pm Friday May 1 Fitters’ Workshop 6 2 Beethoven II 3.30 pm Friday May 1 Fitters’ Workshop 6 3 Bach’s Universe 8 pm Friday May 1 Fitters’ Workshop 16 4 Beethoven III 10 am Saturday May 2 Fitters’ Workshop 7 5 Beethoven IV 2 pm Saturday May 2 Fitters’ Workshop 7 6 Beethoven V 5.30 pm Saturday May 2 Fitters’ Workshop 8 7 Bach on Sunday 11 am Sunday May 3 Fitters’ Workshop 18 8 Beethoven VI 2 pm Sunday May 3 Fitters’ Workshop 9 9 Beethoven VII 5 pm Sunday May 3 Fitters’ Workshop 9 Sounds on Site I: 10 Midday Monday May 4 Turkish Embassy 20 Lamentations for a Soldier 11 Silver-Garburg Piano Duo 6 pm Monday May 4 Fitters’ Workshop 24 Sounds on Site II: 12 Midday Tuesday May 5 Mt Stromlo 26 Space Exploration 13 Russian Masters 6 pm Tuesday May 5 Fitters’ Workshop 28 Sounds on Site III: 14 Midday Wednesday May 6 Shine Dome 30 String Theory 15 Order of the Virtues 6 pm Wednesday May 6 Fitters’ Workshop 32 Sounds on Site IV: Australian National 16 Midday Thursday May 7 34 Forest Music Botanic Gardens 17 Brahms at Twilight 6 pm Thursday May 7 Fitters’ Workshop 36 Sounds on Site V: NLA – Reconciliation 18 Midday Friday May 8 38 From the Letter to the Law Place – High Court Barbara Blackman’s Festival National Gallery: 19 3.30 pm Friday May 8 40 Blessing: Being and Time Fairfax Theatre 20 Movers and Shakers 3 pm Saturday May 9 Fitters’ Workshop 44 21 Double Quartet 8 pm Saturday May 9 Fitters’ Workshop 46 Sebastian the Fox and Canberra Girls’ Grammar 22 11 am Sunday May 10 48 Other Animals Senior School Hall National Gallery: 23 A World of Glass 1 pm Sunday May 10 50 Gandel Hall 24 Festival Closure 7 pm Sunday May 10 Fitters’ Workshop 52 1 Chief Minister’s message Festival President’s Message Welcome to the 21st There is nothing quite like the Canberra International Music sense of anticipation, before Festival: 10 days, 24 concerts the first note is played, for the and some of the finest music delights and surprises that will Canberrans will hear this unfold over the 10 days of the Festival.
    [Show full text]
  • HN 9852 Vorwort.Fm
    III VORWORT Das Concert für Violine und Violoncell mit ses zu Joachim vorübergehend sogar aufge- Orchester op. 102, das sogenannte Doppel- ben wollte (Johannes Brahms im Briefwech- konzert, schrieb Johannes Brahms wäh- sel mit Joseph Joachim, Bd. 2, Berlin 21912 rend seines Schweizer Sommeraufenthaltes [= Brahms-Briefwechsel VI], S. 230 f.; Jo- 1887 am Thuner See. Spätestens Mitte Juli hannes Brahms: Briefe an Fritz Simrock, 1887 war die Komposition, Anfang August Bd. 3, Berlin 1919 [= Brahms-Briefwechsel auch die Partiturniederschrift beendet. XI], S. 158 f.). Den – in der Brahms-Literatur häufig auf- Eine maßgebliche Anregung zur Entste- gegriffenen – Spekulationen des Brahms- hung des Doppelkonzertes scheint demge- Biographen Max Kalbeck über die Entste- genüber von dem Cellisten Robert Haus- hungshintergründe des Werkes sollte man mann ausgegangen zu sein (siehe Kalbeck, mit Skepsis begegnen. So lässt sich Kalbecks Brahms IV/1, a. a. O., S. 31–36). Zunächst Behauptung, das Doppelkonzert sei „aus ur- brachte Brahms im November 1886 seine sprünglich symphonischen Gedanken“, das kurz zuvor vollendete 2. Cellosonate mit heißt dem „Material zu einer fünften Sym- Hausmann in Wien zur Uraufführung und phonie“, hervorgegangen (Max Kalbeck: Jo- kam ein Jahr später mit dem Doppelkonzert hannes Brahms, Bd. IV/1, Berlin 21915, der Bitte des Cellisten „um ein Konzertstück S. 64), weder durch Äußerungen des Kom- für sich“ zumindest teilweise nach, wie sei- ponisten noch durch die überlieferten Ma- nen humorvollen Äußerungen zu entnehmen nuskripte oder die Werkgestalt selbst bele- ist: Durch Joachim ließ er Hausmann Ende gen. Das Themenmaterial scheint in Cha- Juli 1887 bei der Übersendung der ersten rakter und Verarbeitung vielmehr gleich auf flüchtig notierten Solostimmen ausrichten, die doppelkonzertante Anlage hin ausgerich- der Cellist möge seinen „guten Willen aner- tet zu sein.
