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Hercules: Celebrity Strongman Or Kindly Deliverer?
Hercules: Celebrity Strongman or Kindly Deliverer? BY J. LARAE FERGUSON When Christoph Willibald Gluck’s French Alceste premiered in Paris on 23 April 1776, the work met with mixed responses. Although the French audience loved the first and second acts for their masterful staging and thrilling presentation, to them the third act seemed unappealing, a mere tedious extension of what had come before it. Consequently, Gluck and his French librettist Lebland Du Roullet returned to the drawing board. Within a mere two weeks, however, their alterations were complete. The introduction of the character Hercules, a move which Gluck had previously contemplated but never actualized, transformed the denouement and eventually brought the opera to its final popular acclaim. Despite Gluck’s sagacious wager that adding the character of Hercules would give to his opera the variety demanded by his French audience, many of his followers then and now admit that something about the character does not fit, something of the essential nature of the drama is lost by Hercules’ abrupt insertion. Further, although many of Gluck’s supporters maintain that his encouragement of Du Roullet to reinstate Hercules points to his acknowledged desire to adhere to the original Greek tragedy from which his opera takes its inspiration1, a close examination of the relationship between Gluck’s Hercules and Euripides’ Heracles brings to light marked differences in the actions, the purpose, and the characterization of the two heroes. 1 Patricia Howard, for instance, writes that “the difference between Du Roullet’s libretto and Calzabigi’s suggests that Gluck might have been genuinely dissatisfied at the butchery Calzabigi effected on Euripides, and his second version was an attempt not so much at a more French drama as at a more classically Greek one.” Patricia Howard, “Gluck’s Two Alcestes: A Comparison,” Musical Times 115 (1974): 642. -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Verklärte Nacht Works for Piano Trio Osiris Trio
ARNOLD SCHÖNBERG / KARL WEIGL Verklärte Nacht Works for Piano Trio Osiris Trio 1 ARNOLD SCHÖNBERG / KARL WEIGL Verklärte Nacht Works for Piano Trio Osiris Trio Ellen Corver piano Peter Brunt violin Larissa Groeneveld cello ARNOLD SCHÖNBERG (1874-1951) In September 1899, Arnold history. Schönberg’s starting point [1] Verklärte Nacht op. 4 (1899) 31:46 Schönberg was on vacation in the was one of the poems from Dehmel’s Arranged for piano trio by Eduard Steuermann Austrian village of Payerbach am Weib und Welt cycle, which raised Semmering with his friend, Alexander a furore following its publication in KARL WEIGL (1881-1949) von Zemlinsky, and Alexander’s sister 1896: conservative critics found the Piano Trio (1938-39) Mathilde. Schönberg was head over poems to be erotic, immoral and even [2] Allegro moderato 9:47 heels in love with Mathilde (they blasphemous. [3] Andante 8:27 were married 2 years later) and had [4] Allegro molto 5:09 also fallen completely under the Schönberg had already composed spell of the work of the German poet some songs to poems by Dehmel in Richard Dehmel – famous but at 1897, but it was not until 1899 – his total time 55:10 the same time highly controversial, ‘Dehmel year’ – that he felt fully up fêted by some and vilified by others. to the task of setting the violent Schönberg’s own development as emotions of this poetry to music in a a composer was rapid indeed, as convincing way: as well as Verklärte he successfully transformed the Nacht, he set about working on eight influences of Brahms and Wagner songs based on Dehmel’s poems. -
I Urban Opera: Navigating Modernity Through the Oeuvre of Strauss And
Urban Opera: Navigating Modernity through the Oeuvre of Strauss and Hofmannsthal by Solveig M. Heinz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Germanic Languages and Literatures) in the University of Michigan 2013 Doctoral Committee: Associate Professor Vanessa H. Agnew, Chair Associate Professor Naomi A. André Associate Professor Andreas Gailus Professor Julia C. Hell i For John ii Acknowledgements Writing this dissertation was an intensive journey. Many people have helped along the way. Vanessa Agnew was the most wonderful Doktormutter a graduate student could have. Her kindness, wit, and support were matched only by her knowledge, resourcefulness, and incisive critique. She took my work seriously, carefully reading and weighing everything I wrote. It was because of this that I knew my work and ideas were in