DOCSLIB.ORG

Internationaler Musikwettbewerb Der

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Internationaler Musikwettbewerb Der 1 ALLGEMEINE BESTIMMUNGEN VERANSTALTER Der 67. Internationale Musikwettbewerb der ARD München Der 67. Internationale Musikwettbewerb der ARD München 2018 wird für folgende Fächer ausgeschrieben: 2018 ist eine Veranstaltung der Arbeitsgemeinschaft der öffentlich-rechtlichen Gesang Rundfunkanstalten der Bundesrepublik Deutschland (ARD). Trompete Klaviertrio Bayerischer Rundfunk – München Viola Hessischer Rundfunk – Frankfurt am Main Mitteldeutscher Rundfunk – Leipzig Die Einladung zu diesem Wettbewerb richtet sich an junge Norddeutscher Rundfunk – Hamburg Musiker, die bereit sind, eine internationale Karriere Radio Bremen anzutreten. Rundfunk Berlin•Brandenburg Zur Teilnahme berechtigt sind Musiker und Musikerinnen Saarländischer Rundfunk – Saarbrücken INHALT aller Nationen, Südwestrundfunk – Stuttgart 1 Titel für Gesang der Jahrgänge 1986 bis 1998; Westdeutscher Rundfunk – Köln 2 Allgemeine Bestimmungen für Viola und Trompete 1989 bis 2001; Deutsche Welle – Bonn/Berlin Veranstalter Klaviertrio: Gesamtalter 90 Jahre und kein Ensemblemitglied Deutschlandradio – Berlin/Köln 3 Preise · Sonderpreise jünger als 17 oder älter als 35. 5 Konzerteinladungen Der Wettbewerb wird in der Zeit vom 3. September bis 7 Teilnahmebedingungen 21. September 2018 (einschließlich der Preisträgerkonzerte) 9 Durchführung des Wettbewerbs durchgeführt. 10 Anwesenheit · Unterkunft · Preisträger Die Wertungsspiele sind öffentlich. Mitglied der Fédération Mondiale des Concours 11 Mediale Verwertung Internationaux de Musique, Genf JURY UND REPERTOIRE Anmeldeschluss: 31. März 2018 (Poststempel gilt nicht!) Mitglied der Alink Argerich Foundation 12 Gesang 16 Trompete 17 Klaviertrio 19 Viola Gefördert von 21 Zeitplan 22 Ehrenkomitee · Patronat 23 Hauptausschuss · Leitung Die nächsten Wettbewerbe 2 PREISE SONDERPREISE Gesang Publikumspreise Erster Preis € 10.000 Publikumspreise in Gesamthöhe von € 6.000, gestiftet von Zweiter Preis € 7.500 der Theodor-Rogler-Stiftung, werden in den Finalrunden Dritter Preis € 5.000 vergeben, und zwar für Gesang in Höhe von € 1.500 Trompete Trompete in Höhe von € 1.500 Klaviertrio in Höhe von € 1.500 Erster Preis € 10.000 Viola in Höhe von € 1.500 Zweiter Preis € 7.500 Dritter Preis € 5.000 Sonderpreise für die beste Interpretation der Auftragskomposition Klaviertrio INHALT Sonderpreise in Gesamthöhe von € 4000 für die beste Erster Preis € 18.000 1 Titel Interpretation der jeweiligen Auftragskomposition, gestiftet Zweiter Preis € 13.500 2 Allgemeine Bestimmungen von der Alice-Rosner-Stiftung, werden vergeben im Fach Dritter Preis € 9.000 Veranstalter Gesang für die Komposition von STEFANO GERVASONI in 3 Preise · Sonderpreise Viola Höhe von € 1.000 5 Konzerteinladungen Trompete für die Komposition von OLGA NEUWIRTH in 7 Teilnahmebedingungen Erster Preis € 10.000 Höhe von € 1.000 9 Durchführung des Wettbewerbs Zweiter Preis € 7.500 Klaviertrio für die Komposition von MIROSLAV SRNKA in 10 Anwesenheit · Unterkunft · Preisträger Dritter Preis € 5.000 Höhe von € 1.000 11 Mediale Verwertung Viola für die Komposition von KONSTANTIA GOURZI in Höhe von € 1.000 JURY UND REPERTOIRE 12 Gesang Die Zuerkennung der Preise erfolgt durch die Jury. Sonderpreis des Münchener Kammerorchesters 16 Trompete Der Sonderpreis des Münchener Kammerorchesters in Höhe 17 Klaviertrio von € 1000 wird von den Mitgliedern des Münchener 19 Viola Kammerorchesters für eine herausragende Interpretation eines Semifinalisten im Fach Trompete oder Viola vergeben. 