    [Show full text]
  • The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors
    The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito.
    [Show full text]
  • 1 Brahms in the Home: an Introduction Katy Hamilton and Natasha Loges
    Cambridge University Press 978-1-107-04270-4 — Brahms in the Home and the Concert Hall Edited by Katy Hamilton , Natasha Loges Excerpt More Information 1 Brahms in the home: An introduction katy hamilton and natasha loges And thus, in a small circle of friends, he played most beautifully and with an intimacy that completely overwhelmed us.1 Any exploration of domestic music-making is confronted with heavy over- laps between areas which, if they are considered at all, are usually considered quite separately. This sort of music-making is necessarily muddied by con- siderations of venue, performer, performing ensemble and audience, as well as by the actual music performed and the existence of multiple instantia- tions. The biggest challenge is the ubiquity – yet impermanence – of both the activity and its materials. The details of private music-making within Brahms’s circle can be partially reconstructed, but it is much harder to trace the extent of this activity beyond the orbit of a known musical personal- ity or a canonical work. Locating such traces involves drawing a different kind of information from sources which are not necessarily event-specific, and often concern themselves with broader categories and practices. Thus, for example, publishers’ catalogues, private recollections and correspon- dence by figures within Brahms’s wider circle of friends become central to reconstructing these musical practices. The making of Hausmusik sits on the cusp of a significant socio-economic change, namely the emergence of a moneyed middle class, which triggered a shift in trade practices including piano manufacture, music publishing and the growth in musical literacy.
    [Show full text]
  • Maarja Nuut Davíð Þór Jónsson Rahim Alhaj & Karim
    Seidler Salon Series MAARJA NUUT DAVÍÐ ÞÓR JÓNSSON RAHIM ALHAJ & KARIM WASFI GENEVIEVE LACEY, DANIEL YEADON & NEAL PERES DA COSTA GOLDNER STRING QUARTET VOX CLAMANTIS Photo: Photo: Nicholas Watt Music and architecture come together in a series of talks and concerts hosted in, and inspired by, the unique buildings of Australia’s most famous modernist architect, Harry Seidler. I am so pleased to welcome you to experience music in Seidler spaces. The five venues cover 50 years of architectural creativity; each one makes a distinct spatial experience. It was the Rose Seidler house of 1950 which brought Harry to Australia; 9–28 JANUARY it instantly became a beacon for modernism, creating an informal way of life and blending with nature. Our own house at Killara almost 20 years later is where Harry loved to play Bach on the piano. The house is tougher, made of concrete and stone, a split-level construction; both houses remain identical to the time of their completion. The Milsons Point apartment of 1988 and Cove Apartments of 2003 illustrate Harry’s increasing use of grand curved spaces, and the Elizabeth Street office venue of the late ’90s is an example of robust commercial architecture. Harry and I loved having music fill the spaces and I hope you will also enjoy music in architecture. Penelope Seidler December 2017 2 Photo: Photo: Renee Altrov Jón Páll Eyjolfsson Photo: MAARJA NUUT DAVÍÐ ÞÓR JÓNSSON ESTONIA ICELAND SEIDLER PENTHOUSE, NORTH SYDNEY HARRY AND PENELOPE SEIDLER HOUSE, KILLARA 9 JANUARY AT 6.30PM 13 JANUARY AT 2.30PM & 6.30PM 10 JANUARY AT 6.30PM 90 MINS 11 JANUARY AT 11AM & 6.30PM 90 MINS TALK TALK Philip Cox in conversation with Simon Marnie Penelope Seidler AM in conversation with (ABC Radio Sydney) Simon Marnie (ABC Radio Sydney) One of Australia’s pre-eminent architects, Philip Cox Inside the Harry and Penelope Seidler home that they designed buildings feature across our major cities.
