Schubert's Recapitulation Scripts – Part II
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Franz Schubert's Impromptus D. 899 and D. 935: An
FRANZ SCHUBERT’S IMPROMPTUS D. 899 AND D. 935: AN HISTORICAL AND STYLISTIC STUDY A doctoral document submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Keyboard Studies Division of the College-Conservatory of Music 2005 by Ina Ham M.M., Cleveland Institute of Music, 1999 M.M., Seoul National University, 1996 B.M., Seoul National University, 1994 Committee Chair: Dr. Melinda Boyd ABSTRACT The impromptu is one of the new genres that was conceived in the early nineteenth century. Schubert’s two sets of impromptus D. 899 and D. 935 are among the most important examples to define this new genre and to represent the composer’s piano writing style. Although his two sets of four impromptus have been favored in concerts by both the pianists and the audience, there has been a lack of comprehensive study of them as continuous sets. Since the tonal interdependence between the impromptus of each set suggests their cyclic aspects, Schubert’s impromptus need to be considered and be performed as continuous sets. The purpose of this document is to provide useful resources and performance guidelines to Schubert’s two sets of impromptus D. 899 and D. 935 by examining their historical and stylistic features. The document is organized into three chapters. The first chapter traces a brief history of the impromptu as a genre of piano music, including the impromptus by Jan Hugo Voŕišek as the first pieces in this genre. -
6 a Büchsal Aufm Rücket 8 Abendlied 260 Abends 78 Abschied Vom Dirndel
— 434 — Inhalts-Verzeichnis. A Bleaml, das schön blühn soll ' 6 A Busserl ist a schnuckrig Ding . 7 A Büchsal aufm Rücket 8 Abendlied 7 260 Abends 78 Abschied vom Dirndel 270 Abschied nehmen, sagt er . ., ., ' 314 Abschied (Brüder sammelt euch) 51 Abschied (So leb denn wohl) 237 Ach, das Exmatrikulieren 9 Ach Gottes Segen 10 Ach' Gott, wie weh tut scheiden 314 Ach wie ists möglich denn 316 Alle Jahre wieder . 11 Alle Vögel sind schon da 13 Alles neu macht der Mai 12 Alles schweige, Jeder neige ernsten Tönen. - 14 Alles, was wir lieben, lebe 13 Alleweil fidel, fidel 432 Als der Großvater die ©ro&inuttex: nahm . : . 316 Als die Römer frech geworden 16 Ms einst der Mensch im Paradies ; 18 Ms ich an einem Nachmittag . - 20 Als ich an einem Somrnertag 318 Äls ich auf meiner Bleiche .x ' . 17 Als ich noch im Flügelkleide ..." • . 19 Als Noah aus dem Kasten war . 21 Als Wir 1870 22 Als wir jüngst in Negensburg 24 Alt Heidelberg, du feine . \ 25 Am Brunnen -vor dem Tore 26 Am Meer 372 Andreas Hofers Tod 362 Ännchen von Tharau . .• 11 An Alexis send ich dich 26 An das Deutsche Reich 427 Art das Baterland . • . 82 An dem schönsten Frühlings morgen 28 An den Mond 128 An den Rhein, an den Rhein . 29 An der Quelle wß der Knabe 30 An der Saale Hellem Strande 29 Au der Weichsel gegen Lsten 31 An die Freude IIS Bibliografische Informationen digitalisiert durch http://d-nb.info/572341970 — 435 — An Rose 271 Arbeit macht das Leben süß 32 Arm und klein ist meine Hütte 33 Auch ich war ein Jüngling 319 Auf, auf, ihr Brüder, hebt das Glas 430 Auf Bergen, da wehen die Winde so frisch 405 Auf, Brüder, auf, beginnt das Lied der'Weihe 412 Auf d' Alma gehn ma aufa 34 Auf de Berge lebt man frei ~ 35 Auf,bem Karzer lebt sichs fein 36 Aus dem Schlosse von Gradesco . -
Day 17 AP Music Handout, Scale Degress.Mus
Scale Degrees, Chord Quality, & Roman Numeral Analysis There are a total of seven scale degrees in both major and minor scales. Each of these degrees has a name which you are required to memorize tonight. 1 2 3 4 5 6 7 1 & w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic A triad can be built upon each scale degree. w w w w & w w w w w w w w 1. tonicw 2.w supertonic 3.w mediant 4. subdominant 5. dominant 6. submediant 7. leading tone 1. tonic The quality and scale degree of the triads is shown by Roman numerals. Captial numerals are used to indicate major triads with lowercase numerals used to show minor triads. Diminished triads are lowercase with a "degree" ( °) symbol following and augmented triads are capital followed by a "plus" ( +) symbol. Roman numerals written for a major key look as follows: w w w w & w w w w w w w w CM: wI (M) iiw (m) wiii (m) IV (M) V (M) vi (m) vii° (dim) I (M) EVERY MAJOR KEY FOLLOWS THE PATTERN ABOVE FOR ITS ROMAN NUMERALS! Because the seventh scale degree in a natural minor scale is a whole step below tonic instead of a half step, the name is changed to subtonic, rather than leading tone. Leading tone ALWAYS indicates a half step below tonic. Notice the change in the qualities and therefore Roman numerals when in the natural minor scale. -