21 Zeitplan 22 Ehrenkomitee · Patronat 23 Hauptausschuss · Leitung Die nächsten Wettbewerbe 3 Sonderpreis BR-KLASSIK-Online Henle-Urtextpreis Der Programmbereich BR KLASSIK des Bayerischen Der G. Henle Verlag vergibt Sonderpreise für die Kategorien Rundfunks vergibt den BR-KLASSIK-Onlinepreis in Höhe von Viola und Klaviertrio in Höhe von je € 2000 in Form von € 1000 für den Gewinner der Onlineabstimmung während Gutscheinen für Noten und für die „Henle Library App“. der Finalrunden. Ifp-Musikpreis Sonderpreis U21 Der Sonderpreis der ifp Köln in Höhe von € 3000 wird für eine Der U21-Sonderpreis in Höhe von € 2.000, gestiftet vom herausragende Leistung im Fach Gesang vergeben. Dr.-Marianne-Kunkel-Fonds, wird von der BR-KLASSIK- Sendung »U21 – Deine Szene. Deine Musik« für eine Sonderpreis MEGEP herausragende Leistung eines jungen Der Verein „Musiciens entre Guerre et Paix“ vergibt einen Wettbewerbsteilnehmers vergeben. Sonderpreis in Höhe von € 3000 für ein Klaviertrio für die beste Interpretation eines Werkes von LUCIEN DUROSOIR. INHALT Alice•Rosner•Preis 1 Titel Die Alice-Rosner-Stiftung vergibt den Alice-Rosner-Preis in Sonderpreis der Mozart-Gesellschaft München 2 Allgemeine Bestimmungen Höhe von € 1000 für die beste Interpretation eines Werkes Die Mozart-Gesellschaft München e. V. vergibt einen Veranstalter des 20. Jahrhunderts. Sonderpreis in Höhe von € 1000 für eine(n) der jüngeren 3 Preise · Sonderpreise SemifinalistInnen. 5 Konzerteinladungen Osnabrücker Musikpreis 7 Teilnahmebedingungen 9 Durchführung des Wettbewerbs Der Osnabrücker Musikpreis, ermöglicht durch die Sonderpreis GENUIN classics Werner-Egerland-Stiftung, in Höhe von € 7.500 wird an einen 10 Anwesenheit · Unterkunft · Preisträger GENUIN classics verleiht als Sonderpreis eine CD-Produktion Finalisten vergeben. Damit verbunden ist ein Konzert mit 11 Mediale Verwertung für einen Preisträger. dem Osnabrücker Symphonieorchester. URY UND EPERTOIRE J R 12 Gesang Brüder-Busch-Preis 16 Trompete Das Kuratorium Brüder-Busch-Preis, Hilchenbach, verleiht 17 Klaviertrio den Brüder-Busch-Preis in Höhe von € 4000 in 19 Viola Zusammenarbeit mit der Philharmonie Südwestfalen, Landesorchester Nordrhein-Westfalen, an einen 21 Zeitplan herausragenden Finalisten. Damit verbunden sind ein 22 Ehrenkomitee · Patronat Antrittskonzert beim Gebrüder-Busch-Kreis, Kulturgemeinde 23 Hauptausschuss · Leitung der Stadt Hilchenbach und der Gemeinde Erndtebrück, und Die nächsten Wettbewerbe mögliche Folgekonzerte mit der Philharmonie Südwestfalen. 