    [Show full text]
  • Historical Performance Practice at the Beginning of the New Millennium
    Historical Performance Practice at the beginning of the new millennium Dorottya Fabian An interest in early music and performing practices of the past has a long history by now. Its characteristics in the nineteenth century have been mapped by several authors, especially in relation to the revival of Johann Sebastian Bach’s music, the Cecilian Movement and various musical developments in England. Even more pub- lications are available on its twentieth-century history.1 The initiatives during the early decades (e.g. the organ and recorder movements of the 1920s, the establish- ing of the Schola Cantorum in Basel in 1933) and the contribution of pioneers like Wanda Landowska and Arnold Dolmetsch have been extensively studied togeth- er with lesser-known figures, places and institutions.2 But as is well-known, it was during the second half of the twentieth century that the Early Music or Historically Informed Performance Movement has truly taken off, becoming a major force in the world of classical music. Many books and papers have been dedicated to the history of this development, its various phases, musical characteristics, key figures, aesthetic outlook and philosophical assumptions, and its achievements. There was a burgeon- ing of such literature and heated debates during the 1980s and 1990s followed by more comprehensive and ‘corrective’ analyses published during the early years of the 2000s, most focussing on the second half of the twentieth century.3 Much less has 1 Harry Haskell, The Early Music Revival – A History, London 1988; George B. Stauffer, Changing Issues of Performance Practice, in: John Butt (Hg.), Cambridge Companion to Bach, Cambridge 1997, S.
    [Show full text]
  • Stimme Und Geige Amalie Und Joseph Joachim
    BEATRIX BORCHARD Stimme und Geige Amalie und Joseph Joachim Biographie und Interpretationsgeschichte BÖHLAU VERLAG WIEN • KÖLN • WEIMAR INHALT EINLEITUNG : Zwei Büsten 15 A. Annäherungen 1. DAS MATERIAL ODER: ÜBER KOFFER UND SCHUBLADEN 33 Ein Koffer in London 35 Geschichte des Materials - eine Familiengeschichte 35 Briefausgaben 36 Privatausgaben 39 Gedruckte Einzelbriefe 40 Unveröffentlichte Briefe 42 Ehebriefwechsel 43 Mutter an Vater 44 Briefe an die Kinder 45 Briefe an Heinrich 45 Briefe Amalie Joachims 46 Autobiographische Aufzeichnungen 47 Eine Zugfahrt 48 Konzertprogramme 48 Rezensionen 49 Akten 50 Eine Reise nach Budapest 50 Theaterakten 52 Hochschulakten 55 Erinnerungsliteratur und Varia 53 Photos, Büsten, Gemälde 54 Tonaufnahmen 55 Werkausgaben 55 2. BILDER 57 „Ein deutscher Künstler war's" 57 „Begründerin des deutschen Liedgesanges" 63 „Der Geiger-König und seine Königin" 65 Von „künstlerischen Menschen" und „menschlichen Künstlern" 66 Stimme und Geige. Amalie und Joseph