good hands. Thank you Vannessa, for taking me on as a doctoral rookie, for our countless conversations, your smile during Skype sessions, coffee in Berlin, dinners in Ann Arbor, and the encouragement to make choices that felt right. Many thanks to my committee members, Naomi André, Andreas Gailus, and Julia Hell, who supported the decision to work with the challenging field of opera and gave me the necessary tools to succeed. Their open doors, email accounts, good mood, and guiding feedback made this process a joy. Mostly, I thank them for their faith that I would continue to work and explore as I wrote remotely. Not on my committee, but just as important was Hartmut. So many students have written countless praises of this man. I can only concur, he is simply the best. -
View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c. -
Walter Frisch, Ed. Brahms and His World, Princeton: Princeton University Press, 1990
Document generated on 09/23/2021 8:36 a.m. Canadian University Music Review Revue de musique des universités canadiennes --> See the erratum for this article Walter Frisch, ed. Brahms and His World, Princeton: Princeton University Press, 1990. 223 pp. ISBN 0-691-09139-0 (cloth), ISBN 0-691-02713-7 (paper) James Deaville Volume 12, Number 1, 1992 URI: https://id.erudit.org/iderudit/1014221ar DOI: https://doi.org/10.7202/1014221ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this review Deaville, J. (1992). Review of [Walter Frisch, ed. Brahms and His World, Princeton: Princeton University Press, 1990. 223 pp. ISBN 0-691-09139-0 (cloth), ISBN 0-691-02713-7 (paper)]. Canadian University Music Review / Revue de musique des universités canadiennes, 12(1), 149–154. https://doi.org/10.7202/1014221ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1991 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ was not a first language. Descriptive accounts and, even worse, abstract ideas in several papers (especially those by Czechanowska, Reinhard, and Yeh) are unclear, seemingly muddied by the process of translation. -
“Tragic” Mistake
UNDOING A “TRAGIC” MISTAKE DETERMINING THE INNER-MOVEMENT ORDER OF MAHLER’S SIXTH SYMPHONY A critical examination of the evidence by Jerry Bruck New York City October 19th, 2002 A publication of THE KAPLAN FOUNDATION 450 Park Avenue New York City © Jerry Bruck, 2002 I. OVERVIEW Nearly a century has passed since Gustav Mahler composed his Sixth Symphony, yet confusion still persists among conductors, scholars and biographers regarding the order of its inner movements. Mahler began work on the symphony in 1903, first composing a Scherzo and an Andante as the central pair of its eventual four-movement structure, framing them with the remaining movements the following year. He then reversed this “S-A” order of inner movements before the symphony’s premiere in 1906, and thereafter never reverted to their previous arrangement. It was not until 1919, almost a decade after Mahler’s death, that the conductor Willem Mengelberg queried Mahler’s widow about the order of these inner movements. Her response: “First Scherzo, then Andante” prompted him to alter the “A-S” order of his conductor’s score, igniting a controversy that has spanned the decades since. With the publication in 1963 of the first Critical Edition of the Sixth by the Internationale Gustav Mahler Gesellschaft (IGMG), the matter seemed settled at last. In his introduction, IGMG founder-editor Erwin Ratz stated that the thematic similarities between the symphony’s opening movement and its Scherzo, commented upon during rehearsals for its premiere, had prompted Mahler to succumb to the advice of “outside influences” to transpose the Sixth’s inner movements. -
Violinistsjourn00khunrich.Pdf
University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Felix Khuner A VIOLINIST'S JOURNEY FROM VIENNA'S KOLISCH QUARTET TO THE SAN FRANCISCO SYMPHONY AND OPERA ORCHESTRAS With an Introduction by Tom Heimberg Interviews Conducted by Caroline Crawford in 1989-1990 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Felix Khuner dated December 7, 1989. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
Juilliard String Quartet