4 KONZERTEINLADUNGEN Folkwang Kammerorchester Essen Frankfurter Museums-Gesellschaft Preisträger können Einladungen zu Konzerten oder Freunde der Musik Landshut Aufnahmen erhalten. Fürstensaal Classix Kempten Gebrüder-Busch-Kreis Rundfunkanstalten Hapag-Lloyd Kreuzfahrten Heidelberger Frühling Preisträger erhalten von den Rundfunkanstalten der ARD Hofer Symphoniker direkte Einladungen zu Konzerten oder Aufnahmen zu den Inselfestival Hombroich rundfunküblichen Bedingungen. InselKonzerte – Kammermusik auf Herrenchiemsee International Festival of Young Music Competition Laureates Preisträger können als Solisten von den Symphonie- Katowice orchestern und den Rundfunkorchestern der ARD Internationales Musikfestival Český Krumlov eingeladen werden. INHALT Junge Künstler – Stars von Morgen – Konzerte im Schloss 1 Titel Illertissen 2 Allgemeine Bestimmungen Weitere Konzertverpflichtungen Junges Podium Altrip Veranstalter Konzertverpflichtungen für einen oder mehrere Preisträger Juventudes musicales de España 3 Preise · Sonderpreise werden von folgenden Institutionen in Aussicht gestellt: Kaisersaalkonzerte Frankfurt/Main 5 Konzerteinladungen Kammermusik-Festival Liesborner Konzerte 7 Teilnahmebedingungen Apollon Musagète Festival Kammermusik-Gemeinde Hannover 9 Durchführung des Wettbewerbs Auditorium du Louvre Kammermusikalische Vereinigung – Städtischer Musikverein 10 Anwesenheit · Unterkunft · Preisträger Bayerisches Kammerorchester Bad Brückenau Trier 11 Mediale Verwertung Bell’Arte München Kirchbergforum Hessen Burghofspiele im Rheingau Sommer Kissinger Sommer JURY UND REPERTOIRE Camerata Andechs Klavier-Festival Ruhr 12 Gesang Central European Music Festival Žilina Konzerte auf Henkellsfeld, Wiesbaden 16 Trompete Chor des Bayerischen Rundfunks Konzerte im Deutschen Elfenbeinmuseum Erbach 17 Klaviertrio Collegium Musicum Basel Konzertgesellschaft Wuppertal 19 Viola Davos Festival Konzerthaus Berlin Kulturamt der Stadt Marl 21 Zeitplan Euregio Musikfestival 22 Ehrenkomitee · Patronat Festival Classic Oberfinning Kulturdienst Weimar 23 Hauptausschuss · Leitung Festival der Nationen, Bad Wörishofen Kulturverein Zorneding-Baldham Die nächsten Wettbewerbe Festival EuroArt Praha Kunstfreunde Bensheim Festspiele Mecklenburg-Vorpommern 5 Kurpfälzisches Kammerorchester Südwestdeutsches Kammerorchester Pforzheim Leitheimer Schlosskonzerte Symphonieorchester »Wilde Gungl« München Lions Club Schwäbisch Gmünd Theaterforum – Klassikforum Gauting Ludwigsburger Schlossfestspiele Ticino Musica, Locarno Meisterkonzerte im Alten Bahnhof Kettwig Tonhalle Düsseldorf Meistersolisten im Isartal, Icking Tonicale Musik & Event, München Meister von morgen, Herdecke Vaterstettener Rathauskonzerte Mosel Musikfestival Weilburger Schlosskonzerte Mozart-Gesellschaft Dortmund Weingartner Musiktage Junger Künstler Münchener Kammerorchester Wetzlarer Kulturgemeinschaft Münchner Konzertdirektion Hörtnagel Wiener KammerOrchester Münchner Rundfunkorchester Winners & Masters/Kulturkreis Gasteig, München Münchner Symphoniker Württembergische Philharmonie Reutlingen INHALT Musical Olympus International Festival of St. Petersburg Württembergisches Kammerorchester Heilbronn 1 Titel Musik und Sprache, Hessenbrückenmühle Zeughauskonzerte, Neuss 2 Allgemeine Bestimmungen Musik & Theater Saar Veranstalter Musikverein Bamberg Konzertveranstalter, Konzertagenturen und Vertreter der 3 Preise · Sonderpreise Nordwestdeutsche Philharmonie Musikindustrie werden zu den Finalprüfungen und den 5 Konzerteinladungen Osnabrücker Symphonieorchester Preisträgerkonzerten eingeladen. 7 Teilnahmebedingungen
Load more

Recommended publications
  • TOC 0245 CD Booklet.Indd
