16.08. - 19.09.2021

Total Page:16

File Type:pdf, Size:1020Kb

16.08. - 19.09.2021 16.08. - 19.09.2021 PRE.FESTIVAL MUSIC ON SCREEN: Konzertfilme | Film Concerto Thermenplatz . Piazza Terme 20:30 MO-LU 16.08. BOHEMIAN RHAPSODY . Hommage à Freddie Mercury and the Rockband Queen (in Italian) MI-ME 18.08. THROUGH THE EYES OF YUJA . Documentary about Yuja Wang & Rhapsody in Blue (George Gershwin) FR-VE 20.08. CRESCENDO - #MAKEMUSICNOTWAR . Film with Peter Simonischek (Spielort: Südtirol) (in German) CLASSIC SO -DO 22.08. BUDAPEST FESTIVAL ORCHESTRA . IVAN FISCHER € 100, 80, 60 20:30 Kursaal Liszt: Concerto for piano and orchestra n. 1, A Faust Symphony DO-GI 26.08. LUCAS DEBARGUE (piano) € 50, 40, 25 Kursaal Bach: Italian Concerto, Schumann: Sonata n. 3, Fauré: Ballade op. 19 & op. 42, Scriabin: op. 30 & op. 28 MO-LU 30.08. I VIRTUOSI ITALIANI . GIULIANO CARMIGNOLA (violin) € 70, 50, 30 Kursaal Telemann: Overture, J.S. Bach: Concerto BWV 1041, BWV 1042, Händel: Overture, C.P.E. Bach: Concerto Wq 22 FR-VE 03.09. BALTIC SEA PHILHARMONIC . KRISTJAN JÄRVI € 90, 70, 50 Kursaal Pärt: Swansong, Sibelius: Swan of Tuonela op. 22, Tchaikovsky: Swan lake-Suite, Sibelius: Song of Praise MO-LU 06.09. ROYAL PHILHARMONIC LONDON . VASILY PETRENKO . JULIA FISCHER (violin) € 120, 100, 80, 60 Kursaal Beethoven: Concerto for violin and orchestra op. 61, Brahms: Symphony n. 4 op. 98 DO-GI 09.09. NATIONAL PHILHARMONIC OF RUSSIA . VLADIMIR SPIVAKOV . GAUTHIER CAPUÇON € 100, 80, 60 Kursaal Dvořák: Concerto for violoncello and orchestra op. 104, Tchaikovsky: Symphony n. 5 DI-MA 14.09. PATRICIA KOPATCHINSKAJA (violin) . FAZIL SAY (piano) € 70, 50, 30 Kursaal Beethoven: Sonata for violin and piano op. 30/2, Brahms: Sonata op. 108, Bartok: Sonata for piano and violin FR-VE 17.09. MAHLER CHAMBER ORCHESTRA . YUJA WANG € 120, 100, 80, 60 Kursaal Haydn: Symphony n. 31, Bach: Concerto for piano BWV 1056, Shostakovitch: Concerto for piano n. 2 SA -SA 18.09. MARIINSKY STRADIVARIUS ENSEMBLE . LORENZ NASTURICA € 70, 50, 30 Kursaal Elgar: Introduction and Allegro, Suk: Serenade op. 6, Piazzolla: Four Seasons of Buenos Aires SO -DO 19.09. MARIINSKY ORCHESTRA ST. PETERSBURG . VALERY GERGIEV € 100, 80, 60 Kursaal N.N. BAROCCO DI-MA 24.08. GRUPPO STRUMENTALE FLORILEGIUM . MAURIZIO MANARA € 20 20:30 S. Spirito Church IN VENETIA! Marcello, Castaldi, Caldara, Vivaldi, Platti, Vandini MO-LU 30.08. I VIRTUOSI ITALIANI . GIULIANO CARMIGNOLA (violin) € 70, 50, 30 Kursaal Telemann: Overture, J.S. Bach: Concerto BWV 1041, BWV 1042, Händel: Overture, C.P.E. Bach: Concerto Wq 22 DO-GI 16.09. ENSEMBLE COMBO CAM € 20 Pavillon Baroque Music from Italy, England, Spain and Peru COLOURS OF MUSIC MI-ME 01.09. MERANO/MERAN POP SYMPHONY ORCHESTRA . ROBERTO FEDERICO € 20 20:30 Kursaal Queen’s Symphonic MI-ME 08.09. PETER SIMONISCHEK . DIE ÖSTERREICHISCHEN SALONISTEN € 50 Kursaal „Die Legende vom heiligen Trinker“ from Joseph Roth (in German) Music: Edith Piaf, Erik Satie, Charlie Chaplin, Nino Rota, … MI-ME 15.09. IIRO RANTALA (piano) € 30 Theatre MY FINNISH CALENDAR: The melodic, groovy and fun jazz piano music of Iiro Rantala MATINÉE CLASSIQUE SA -SA 28.08. TRIO SORA (Paris) € 25 11:00 Pavillon Beethoven: Piano Trio op. 97 „Erzherzog-Trio”, Arensky: Piano Trio op. 32 SA -SA 04.09. QUARTETTO PROMETEO . MARIANGELA VACATELLO € 25 Pavillon Beethoven: String Quartet op. 95, Schumann: Piano Quintet op. 44 SA -SA 11.09. VADYM KHOLODENKO (piano) (The Van Cliburn Gold Medalist 2013) € 25 Pavillon Bach: Duette BWV 802-805, Beethoven: Sonata op. 101, Rachmaninoff: Morceaux op. 3, Sonata op. 36 MYSTICA MI-ME 25.08. IL SUONAR PARLANTE . VITTORIO GHIELMI . GRACIELA GIBELLI (soprano) € 20 20:30 St. Leonhard Church VATER UNSER: Durante, Pergolesi, Vivaldi, Bach, Pärt SO-DO 05.09. VALER SABADUS . SPARK-THE CLASSICAL BAND € 20 St. Nikolaus Church CLOSER TO PARADISE: Händel, Vivaldi, Ravel, Satie, Weill, Fauré, Nyman, Schumann, Koschitzki, … MO-LU 13.09. TOBIAS CHIZZALI (organ) . NATHAN CHIZZALI (violoncello) € 20 Marling Church Dupré: Prelude, Fauré: Élégie, Mendelssohn: Sonata, Franck: Pièce Heroique, Pärt: Spiegel im Spiegel VOX HUMANA DI-MA 31.08. THE TALLIS SCHOLARS LONDON . PETER PHILLIPS € 30 20:30 Lana Church AVE MARIA: Rheinberger, Bruckner, Victoria, Poulenc, Palestrina, Lassus, Holst DI-MA 07.09. AMARCORD (Leipzig) ECHO Klassik 2012 € 30 Schenna Castle Mendelssohn, Schubert, Grieg, Kvålins Halling, Charles Ives, Elgar, International Folks & Tales SO -DO 12.09. SIR KARL JENKINS . HAYDN ORCHESTRA OF BOLZANO AND TRENTO . CHAMBER CHOIR OF EUROPE € 40, 30 Kursaal Karl Jenkins: The Armed Man - A Mass for Peace YOUNG ARTISTS VISION STRING QUARTET (Berlin) (OPUS Klassik 2020) PORTRAIT 20:30 MO-LU 23.08. PRISSIAN CASTLE KATZENZUNGEN: Schumann: Quartet op. 41/3, Ravel: String Quartet € 20 FR-VE 27.08. TSCHERMS CASTLE BASLAN: Vine: String Quartet n. 3, Dvořák: String Quartet op. 106 € 20 President: Hermann Schnitzer partner sponsors: Artistic Director: Andreas Cappello member of: main sponsors: INFO: Tel +39 0473 496030 www.meranofestival.com.