SoNoKLECT '06-'07 A Concert Series of Modern Music TERRY VosBEIN, DIRECTOR Juilliard String Quartet The Complete Bart6k Quartets WILSON HALL LENFEST CENTER FOR 'IHE ARTS WASHINGTON AND LEE UNIVERSITY 25 & 26 MAY 2007 8:30 P.M. FRIDAY NI GHT First String Quartet , Op. 7, Sz . 40 (1908) Lento Allegretto Int rod uzione: allegro Allegro vivace pr esto Third String Quartet, Sz. 85 (1927) Prim a parte- Moderat o Second a par te- Allegro Recapitul azione della prim a part e: Mode rato-a ttacca Cod a: Allegro molto - INTERMISSION - Fifth String Quartet, Sz. 102 (1934) Allegro Ad agio rnolto Scherzo: Alla bulga rese- Vivace And ante Finale: Allegro vivace 2 SATURDAY NIGHT Second String Quartet, Op. 17, Sz. 67 (1915-17) Moderato Allegro molto capriccioso Lento Fourth String Quartet, Sz. 91 (1928) Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto - INTERMISSION - Sixth String Quartet (1939) Mesto: Piu mosso, pesante-Vivace Mes to-Marcia Mesto: Burletta-Moderato Mesto 3 Bart6k: A Juilliard Quartet Legacy Celebrati ng its sixtieth ann iversary, the Juilli ard String Qu artet re-creates a se minal moment in its history: the first cycle of the six Bart6k quart ets to be perfo rmed in the United States. Seven performances of the compl ete set across the coun try and in Japan dur ing the anni versary seas on, 2006-07, wi ll recall the landmark 1948 premiere at Tanglewoo d. The Bart6k cycle is one of wha t violist Samu el Rhodes, the ensemble's senior member, describes as "common threads that have been supr emely important to the Juilliard Strin g Qu artet." These long-standing interes ts also include the Beethoven quar tets; commissioning important contemp orary compo sers, mo stly Ameri can, to extend the quart et repert oire and tradition ; and a stron g commitm ent to teaching, both chamb er mu sic and the players' ind ividual instrum ents. -
Knolwedge Acquisi$On from Music Digital Libraries
Knolwedge Acquision from Music Digital Libraries Sergio Oramas, Mohamed Sordo Mo0vaon • Musicological Knowledge is hidden between the lines • Machines don’t know how to read Why Knowledge Acquisi0on? • Obtain knowledge automacally • Make complex ques0ons • Visualize the informaon • Improve navigaon • Share knowledge 4 Musical Libraries Musical Libraries digital recording, scan Musical Libraries OCR, manual transcrip0on digital recording, scan Musical Libraries Informaon Extrac0on, seman0c annotaon OCR, manual transcrip0on digital recording, scan Musical Libraries Informaon Extrac0on, seman0c annotaon Current DL OCR, manual transcrip0on digital recording, scan Musical Libraries Web search Informaon Extrac0on, seman0c annotaon Current DL OCR, manual transcrip0on digital recording, scan Musical Libraries Web search Informaon Extrac0on, seman0c annotaon Current DL OCR, manual transcrip0on digital recording, scan Seman0c Web • The Semanc Web aims at conver0ng the current web, dominated by unstructured and semi-structured documents into a web of linked data. • Achievements useful for Digital Libraries – Common framework for data representaon and interconnec0on (RDF, ontologies) – Seman0c technologies to annotate texts (En0ty Linking) – Language for complex queries (SPARQL) Wikipedia and DBpedia - Digital Encyclopedia - Knowledge Base - Unstructured - Structured - Keyword search - Query search 13 14 15 DBpedia • Dbpedia example queries – Composers born in Vienna in XVIII Century – American jazz musicians that have wri\en songs recorded by RCA -
Catalogo Per Autori Ed Esecutori
Abel, Carl Friedrich Quartetti, archi, Op. 8, No. 5, la maggiore The Salomon Quartet The Schein String Quartet Addy, Obo Wawshishijay Kronos Quartet Adorno, Theodor Wiesengrund Zwei Stucke fur Strechquartett op. 2 Buchberger Quartett Albert, Eugene : de Quartetti, archi, Op. 7, la minore Sarastro Quartett Quartetti, archi, Op. 11, mi bemolle maggiore Sarastro Quartett Alvarez, Javier Metro Chabacano Cuarteto Latinoamericano 1 Alwyn, William Quartetti, archi, n. 3 Quartet of London Rhapsody for String Quartet Arditti string quartet Andersson, Per Polska fran Hammarsvall, Delsbo The Follinger-Hedberg Quartet The Galli Quintet The Goteborg Quartet The Halsingborg Quartet The Kjellstrom Quartet The Skane Quartet Andriessen, Hendrik Il pensiero Raphael Quartet Aperghis, Georges Triangle Carre Trio Le Cercle Apostel, Hans Erich Quartetti, archi, Op. 7 LaSalle Quartet Arenskij, Anton Stepanovic Quartetti, archi, op. 35 Paul Rosenthal, Vl Matthias Maurer, Vla Godfried Hoogeveen, Vlc Nathaniel Rosen, Vlc Arriaga y Balzola, Juan Crisostomo Jacobo Antonio : de Quartetti, archi, No. 1, re minore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet Quartetti, archi, No. 2, la maggiore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet 2 Quartetti, archi, Nr. 3, mi bemolle maggiore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet Atterberg, Kurt Quartetti, archi, Op. 11 The Garaguly Quartet Aulin, Tor Vaggvisa The Follinger-Hedberg Quartet The Galli Quintet The Goteborg Quartet The Halsingborg Quartet The Kjellstrom