    ADOLF BUSCH AND THE PIANO by Jakob Fichert It’s hardly a secret that Adolf Busch (1891–1952) was one of the greatest violinists of the twentieth century. But only specialists, it seems, are aware that he was also a very fne composer, even though these two artistic identities – performer and composer – were of equal importance to him. In recent years some of his chamber works, his organ music and parts of his symphonic œuvre have been recorded, allowing some appreciation of his stature as a creative fgure. But Busch’s music for solo piano has yet to be discovered – only the Andante espressivo, BoO1 37 22 , has been recorded before now, by Peter Serkin, Busch’s grandson, and that in a private recording, not available commercially. Tis album therefore presents the entirety of Busch’s piano output for the frst time. Busch’s writing for solo piano forms a kind of huge triptych, with the Sonata in C minor, Op. 25, as its central panel; another major work, a Fantasia in C major, BoO 20, was written early in his career; and a later Suite, Op. 60b, dates from the time of his full maturity. Busch also wrote more than a dozen smaller piano pieces, in which he seems to have experimented with various genres in pursuit of the development of his musical language, with four Intermezzi, a Scherzo and other character pieces among them. One can hear the infuence of Brahms, Mendelssohn, Busoni and – especially – Reger, but with familiarity Busch’s style can be heard to be distinctive and personal, displaying a unique and highly expressive world of sound.
    [Show full text]
  • View PDF Online
    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
    [Show full text]
  • Adolf Busch: the Life of an Honest Musician (2 Volume Set) Online
    yiMmZ (Ebook pdf) Adolf Busch: The Life of an Honest Musician (2 Volume Set) Online [yiMmZ.ebook] Adolf Busch: The Life of an Honest Musician (2 Volume Set) Pdf Free Tully Potter DOC | *audiobook | ebooks | Download PDF | ePub Download Now Free Download Here Download eBook #3756817 in Books Toccata Press 2010-09-17Original language:EnglishPDF # 1 3.97 x 7.32 x 9.02l, 7.55 #File Name: 09076895071408 pagesthe life and times of Adolf Busch, the "honest musician" | File size: 43.Mb Tully Potter : Adolf Busch: The Life of an Honest Musician (2 Volume Set) before purchasing it in order to gage whether or not it would be worth my time, and all praised Adolf Busch: The Life of an Honest Musician (2 Volume Set): 9 of 10 people found the following review helpful. An Exemplary Life and Musical History of the TimesBy Edgar SelfLong awaited, this biography of violinist, composer, quartet and trio leader, teacher, and conductor Adolf Busch (1891-1952), co-founder of the Marlboro School of Music, is a history of the violin, of concerts and chamber-music in the first half of the 20th century. The texts, research notes, copious illustrations, and appendices detail virtually every concert and associate of Busch's life with full descriptions of his musical and personal relations with Reger, Busoni, Tovey, Roentgens and hundreds of others, including those unsympathetic to him such as Furtwaengler, Sibelius, Edwin Fischer, and Elly Ney, for musical or political reasons. Busch's early immigration from Germany and his part in creating the Lucerne Festival and Palestine Symphony Orchestra, precursor of the Israel Philharmonic, before settling in the U.S.