Recommended publications
  • Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne
    Program ONE huNdrEd TwENTy-FirST SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PhilliP huSChEr ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life.
    [Show full text]
  • 200 Anos De Franz Liszt: II. Transcrições E Experiências Harmônicas
    200 anos de Franz Liszt: II. Transcrições e Experiências harmônicas Transcrições “Franz Liszt, am Flügel phantasieren”, pintura de 1840 de Josef Danhauser A metade da obra catalogada de Liszt (no total de quase 1000) são transcrições das obras de outros compositores para piano solo – como sinfonias, canções e obras camerísticas. Mas Liszt é o primeiro pianista a dar à transcrição um papel que vai muito além de uma “redução” funcional de podermos ver uma obra grandiosa resumida em duas claves, pois ele transforma a transcrição em uma verdadeira tradução da obra para uma nova linguagem, a linguagem do piano. São famosas as suas transcrições das sinfonias de Beethoven, mas há também a transcrição da Sinfonia “Fantástica” de Berlioz, do “Liebestod” do Tristão e Isolda de Wagner, de diversas canções de Schubert e até do Requiem de Mozart. O que chama a atenção nas transcrições não é apenas que elas acabaram contribuindo para a própria história da escrita pianística ao buscarem recursos que dessem conta de outras sonoridades, texturas e dimensões, mas também como Liszt concebia a transcrição como uma obra própria, que deveria se justificar independentemente da obra original e por isso demandava necessidades próprias, que ele poderia resolver com compassos totalmente novos. Como exemplo, compare-se a belíssima canção “Kriegers Ahnung” do ciclo Schwanengesang (1828) de Schubert: [audio:http://euterpe.blog.br/wp-content/uploads/2011/10/Schubert-Lieder-D-95 7-Schwanengesang-02.-Kriegers-Ahnung-D.-Fischer-Dieskau-G.- Moore-1957.mp3|titles=Schubert – Lieder D 957 ‘Schwanengesang’ – 02. Kriegers Ahnung (D. Fischer-Dieskau & G. Moore – 1957)] O libretto em alemão seguido de uma tradução em português pode ser acessado aqui.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 39,1919
    ACADEMY OF MUSIC . PHILADELPHIA Monday Evening, January 5, at 8.15 *'.. 1% "v V Mly$fr BOSTON ^wd -^ SYMPHONY ORCHESTRA INCORPORATED THIRTY-NINTH SEASON J9J9-J920 / ',i V ll |U«.,....,|.U PRSQRsnnc THIS IMSTBUMEINIT ©F QUALITY SlOJXOtir CL6AB AS A ©5'I~L " TZ^ Highest Class Talking Machine in the World" Josef Hofmann says: "The Orchestra is the greatest MUSICAL MEDIUM and stimu- lus of the Community." The Talking Machine is the only Musical Instrument that brings the orchestra into the home 1311 WALNUT STREET PHILADELPHIA ACADEMY OF MUSIC, PHILADELPHIA Thirty-fifth Season in Philadelphia INCORPORATED Thirty-ninth Season, 1919-1920 PIERRE MONTEUX, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 5 AT 8.15 COPYRIGHT, 1920, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager — ww% I 1 Xl p <m* A name that is spoken with the full pride of ownership—that carries with it the deep satis- faction of possessing the ultimate expression of man's handiwork in Musical Art. A name that is cherished as a Family Tradition that keeps afresh for the next generation the associations and fond remembrances which cluster around the home piano. Supreme achievement of patience, skill and ex- perience, founded on inborn Ideals of Artistry. vmp i mmm iJPs f Catalogue and prices on application Sold on convenient payments Old pianos taken in exchange Inspection invited 107-109 East 14th Street New York Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Thirty-ninth Season, 1919-1920 PIERRE MONTEUX, Conductor Violins.