Joachim B. Lektüren I. LEBENSLAUFE 71 1. Autobiographisches Material gegenlesen oder: Joseph Joachim I 71 Budapest, Mai 1996 71 Stimme und Geige 72 Ein imgarischer Jude 74 Netzwerk Großfamilie 78 Wien 79 Eine Geige in Karlsruhe 81 Vor-Bilder 81 Leipzig (1843-1850) 84 London 87 Netzwerk Musik 88 Weimar (1850-1852) 90 Quartettabend bei Bettine 92 Hannover (1853-1868) 96 Georg V. 97 Taufe 101 Programmgestaltung 107 Freier Markt gegen Festanstellung 110 Davidsbündler oder Neudeutscher 113 Johannes Brahms I 117 ' Psychologische Musik 119 Johannes Brahms II 126 Zerrissenheit als „jüdisches Erbe" 127 Identitätsfindung über Abspaltung 129 Erklärung gegen die Neudeutschen 131 Komponieren oder Interpretieren 133 F. A. E 134 Kaffernbund und Katzenorden 138 Amalie Schneeweiss 138 2. Lücken schreiben oder: Amalie Joachim geb.
    [Show full text]
  • Clara Schumann Forms, As Well As the Edition of Her Husband's Biographi- Birth Name: Clara Josephine Wieck Cal Material
    Schumann, Clara in Frankfurt am Main. The possibilities of music-making were not exhausted for her in piano-playing alone, but also included theoretical and practical knowledge about music. Thus singing and violin-playing were just as much a part of her education as was composing. Her early compositions were concei- ved as extensions of her own repertoire, and she emphasi- sed the range of her musical profile as a virtuoso. In the 1840s, the confrontation with the requirements of va- rious musical genres came increasingly to the fore. None- theless, the compositions written during her marriage we- re also intended for performance on the concert stage. Al- ready as a young virtuoso, she was noted for playing mu- sic in all "styles", not merely her own pieces. She initially distinguished herself by being the first vir- tuoso, alongside Franz Liszt, to perform Beethoven sona- tas in the concert hall beginning in 1837. Besides her re- nown as a Beethoven interpreter, she then became prima- rily known as an "authentic" representative of the so-cal- led "Romantic School", i.e. the music of Chopin, Hen- selt, Mendelssohn Bartholdy and Robert Schumann. She later expanded her repertoire to include the piano works of Brahms. She controlled the reception of Robert Schu- Clara Wieck, Lithographie von Andreas Staub, Wien 1838 mann's music not only through her performance polici- es, but also through her edition of his works in various Clara Schumann forms, as well as the edition of her husband's biographi- Birth name: Clara Josephine Wieck cal material. Variants: Clara Wieck, Clara Wieck Schumann, Clara Beyond that, through her performance style, she first of Schumann Wieck, Clara Josephine Schumann, Clara all shaped a definite repertoire selection focussed on a ca- Josephine Wieck Schumann, Clara Josephine Schumann non of works from Bach and Scarlatti to Brahms.