    [Show full text]
  • Symposium Records Cd 1109 Adolf Busch
    SYMPOSIUM RECORDS CD 1109 The Great Violinists – Volume 4 ADOLF BUSCH (1891-1952) This compact disc documents the early instrumental records of the greatest German-born musician of this century. Adolf Busch was a legendary violinist as well as a composer, organiser of chamber orchestras, founder of festivals, talented amateur painter and moving spirit of three ensembles: the Busch Quartet, the Busch Trio and the Busch/Serkin Duo. He was also a great man, who almost alone among German gentile musicians stood out against Hitler. His concerts between the wars inspired a generation of music-lovers and musicians; and his influence continued after his death through the Marlboro Festival in Vermont, which he founded in 1950. His associate and son-in-law, Rudolf Serkin (1903-1991) maintained it until his own death, and it is still going strong. Busch's importance as a fiddler was all the greater, because he was the last glory of the short-lived German school; Georg Kulenkampff predeceased him and Hitler's decade smashed the edifice built up by men like Joseph Joachim and Carl Flesch. Adolf Busch's career was interrupted by two wars; and his decision to boycott his native country in 1933, when he could have stayed and prospered as others did, further fractured the continuity of his life. That one action made him an exile, cost him the precious cultural nourishment of his native land and deprived him of his most devoted audience. Five years later, he renounced all his concerts in Italy in protest at Mussolini's anti-semitic laws.
    [Show full text]
  • MOZART Piano Quartets Nos. 1 and 2 Clarinet Quintet
    111238 bk Szell-Goodman EU 11/10/06 1:50 PM Page 5 MOZART: Quartet No. 1 in G minor for Piano and Strings, K. 478 20:38 1 Allegro 7:27 2 Andante 6:37 MOZART 3 Rondo [Allegro] 6:34 Recorded 18th August, 1946 in Hollywood Matrix nos.: XCO 36780 through 36785. Piano Quartets Nos. 1 and 2 First issued on Columbia 72624-D through 72626-D in album M-773 MOZART: Quartet No. 2 in E flat major for Piano and Strings, K. 493 21:58 Clarinet Quintet 4 Allegro 7:17 AN • G 5 Larghetto 6:44 DM EO 6 O R Allegro 7:57 Also available O G Recorded 20th August, 1946 in Hollywood G E Matrix nos.: XCO 36786 through 36791. Y S Z First issued on Columbia 71930-D through 71932-D in album M-669 N E N L George Szell, Piano E L Members of the Budapest String Quartet B (Joseph Roisman, Violin; Boris Kroyt, Viola; Mischa Schneider, Cello) MOZART: Quintet in A major for Clarinet and Strings, K. 581 27:20 7 Allegro 6:09 8 Larghetto 5:42 9 Menuetto 6:29 0 Allegretto con variazioni 9:00 Recorded 25th April, 1938 in New York City Matrix nos.: BS 022904-2, 022905-2, 022902-2, 022903-1, 022906-1, 022907-1 1 93 gs and CS 022908-2 and 022909-1. 8-1 rdin First issued on Victor 1884 through 1886 and 14921 in album M-452 946 Reco 8.110306 8.110307 Benny Goodman, Clarinet Budapest String Quartet (Joseph Roisman, Violin I; Alexander Schneider, Violin II, Boris Kroyt, Viola; Mischa Schneider, Cello) Budapest String Quartet Producer and Audio Restoration Engineer: Mark Obert-Thorn Joseph Roisman • Alexander Schneider, Violins Boris Kroyt, Viola Mischa Schneider, Cello 8.111238 5 8.111238 6 111238 bk Szell-Goodman EU 11/10/06 1:50 PM Page 2 Wolfgang Amadeus Mozart (1756-1791): become more apparent than its failings.