    [Show full text]
  • A Faust Symphony
    “Inside Masterworks” LISTENING IN COLOR MARCH 2017 Masterworks #6: A Faust Symphony March 10-12, 2017 Question: Who was the first musical superstar whose radiating sensuality prompted masses of adoring female fans to hurl their clothing onto the stage? Answer: Franz Liszt! Franz Liszt is best known as a composer, but in his In 1844, the German poet Heinrich Heine dubbed lifetime, Liszt was truly the first “rock star” capable of this extraordinary phenomenon “Lisztomania.”v filling a hall to capacity without benefit of an orchestra. Women forcibly attempted to obtain cuttings from As a child, Liszt achieved fame as a prodigy; as an his clothing or his hair; broken strings from the adult, he was the first pianist to take center stage pianos he played were made into bracelets and the for an entire evening, in a solo performance to an dregs of his tea were emptied into scent bottles.vi He enraptured audience, whose fan worship was unlike was too popular to go out on foot, and his passport, anything the world had known.i in lieu of a physical description, merely said, “Celebritate sua sat notus”: sufficiently well-known Long before Elvis Presley or the Beatles inspired through celebrity.vii screaming teenagers in concerts, Liszt generated “star mania,” causing adoring female fans to keep his During his concert career, he was the most highly- discarded cigar butts nestled in their cleavage,ii or fight paid artist of his day and was the first pianist able for possession of his gloves, “carelessly” left on a piano to support himself on his earnings as a performer.
    [Show full text]
  • Manfred Symphony
    PETER ILYICH TCHAIKOVSKY MANFRED SYMPHONY Sit back and enjoy Peter Ilyich Tchaikovsky The redemption of himself to this and to its eponymous The Manfred Symphony: an experienced before his death at only Manfred Symphony, Op. 58 hero with zeal, and seemed to unrestrained self-portrait 36 years of age, was enough to cover Manfred even somewhat transform himself Romantic poet surrounded by several lifetimes: inheriting a title 1. Lento lugubre – Moderato con moto – Andante 17.27 into Manfred during the intensive scandal and strife-torn hero – the at 10 years old, entering the House 2. Vivace con spirito 9.57 Peter Ilyich Tchaikovsky’s Manfred is period of work. After all, he was literary model of Lords when he came of age; 3. Andante con moto 11.24 a hermaphrodite – at least, as far as also suffering from inner torment. Had George Gordon Noel Byron early travels to the Mediterranean 4. Allegro con fuoco 20.21 the music is concerned. For although And this can be heard in the music, lived in the present day, then the and further onwards to Asia Minor; the work (dating from 1885) was which appears to be full of inner abundant major and minor scandals instantaneous literary fame thanks 59.29 indeed dubbed by its creator as a conflict. Nowadays, Manfred that surrounded him would almost to Childe Harold’s Pilgrimage; social symphony, it still did not receive is rarely heard in the concert certainly have given the ever-hungry scandals following relationships a number alongside Tchaikovsky’s hall. Perhaps due to its rather tabloid press something to feast on.
