DOCSLIB.ORG

The Seven Last Words of Christ

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Seven Last Words of Christ Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 The seven last words of Christ : a comparison of three French romantic musical settings by Gounod, Franck, and Dubois Vaughn Roste Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Roste, Vaughn, "The es ven last words of Christ : a comparison of three French romantic musical settings by Gounod, Franck, and Dubois" (2013). LSU Doctoral Dissertations. 3987. https://digitalcommons.lsu.edu/gradschool_dissertations/3987 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SEVEN LAST WORDS OF CHRIST: A COMPARISON OF THREE FRENCH ROMANTIC MUSICAL SETTINGS BY GOUNOD, FRANCK, AND DUBOIS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Vaughn Roste B.A., Augustana University College, 1997 B.B.A, Canadian Lutheran Bible Institute, 1997 M.Mus., University of Alberta, 2003 May 2013 ii DEDICATION Writing a dissertation is a project not completed by one person but by several. I need to thank my family—Mom, Dad, Erica, Ben, Finn, and Anders—for their love and undying support through this convoluted and seemingly never-ending process. I have received encouragement from more friends and those who have already survived the process along the way than I can name, but fellow-LSU grad Dr. Susan Tusing and Dr. John Ratledge have gone beyond the call of duty and deserve special mention. My relationship with Joshua Martynuik means the world to me. Keith Van has been there for me more times than I can count. But if there is one person to whom I owe my sanity more than anyone else through this process, it would be Randy Rieves. “What language shall I borrow to thank thee, dearest friend?” First two lines of the third verse of “O Sacred Head Now Wounded” Attributed to Bernard of Clairvaux (1091–1153), translated by Paul Gerhard (1607–1676) ii TABLE OF CONTENTS ABSTRACT................................................................................................................................................. iv CHAPTER ONE: THE SEVEN LAST WORDS—AN INTRODUCTION....................................................1 CHAPTER TWO: TEXTUAL SOURCES FOR THE SEVEN LAST WORDS.............................................6 CHAPTER THREE: THE SEVEN LAST WORDS AS A PROBLEMATIC MUSICAL GENRE ..................................43 CHAPTER FOUR: GOUNOD’S LES SEPT PAROLES DE NOTRE SEIGNEUR JESUS-CHRIST SUR LA CROIX .......................51 CHAPTER FIVE: CÉSAR FRANCK’S SEPT PAROLES DU CHRIST SUR LA CROIX .........................82 CHAPTER SIX: THEODORE DUBOIS’ LES SEPT PAROLES DU CHRIST .......................................117 CHAPTER SEVEN: A COMPARISON OF THE SETTINGS BY GOUNOD, FRANCK, AND DUBOIS............................................................................................................168 BIBLIOGRAPHY .....................................................................................................................................191 APPENDIX................................................................................................................................................197 VITA..........................................................................................................................................................199 iii ABSTRACT The Seven Last Words of Christ—those sayings uttered by Jesus between his crucifixion and death as recorded in the Gospels—have long been of interest to liturgists and composers alike. Many composers have been inspired by these texts, and this study examines three settings, by Charles Gounod, César Franck, and Theodore Dubois. All were French composers who set this text in Latin during the Romantic era. Not only were these works composed in the same temporal vicinity, within twelve years, but they were also all composed within the same geographic vicinity, Paris. Franck and Dubois even worked together at the same church. The possibilities for influence are therefore quite strong. Chapter One provides an overview of the paper. Chapter Two provides background information on the textual sources for the “The Seven Last Words”—what Christ uttered from the cross. Chapter Three discusses the problematic musical genre of the Seven Last Words, being obviously related to but not directly derived from settings of the Passion, and provides a list of all of the known settings of this text. Chapter Four is dedicated to Gounod’s Les Sept Paroles de Nôtre Seigneur Jesus-Christ sur la Croix (1855). Chapter Five addresses Franck’s Sept Paroles du Christ sur la Croix (1859). Chapter Six is concerned with Dubois’ Les Sept Paroles du Christ (1867). Chapter Seven provides a summary