    [Show full text]
  • ARSC Journal
    right, in the face of countless moments which evidence the contrary, to find that, of the two, only Adolf could "express the feminine elements in music." None of this, nor the unavoidably utilitarian production of the book, with a rather unattractive typeface, will deter the enthusiast from obtaining this work which augurs well for the author's biography of his subject. Christopher Dyment The only notice that I have yet seen for Tully Potter's Adolf Busch is a listing in The Gramophone's classified ads. It seemed to be one of those brave but dubious projects that come out of the world of self-publishing, far from the gimlet eye of the editor and the constraints of commerce. Increasing my distrust was the fact that the book was being sold for a mere six bucks American--which in a display of mad fatalism I sent across the ocean as naked cash. About two months later the book arrived, and I am happy to report that my lack of faith was utterly unfounded. Indeed, the work promises in its acknowledgements and delivers in fact the richest gathering of material about Busch from the widest array of authoritative sources that I have ever encountered. Among those consulted are a good per­ centage of the (still living) major musicians with connec­ tions to the man and his art: Rudolf Serkin (the dedicatee), Yehudi Menuhin, Artur Balsam, Eugene Istomin, Paul Doktor, Antal Dora ti, August Wenzinger, (the late) Reginald Kell, and many others. A good many familiar figures from the world of recordings and sound archives are also included among the sources--Richard Warren, Barbara Sawka, Thomas Clear, Leo Mack, Fred Maroth, Thomas Heinitz--as well as all the rele­ vant institutional sources and, of course, a large number of family members, students and friends--and such was the char­ acter of Adolf Busch that the last group included Sir Isaiah Berlin, Sir Ernest Gombrich, and Sir Karl Popper among the many friends thanked in the acknowledgements.
    [Show full text]
  • B CHUMER ZEIT PUNKTE Beiträge Zur Stadtgeschichte, Heimatkunde Und Denkmalpflege Nr
    B CHUMER ZEIT PUNKTE Beiträge zur Stadtgeschichte, Heimatkunde und Denkmalpflege Nr. 26 3 Heinz-Günter Spichartz Auf den Spuren der Ziegelbäcker in Grumme, Vöde und Bochum, Stadt und Land 25 Hans Joachim Kreppke "Eine solche Fülle an begnadeten Künstlern . " Bochum und die Brüder Busch - Eine Spurensuche 50 WulfSchade Die Bochumer Ausstellung "Das Fremde und das Eigene" Eine Anmerkung zur "Ausstellungsanmerkung" • Bild aufder Titelseite: Ziegelstreicher bei der Arbeit (Sammlung Spichartz) Editorial Lebe Leserinnen und Leser ! die Wirtschaftsgeschichte Bochums gehört in den Zeitpunkten eher zu den Nischen­ Impressum themen. Dies liegt daran, dass in dieser Disziplin in den vergangeneu Jahren insge­ Bochumer Zeitpunkte samt relativ wenige Aktivitäten zu verzeichnen waren und auch die schreibenden Beiträge zur Stadtgeschichte, Mitglieder der Kortum-Gesellschaftsich eher anderen Bereichen widmen. Umso Heimatkunde und Denkmalpflege Heft 26, Juli 2011 mehr freue ich mich, dass Heinz-Günter Spichartz in diesem Heftdas Ergebnis sei­ ner langjährigen Forschungen zur Geschichte der Bochmner Ziegeleien vorstellt. Herausgeber: Wie Zechen und Stahlwerke gehörte die Ziegelproduktion als Teil der Bauwirtschaft Dr. Dietmar Bleidick Yorckstraße 16, 44789 Bochum während der Industrialisierung zu den zentralen Branchen des Ruhrgebiets. Da ihre Tel.: 0234 335406 Untemehmen jedoch in der Regel vergleichsweise klein waren und teilweiseauch nur e-mail: [email protected] für die Kortum-Gesellschaff Bochum als Saisonbetrieb arbeiteten, haben sie kaum Spuren hinterlassen. Ein Blick auf älte­ e.V., Vereinigung für Heimatkunde, re Karten zeigt jedoch ihre dichte Verteilung über das ganze Stadtgebiet und lässt die Stadtgeschichte und Denkmalschutz Bedeutung des fur den Hoch- wie den Tiefbau bis zum Aufkommen des Betons An­ Graf-Engelbert-Straße 18 44791 Bochum fang des 20.