    [Show full text]
  • Franz Liszt: the Ons Ata in B Minor As Spiritual Autobiography Jonathan David Keener James Madison University
    James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2011 Franz Liszt: The onS ata in B Minor as spiritual autobiography Jonathan David Keener James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Commons, Religious Thought, Theology and Philosophy of Religion Commons, and the Social and Behavioral Sciences Commons Recommended Citation Keener, Jonathan David, "Franz Liszt: The onS ata in B Minor as spiritual autobiography" (2011). Dissertations. 168. https://commons.lib.jmu.edu/diss201019/168 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Franz Liszt: The Sonata in B Minor as Spiritual Autobiography Jonathan David Keener A document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music May 2011 Table of Contents List of Examples………………………………………………………………………………………….………iii Abstract……………………………………………………………………………………………………………….v Introduction and Background….……………………………………………………………………………1 Form Considerations and Thematic Transformation in the Sonata…..……………………..6 Schumann’s Fantasie and Alkan’s Grande Sonate…………………………………………………14 The Legend of Faust……………………………………………………………………………………...……21 Liszt and the Church…………………………………………………………………………..………………28
    [Show full text]
  • Download Booklet
    ARTIST’S INTRODUCTION My relationship with Liszt started with the FRANZ LISZT (1811-1886) composer’s obvious piano-centric and romantic Franz Liszt is a composer whom I have always repertoire. It then deepened immensely as a found intriguing, fascinating and puzzling. Much challenge. I was one of Lazar Berman’s first has been speculated about Liszt. He was the female students. Berman was regarded as 19th century equivalent of a rock-star, at home his generation’s ultimate Liszt interpreter and 1 Toccata, S. 197a [1.16] on the piano as well as in all social circles. was quick to judge that a diminutive lady with He was the first real touring Pan-European hands spanning a 9th (although I can now 2 Unstern! Sinistre, disastro, S. 208 [4.55] artist, leading multiple lives at once, and yet stretch a 10th on a good day) would ever 3 Wiegenlied (Chant du berceau), S. 198 [3.15] finding the time to write so much music. succeed in playing Liszt well. By the time I 4 Bagatelle sans tonalité, S. 216a [2.47] made my debut in Budapest at the Great Hall Most of Liszt’ music has universal appeal. One of the Liszt Academy, performing Liszt’ First 5 Abschied, russisches Volkslied, S. 251 [2.23] can find copious connections to the past as Piano Concerto, I had won awards for my 6 Resignazione (Ergebung), S. 263/187a [1.23] well as a new individual voice developed from performances of the B minor Sonata and his reportedly stunning pianistic skills, but graduated from the Hochschule “Franz Liszt” in 7 Schlaflos! Frage und Antwort, S.
    [Show full text]
  • THE EVOLUTION of WHOLE-TONE SOUND in LISZT's ORIGINAL PIANO WORKS. the Louisiana State University and Agricultural and Mechanical College, Ph.D., 1974 Music
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 The volutE ion of Whole-Tone Sound in Liszt's Original Piano Works. Harold Adams Thompson Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Thompson, Harold Adams, "The vE olution of Whole-Tone Sound in Liszt's Original Piano Works." (1974). LSU Historical Dissertations and Theses. 2767. https://digitalcommons.lsu.edu/gradschool_disstheses/2767 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.
    [Show full text]
  • The Reception of Liszt's Faust Symphony in the United
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2020 The Reception of Liszt’s Faust Symphony in the United States Chloe Danitz Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Musicology Commons Recommended Citation Danitz, Chloe, "The Reception of Liszt’s Faust Symphony in the United States" (2020). Masters Theses. 909. https://scholarworks.umass.edu/masters_theses_2/909 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. The Reception of Liszt’s Faust Symphony in the United States A Thesis Presented by CHLOE ANNA DANITZ Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2020 Music The Reception of Liszt’s Faust Symphony in the United States A Thesis Presented by CHLOE ANNA DANITZ Approved as to style and content by: __________________________________________ Erinn E. Knyt, Chair __________________________________________ Marianna Ritchey, Member ______________________________________ Salvatore Macchia, Department Head Department of Music and Dance DEDICATION To my Grandparents ACKNOWLEDGEMENTS I would like to express the deepest gratitude to my advisor, Erinn Knyt, for her countless hours of guidance and support. Her enthusiasm and dedication to my research facilitated this project, as well as my growth as a musicologist. Her contributions to my professional development have been invaluable and will forever be appreciated.