Euphonium Repertoire List Title Composer Arranger Grade Air Varie
Euphonium Repertoire List Title Composer Arranger Grade Air Varie Pryor Smith 1 Andante and Rondo Capuzzi Catelinet 1 Andante et Allegro Ropartz Shapiro 1 Andante et Allegro Barat 1 Arpeggione Sonata Schubert Werden 1 Beautiful Colorado DeLuca 1 Believe Me If All Those Endearing Young Charms Mantia Werden 1 Blue Bells of Scotland Pryor 1 Bride of the Waves Clarke 1 Buffo Concertante Jaffe Centone 1 Carnival of Venice Clark Brandenburg 1 Concert Fantasy Cords Laube 1 Concert Piece Nux 1 Concertino No. 1 in Bb Major Op. 7 Klengel 1 Concertino Op. 4 David 1 Concerto Capuzzi Baines 1 Concerto in a minor Vivaldi Ostrander 1 Concerto in Bb K.191 Mozart Ostrander 1 Eidolons for Euphonium and Piano Latham 1 Fantasia Jacob 1 Fantasia Di Concerto Boccalari 1 Fantasie Concertante Casterede 1 Fantasy Sparke 1 Five Pieces in Folk Style Schumann Droste 1 From the Shores of the Mighty Pacific Clarke 1 Grand Concerto Grafe Laude 1 Heroic Episode Troje Miller 1 Introduction and Dance Barat Smith 1 Largo and Allegro Marcello Merriman 1 Lyric Suite White 1 Mirror Lake Montgomery 1 Montage Uber 1 Morceau de Concert Saint-Saens Nelson 1 Euphonium Repertoire List Morceau Symphonique Op. 88 Guilmant 1 Napoli Bellstedt Simon 1 Nocturne and Rondolette Shepherd 1 Partita Ross 1 Piece en fa mineur Morel 1 Rhapsody Curnow 1 Rondo Capriccioso Spears 1 Sinfonia Pergolesi Sauer 1 Six Sonatas Volume I Galliard Brown 1 Six Sonatas Volume II Galliard Brown 1 Sonata Whear 1 Sonata Clinard 1 Sonata Besozzi 1 Sonata White 1 Sonata Euphonica Hartley 1 Sonata in a minor Marcello -
Octet D. 803 for Strings, Clarinet, Bassoon and Horn Octet D
Octet D. 803 for strings, clarinet, bassoon and horn Octet D. 72 for oboes, clarinets, bassoons and how Schubert Ensemble, Budapest Franz Schubert (1797 - 1828) Octets, D. 803 and D. 72 Franz Schubert was born in 1797, the son of a Vienna schoolmaster, and had his education as a chorister of the Imperial Chapel at the Staatskonvikt. At school and at home he had an active musical life, both as a player and as a composer, and when his voice broke and he was offered the means to continue his academic education, he decided, instead, to train as a teacher, thus being able to devote more time to music. By the age of eighteen he had joined his father in the schoolroom, while continuing to compose and to study with the old court composer Antonio Salieri. In 1816 he moved away from home, sharing rooms with a friend and the following years found him generally in the company of friends, with an occasional resumption of teaching, an advocation for which he had no great talent, at least in the classroom. Schubert's brief career continued in Vienna, and while there were occasional commissions and some of his works were published, there was never the opportunity of the kind of distinguished patronage that Beethoven had had and still enjoyed, nor the possibility of an official position in the musical establishment of the city. It was February 1828 before Schubert was able to have a concert devoted to his work, an event that proved both successful and profitable, but by the autumn his health had weakened, the consequence of a venereal infection contracted six years earlier. -
Discover Seventh Chords