    [Show full text]
  • Australian Chamber Orchestra
    Cal Performances Presents Program Sunday, April 26, 2009, 3pm Roger Smalley (b. 1943) Footwork (2006) Zellerbach Hall United States premiere Australian Chamber Orchestra Pavel Haas (1899–1944) From the Monkey Mountains Suite (Zopičich hor) (1925) Richard Tognetti, artistic director & lead violin Arranged by Richard Tognetti for String Orchestra from the String Quartet No. 2, Op. 7 with Landscape: Andante Horse, Cart and Driver: Andante The Moon and I: Largo e misterioso Andreas Scholl, countertenor A Wild Night: Vivace e con fuoco — Andante — Tempo I PROGRAM The ACO appears in attire designed by Akira Isogawa. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. Joseph Haydn (1732–1809) Symphony No. 44 in E minor, “Mourning” (1770/1771) Allegro con brio Menuetto (Canone in Diapason): Allegretto Adagio Finale: Presto George Frideric Handel (1685–1759) Six Arias for Countertenor and Orchestra “Va tacito e nascosto” from Giulio Cesare, HWV 17 (1724) “Dove sei, amato bene?” from Rodelinda, HWV 19 (1725) “Se parla nel mio cor” from Giustino, HWV 37 (1737) “O Lord, Whose Mercies Numberless” from Saul, HWV 53 (1737) “Dall’ondoso periglio…Aure, deh, per pietà” from Giulio Cesare “Vivi, tiranno!” from Rodelinda INTERMISSION 20 CAL PERFORMANCES CAL PERFORMANCES 21 Orchestra Roster About the Artists Australian Chamber Orchestra Richard Tognetti, Artistic Director Violins Richard Tognetti, Lead Violin Helena Rathbone, Principal Second Violin Satu Vänskä, Assistant Leader Alice Evans Aiko Goto Ilya Isakovich Madeleine Boud Peter Clark Veronique Serret Violas Christoper Moore, Principal Nicole Divall Stephen King Cellos Timo-Veikko Valve, Principal Melissa Barnard Julian Thompson Double Bass Maxime Bibeal, Principal Stephen Oxenbury Stephen Harpsichord Neal Peres Da Costa,* Principal The Australian Chamber Orchestra (ACO) Regular international tours to Asia, Europe and was founded in 1975 in Sydney.
    [Show full text]
  • Heritage and Sustainability in Early Music
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship Heritage and Sustainability in Early Music Peter Petocz A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music The University of Sydney 2019 I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: …… …………… Date: ………… 27 November 2018 ……….. ii Table of Contents Abstract ...................................................................................................................................... 1 Introduction ................................................................................................................................ 2 Sustainability and heritage ......................................................................................................... 4 The methodology of phenomenography .................................................................................. 11 Conceptions of sustainability ................................................................................................... 16 Sustainability in music – what the academic literature says .................................................... 21 Conceptions of early music ...................................................................................................... 29 Heritage and sustainability in early music ..............................................................................
    [Show full text]
  • Amelia Sarah Levetus in Brahms's Vienna
    Volume XXXIV, Number 2 Fall 2016 Amelia Sarah Levetus in Brahms’s Vienna The name of Amelia Sarah Levetus (1853–1938)1 cannot be found in any published Brahms bibliography of which I am aware. Nevertheless, she authored a sympathetic reminiscence of Brahms’s last years in Vienna that included two images from Brahms’s apartment at Karlsgasse 4. A native of England, Amelia Levetus spent much of her adult life in Vienna, where she became a correspondent for the influential British art journal The Studio, organized and led Vienna’s John Ruskin Club, advocated for equal opportunity for women, championed Secession art and middle-European folk art, and taught at Vienna’s Volkshochschule from its founding in 1901 until her death in 1938. In 1897 she became the first woman to present a public lecture at the University of Vienna.2 Although she was trained as an economist, most of her work was focused on intercultural education; at the Volkshochschule she brought courses on English language, literature, culture, and politics to adult learners, while her work for The Studio communicated trends in the Viennese art world to a British readership.3 She made one attempt in particular to bring a broader appreciation of Vienna to her native land: her book Imperial Vienna: An Account of Its History, Traditions, and Arts.4 Imperial Vienna is not a scholarly book. It combines popular Johann Strauss, Jr. and Johannes Brahms at Ischl in 1894. Courtesy of the Brahms-Institut an der history, social commentary, and travelogue in an engaging style Musikhochschule Lübeck that would attract an English Victorian readership.
    [Show full text]