    [Show full text]
  • Rokas SBG Prog Final
    Pianist Rokas & 2017 CMF Artist Valuntonis Thursday 2nd May 2019, 7.30pm The Priory Church of St Bartholomew the Great Thank you for coming to this evening’s recital – to enjoy this spectacular church, and s u p p o r t C i t y M u s i c F o u n d a t i o n A r t i s t , p i a n is t R o k a s V a l u n t o n i s . CMF’s mission is ‘turning talent into success’. We select exceptional professional musicians at the start of their careers when managing ‘the business of music’ can be a challenge, and support them with a comprehensive career development programme. We arrange mentoring, run workshops, do agency and management, make CDs, videos and websites, commission new music, secure airtime on BBC Radio 3 and promotion though online, print and social media, and put on our own recitals and concerts. CMF Alumni tell us of the many ways CMF has helped them during those very fragile early stages of their professional careers. Getting the necessary visibility, and developing networks, gaining recognition in the industry, having recordings – all this has allowed them to secure their careers as performers. Our aim is that CMF Artists are ready for four decades or more of contributing to society’s culture and wellbeing – reaching hundreds of thousands through live performance, CDs, streaming, broadcast, teaching and mentoring – giving back a thousandfold what CMF has given them. If you'd like to support our work you can donate online (cafdonate.cafonline.org/7944) or by cheque (post to: Church House, Cloth Fair, London EC1A 7JQ).
    [Show full text]
  • 21M.013J the Supernatural in Music: Literature and Culture: Faust Guide
    FAUST & 19TH CENTURY ORCHESTRAL MUSIC LA FAUST SYMPHONY (1856) FRANZ LISZT (1811 -1886) In Three Character-pictures For Tenor, Male Chorus and Orchestra >Dedicated to Berlioz. >Composed during Liszt's years of service as court composer to the Duchy of Weimar. Liszt's patron at Weimar was the grandson of Goethe's Duke, and he specifically engaged the composer to restore the Duchy to the artistic prestige it had enjoyed under his ancestor. >A cyclic symphony, with Liszt's characteristic "thematic transformation". I. FAUST >Five main musical ideas: a. Faust the Magician (0:01). Atonal -adrift from the regulated universe of traditional tonal harmony. Fully chromatic---after the first note all twelve of the possible musical tones are heard. Use of the "mysterious" augmented chord in a melodic form. b."Doubt" (0:35). A large dissonant interval begins this idea. Also extremely chromatic. c."Passion" (4:29). Fast and agitated. Largely based on a descending chromatic scale. d."Love" (9:05). This music has a clear, Romantic (and romantic) affect. Much slower and very lyrical. Note its close thematic similarity to the "Doubt" motive. e."Pride" (11: 10). Noble and heroic. Not dissonant and much less chromatic. The rhythm of this motive is associated by some scholars with the words "In Anfang war die Tat" ("In the beginning was the deed"). >A vast and imaginative movement that seeks to portray the breadth and inconsistencies of Faust's personality. >The first two ideas are presented in what musicians hear as an "Introduction". Recall that the final movement of Berlioz's "Fantastic Symphony" all so begins with a mysterious, seemingly inchoate introduction that is also highly chromatic and engaged in the depiction of creepy, supernatural elements.
    [Show full text]
  • The Reception of Liszt's Faust Symphony in the United States
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2020 The Reception of Liszt’s Faust Symphony in the United States Chloe Danitz University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Musicology Commons Recommended Citation Danitz, Chloe, "The Reception of Liszt’s Faust Symphony in the United States" (2020). Masters Theses. 909. https://doi.org/10.7275/17489800 https://scholarworks.umass.edu/masters_theses_2/909 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. The Reception of Liszt’s Faust Symphony in the United States A Thesis Presented by CHLOE ANNA DANITZ Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2020 Music The Reception of Liszt’s Faust Symphony in the United States A Thesis Presented by CHLOE ANNA DANITZ Approved as to style and content by: __________________________________________ Erinn E. Knyt, Chair __________________________________________ Marianna Ritchey, Member ______________________________________ Salvatore Macchia, Department Head Department of Music and Dance DEDICATION To my Grandparents ACKNOWLEDGEMENTS I would like to express the deepest gratitude to my advisor, Erinn Knyt, for her countless hours of guidance and support. Her enthusiasm and dedication to my research facilitated this project, as well as my growth as a musicologist. Her contributions to my professional development have been invaluable and will forever be appreciated.
    [Show full text]