Seventh Chords Stack of Thirds - Begin with a major or natural minor scale (use raised leading tone for chords based on ^5 and ^7) - Build a four note stack of thirds on each note within the given key - Identify the characteristic intervals of each of the seventh chords w w w w w w w w % w w w w w w w Mw/M7 mw/m7 m/m7 M/M7 M/m7 m/m7 d/m7 w w w w w w % w w w w #w w #w mw/m7 d/wm7 Mw/M7 m/m7 M/m7 M/M7 d/d7 Seventh Chord Quality - Five common seventh chord types in diatonic music: * Major: Major Triad - Major 7th (M3 - m3 - M3) * Dominant: Major Triad - minor 7th (M3 - m3 - m3) * Minor: minor triad - minor 7th (m3 - M3 - m3) * Half-Diminished: diminished triad - minor 3rd (m3 - m3 - M3) * Diminished: diminished triad - diminished 7th (m3 - m3 - m3) - In the Major Scale (all major scales!) * Major 7th on scale degrees 1 & 4 * Minor 7th on scale degrees 2, 3, 6 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 7 - In the Minor Scale (all minor scales!) with a raised leading tone for chords on ^5 and ^7 * Major 7th on scale degrees 3 & 6 * Minor 7th on scale degrees 1 & 4 * Dominant 7th on scale degree 5 * Half-Diminished 7th on scale degree 2 * Diminished 7th on scale degree 7 Using Roman Numerals for Triads - Roman Numeral labels allow us to identify any seventh chord within a given key. -
THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13. -
Andras Schiff Franz Schubert Sonatas & Impromptus
Andras Schiff Franz Schubert Sonatas & Impromptus -• ECM NEW SERIES Franz Schubert Vier Impromptus D 899 Sonate in c-Moll D 958 Drei Klavierstücke D 946 Sonate in A-Dur D 959 Andräs Schiff Fortepiano Franz Schubert (1797-1828) II 1-4 Vier Impromptus D899 1-3 Drei Klavierstücke D 946 Allegro molto moderato in c-Moll 9:32 Allegro assai in es-Moll 9:12 Allegro in Es-Dur 4:39 Allegretto in Es-Dur 11 :46 Andante in Ges-Dur 4:59 Allegro in C-Dur 5:31 Allegretto in As-Dur 7: 21 4-7 Sonate in A-Dur D959 5-8 Sonate in c-Moll D958 Allegro 15:45 Allegro 10:35 Andantino 7:13 Adagio 7:00 Scherzo. Allegro vivace - Trio 5:30 Menuett. Allegretto - Trio 3:04 Rondo. Allegretto 12:35 Allegro 9:13 Beethoven's sphere "Secretly, I hope to be able to make something of myself, but who can do any thing after Beethoven?" Schubert's remark, allegedly made to his childhood friendJosef von Spaun, gives us an indication of how strongly he feit himself to be in the shadow of the great composer he was too inhibited ever to approach. For his part, Beethoven cannot have been unaware of Schubert's presence in Vienna. The younger composer's first piano sonata to appear in print - the Sonata in A minor D 845 - bore a dedication to Beethoven's most generous and ardent pa tron, Archduke Rudolph of Austria. Moreover, the work was favourably reviewed in the Leipzig Al/gemeine musikalische Zeitung - a journal which Beethoven is known to have read. -
The Functions of Harmonic Motives in Schubert's Sonata Forms1 Brian
The Functions of Harmonic Motives in Schubert’s Sonata Forms1 Brian Black Schubert’s sonata forms often seem to be animated by some hidden process that breaks to the surface at significant moments, only to subside again as suddenly and enigmatically as it first appeared. Such intrusions usually highlight a specific harmonic motive—either a single chord or a larger multi-chord cell—each return of which draws in the listener, like a veiled prophecy or the distant recall of a thought from the depths of memory. The effect is summed up by Joseph Kerman in his remarks on the unsettling trill on Gß and its repeated appearances throughout the first movement of the Piano Sonata in Bß major, D. 960: “But the figure does not develop, certainly not in any Beethovenian sense. The passage... is superb, but the figure remains essentially what it was at the beginning: a mysterious, impressive, cryptic, Romantic gesture.”2 The allusive way in which Schubert conjures up recurring harmonic motives stamps his music with the mystery and yearning that are the hallmarks of his style. Yet these motives amount to much more than oracular pronouncements, arising without any apparent cause and disappearing without any tangible effect. Quite the contrary—they are actively involved in the unfolding of the 1 This article is dedicated to William E. Caplin. I would also like to thank two of my colleagues at the University of Lethbridge, Deanna Oye and Edward Jurkowski, for their many helpful suggestions during the article’s preparation. 2 Joseph Kerman “A Romantic Detail in Schubert’s Schwanengesang,” in Walter Frisch (ed.), Schubert: Critical and Analytical Perspectives, (Lincoln: University of Nebraska Press, 1986): 59. -
Thesis and the Work Presented in It Is Entirely My Own