    [Show full text]
  • The Critical and Artistic Reception of Beethoven's
    THE CRITICAL AND ARTISTIC RECEPTION OF BEETHOVEN’S STRING QUARTET IN C♯ MINOR, OP. 131 Megan Ross A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2019 Approved by: Mark Evan Bonds Tim Carter Annegret Fauser Aaron Harcus Mark Katz ©2019 Megan Ross ALL RIGHTS RESERVED ii ABSTRACT Megan Ross: The Critical and Artistic Reception of Beethoven’s String Quartet in C♯-Minor, Op. 131 (Under the direction of Mark Evan Bonds) Long viewed as the unfortunate products of a deaf composer, Ludwig van Beethoven’s “late” works are now widely regarded as the pinnacle of his oeuvre. While the reception of this music is often studied from the perspective of multiple works, my dissertation offers a different perspective by examining in detail the critical and artistic reception of a single late work, the String Quartet in C♯ minor, Op. 131. Critics have generally agreed that the string quartets best exemplify the composer’s late style, and that of these, Op. 131 stands out as the paradigmatic late quartet. I argue that this is because Op. 131 exhibits the greatest concentration of features typically associated with the late style. It is formally unconventional, with seven movements of grotesquely different proportions, to be played continuously, without a pause, as if to insist on the unity of the whole. It conspicuously avoids a sonata-form movement until its finale, opening instead with an extended fugue; the sonata-form finale, in turn, quotes from the fugue, again reinforcing the notion of formal wholeness.
    [Show full text]
  • Rudolf Serkin Papers Ms
    Rudolf Serkin papers Ms. Coll. 813 Finding aid prepared by Ben Rosen and Juliette Appold. Last updated on April 03, 2017. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2015 June 26 Rudolf Serkin papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 6 Administrative Information........................................................................................................................... 6 Related Materials........................................................................................................................................... 7 Controlled Access Headings..........................................................................................................................7 Collection Inventory...................................................................................................................................... 9 I. Correspondence.................................................................................................................................... 9 II. Performances...................................................................................................................................274
    [Show full text]
  • Norman Rockwell's Shuffleton's
    NORMAN ROCKWELL’S SHUFFLETON’S BARBERSHOP: A MUSICAL-ICONOGRAPHICAL RIDDLE Blake Howe The Graduate Center, CUNY [[email protected]] American Musicological Society – Québec City – 3 November 2007 Slide 1. Shuffleton’s Barbershop (46.25 x 43 inches), The Berkshire Museum, Pittsfield, MA. First reproduced on the cover of the Saturday Evening Post 222, no. 44 (29 April 1950). Slides 2-4. Exterior of Rob Shuffleton’s barbershop on 218 Old Mill Road, East Arlington. Slide 2, late 1930s; slide 3, today (2006); and slide 4, early 1940s. Private collections. Slide 5. Interior of Rob Shuffleton’s barbershop, ca. 1940. Private collection. Slide 6-8. Culture clashes in three Rockwell paintings: Man Looking at Saxophone (1929), Negro in the Suburbs (1967), and Saying Grace (1951). Slide 9. Shuffleton’s Barbershop, detail. Cities and Towns in Southern Vermont (populations taken from 1950 census) Arlington (pop. 1,500): Home of Norman Rockwell, Dorothy Canfield Fisher, and Carl Ruggles. The barbershop of Rob Shuffleton was two miles outside of town, in East Arlington. Bennington (pop. 12,500): The Vermont Symphony Orchestra performed here in 1950. Brattleboro (pop. 11,500): Rockwell spent time here in the summer of 1948. Guilford (pop. 400): Home of the Busch and Serkin families. They spent their first summer here in 1945; Adolf Busch purchased property in 1948. The town is closely associated with Brattleboro. Marlboro (pop. 300): Site of Marlboro College (est. 1946) and the Marlboro School of Music (est. 1950). Howe/Shuffleton’s Barbershop /2 Figure 1. Compositions for clarinet, violin, and cello, written before 1950. If multiple editions exist, the ones closest to 1950 are listed.