! ! ! ! ! Christopher Tarrant! Royal Holloway, University! of London! ! ! Schubert, Sonata Theory, Psychoanalysis: ! Traversing the Fantasy in Schubert’s Sonata Forms! ! ! Submission for the Degree of Ph.D! March! 2015! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! "1 ! Declaration of! Authorship ! ! I, Christopher Tarrant, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stat- !ed. ! ! ! Signed: ______________________ ! Date: March 3, 2015# "2 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! For Mum and Dad "3 Acknowledgements! ! This project grew out of a fascination with Schubert’s music and the varied ways of analysing it that I developed as an undergraduate at Lady Margaret Hall, University of Oxford. It was there that two Schubert scholars, Suzannah Clark and Susan Wollen- berg, gave me my first taste of the beauties, the peculiarities, and the challenges that Schubert’s music can offer. Having realised by the end of the course that there was a depth of study that this music repays, and that I had only made the most modest of scratches into its surface, I decided that the only way to satisfy the curiosity they had aroused in me was to continue studying the subject as a postgraduate.! ! It was at Royal Holloway that I began working with my supervisor, Paul Harper-Scott, to whom I owe a great deal. Under his supervision I was not only introduced to Hep- okoskian analysis and Sonata Theory, which forms the basis of this thesis, but also a bewildering array of literary theory that sparked my imagination in ways that I could never have foreseen. -
Rondo Form.Pdf
11/19/2008 The Classical Rondo The classical rondo features a recurring refrain called the rondo theme (or the principal theme), separated by digressions called episodes The classical rondo is a light and spritely type of piece with a tuneful and easily recognizable rondo theme It is often found as the final movement in symphonies, Rondo Form sonatas, string quartets and concertos The Rondo Theme The Episodes The rondo theme is always stated in the tonic key The episodes usually contrast with the rondo theme, whenever it returns although they may use similar motives The phrase structure of the rondo theme is usually quite The episodes are often in closely related keys—for clear, with regular phrase lengths forming a harmonically example, the first episode tends to be in the dominant closed period key or the relative major Sometimes when the rondo theme is repeated, it is varied The episodes may either be thematic (presenting their slightly—this is done to prevent monotony own contrasting themes) or developmental (developing motives from the rondo theme in several keys) Often, the rondo theme is shortened when it returns The main parts of the rondo are sometimes connected by short transitions and the rondo as a whole is often followed by a coda Five- and Seven-Part Rondos Sonata-Rondo Form The most common rondo types are five-part (A B A C A) Sonata-Rondo form is an interesting combination of sonata or (A B A B’ A) and seven-part (A B A C A B’ A)—with A form and rondo form representing the recurring rondo theme It is essentially -
Beethoven by George Alexander Fischer
The Project Gutenberg eBook, Beethoven, by George Alexander Fischer This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Beethoven Author: George Alexander Fischer Release Date: February 22, 2005 [eBook #15141] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF THE PROJECT GUTENBERG EBOOK BEETHOVEN*** E-text prepared by Juliet Sutherland, Karina Aleksandrova, Ralph Janke, and the Project Gutenberg Online Distributed Proofreading Team Note: Project Gutenberg also has an HTML version of this file which includes sound files and the original illustrations. See 15141-h.htm or 15141-h.zip: (http://www.gutenberg.net/dirs/1/5/1/4/15141/15141-h/15141-h.htm) or (http://www.gutenberg.net/dirs/1/5/1/4/15141/15141-h.zip) Transcriber's Notes: 1. Corrected spelling of Maelzel's invention in one place from 'Panharmonican' to 'Panharmonicon'. 2. In the index, corrected 'Krumpholtz' to 'Krumpholz', 'Origen of the dance' to 'Origin of the dance', and 'Neafe' to 'Neefe'. BEETHOVEN A Character Study together with Wagner's Indebtedness to Beethoven by GEORGE ALEXANDER FISCHER Es kann die Spur von meinen Erdentagen Nicht in Aeonen untergehn. GOETHE. New York Dodd, Mead and Company The Trow Press, New York 1905 [Illustration: BEETHOVEN] TO THE MEMORY OF My father CONTENTS CHAPTER I. Early Promise II. The Morning of Life III. The New Path IV.