    [Show full text]
  • Fritz and Adolf Busch and Rudolf Serkin Play Max Reger’S Music in the English-Speaking Lands
    Tully Potter (Hildenborough (Kent)/Großbritannien) Exporting Reger: Fritz and Adolf Busch and Rudolf Serkin play Max Reger’s Music in the English-speaking Lands Background For the brothers Fritz and Adolf Busch, the composer of their own time who loomed largest was Max Reger. Contact with this extraordinary char- acter was inevitable, especially for Adolf, because his violin teacher at the Cologne Conservatory, Bram Eldering, his mentor and future father-in-law Hugo Grüters and his composition teacher Fritz Steinbach were friends of Reger. In any case, Busch enjoyed his chamber and organ music at first acquaintance. A first encounter with this larger-than-life character came on 7 February 1905, when the composer visited the Conservatory: in the Great Hall, Reger played his C major Violin Sonata, Op. 72, with Eldering and his Variations and Fugue on a Theme of Beethoven, Op. 86, with the local pianist Henriette Schelle at the other keyboard.1 It was not long be- fore Reger’s influence was felt in Adolf Busch’s own compositions, and he remained a Reger disciple for the rest of his life. At this stage, Fritz Busch was not officially at the Conservatory, although he infiltrated the concerts when he could and absorbed what was going on through Adolf. For Fritz, Reger’s orchestral compositions would be the initial pull; but, as Adolf’s early sonata partner, he also became involved with the chamber music. The full revelation of Reger’s genius dated from October 1905, when Fritz was 15 and Adolf was 14: what overwhelmed the boys was the Sinfonietta in A, Op.
    [Show full text]
  • Ludwig Van Beethoven (IJJO-182J)
    THE METROPOLITAN MUSEUM OF ART Chamber Music Series 1946-1947 String Quartets by Ludwig van Beethoven Performed by the Busch Quartet GROUP III WEDNESDAY EVENING, FEBRUARY 19, 1947 AT 8:30 IN THE LECTURE HALL THE BUSCH QUARTET Adolf Busch, First Violin Ernest Drucker, Second Violin Hugo Gottesmann, Viola Hermann Busch, Cello P R O G R A M Ludwig van Beethoven (IJJO-182J) String Quartet in B flat major, Op. 18, No. 6 (1801) I. Allegro con brio II. Adagio, ma non troppo III. Scherzo, allegro—Trio IV. Adagio ("La Malinconia")—Allegretto quasi Allegro String Quartet in F major, Op. 135 (1826) I. Allegretto II. Vivace III. Lento assai, cantante e tranquillo IV. Grave, ma non troppo tratto—Allegro ("Der schwer gefasste Entschluss") I N TERMISSION String Quartet in C sharp minor, Op. 131 (1826) Adagio, ma non troppo e molto espressivo — Allegro molto vivace—Allegro moderato—Andante, ma non troppo e molto cantabile—Presto—Adagio quasi un poco andante—Allegro NOTE Opus i8} No. 6. This string quartet, in B fiat major, was published with the five other quartets forming opus 18 in Vienna in 1801. The first movement is in sonata form. The second movement is in ternary song form: the exposition is followed by a middle section built on entirely different material; this in turn is followed by the recapitula­ tion of the exposition; and the short coda takes up ideas from the middle section. The last movement consists of a slow introduction, entitled "La Malinconia," and a vigorous rondo which, in one of its episodes, employs the theme of the introduction.
    [Show full text]