and comparison, noting the similarities between these works on orchestrational, textual, durational, formal, and musical levels. While the Dubois setting is arguably his best known work, the other two languish in relative obscurity. Beyond merely bringing their existence to light, this study aims to identify correspondances between them. The enormous similarities between the Franck and Dubois settings in particular are too strong to be coincidental. Dubois was familiar with Franck’s setting and may even have written his own in intentional emulation of Franck’s earlier work. iv CHAPTER ONE: THE SEVEN LAST WORDS—AN INTRODUCTION The last words of the dying are often recorded. Those who know they are about to die may use one last opportunity to impart wisdom, knowing that their last words are how they will be remembered. Nathan Hale earned his way into American history books before being hanged in 1776 with the words “I only regret that I have but one life to lose for my country.”1 Beyond indicating their mental state at the time of their death, people’s last words are often indicative of the personality they had during their lifetime. For example, Marie Antoinette is reported to have apologized to her executioner when she accidentally stepped on his foot as she was about to be guillotined. Or consider the irony of the final words of General John Sedgwick, a Union officer in the American Civil War at the battle of Spotsylvania, who claimed “They couldn't hit an elephant at this distance!” minutes before being killed by sniper fire on May 9, 1864. The last quip of Oscar Wilde was “My wallpaper and I are fighting a duel to the death. One or the other of us has to go.”2 And Groucho Marx swore that “Die, my dear? Why, that's the last thing I'll do!” The last words that people say are considered to be important—and when the person uttering them is viewed by billions to be the Saviour of the World, even more so. If someone’s last words rank among the most important that anyone ever says, and if Jesus was one of the most important figures in history who ever lived, then deductively one concludes that these words could well be considered by many to be among the most important that were ever uttered. Beyond the theological or philosophical importance of the Seven Last Words of Christ, however, this study looks to examine specifically how they are set to music. Even the mere 1. See Henry Steele Commanger and Richard B. Morris, eds., The Spirit of ‘Seventy Six: The Story of the American Revolution as told by Participants (New York: Harper & Row, 1967), 476. 2. According to Ellman, this was said to Claire de Pratz, but may not have been his literal last words, merely uttered from his deathbed. Richard Ellman, Oscar Wilde (New York: Alfred A. Knopf, 1988), p. 581. See also Barbara Belford, Oscar Wilde: A Certain Genius (New York: Random House, 2000), 306. 1 selection of these texts by a composer can be indicative of some level of importance. How would the increased reverence with which composers might approach these texts be reflected in the compositions that they produced by this title? The paper is organized with the following structure. The first three chapters serve as a necessary background to the more detailed analysis to follow. This first chapter introduces the topic and provides an overview of the paper. The second chapter provides information on the history of the textual sources for the “The Seven Last Words”—the texts which all settings naturally have in common, namely the words of Christ uttered from the cross. The third chapter serves as a history of the evolution of the musical genre of the Seven Last Words, being obviously related to but not directly derived from other musical settings of the Passion. The Seven Last Words of Christ occupy a rather unique literary, liturgical, and musical position, and while studies have been done on individual works of this title, it is rare to find publications which address more than one composition. A need for this study exists as such as comparative examination of choral settings of “The Seven Last Words” has never been published. These are not marginal works, yet they seem never to have been compared collectively as a unit. The third chapter provides a list of all of the musical settings of this text that I have been able to identify
Load more

Recommended publications
  • St Michael & All Angels
    Events for the week 20th —26th March 2016 th St Michael & All Angels Sun 20 10.30am Choir Practice Choir Vestry Wed 23rd 6.30pm Junior Choir Practice Choir Vestry Macclesfield Team Ministry 7.30pm Full Choir Practice Choir Vestry Our Purpose To journey inward and upward to God, whom we know in Jesus, To journey outward to other people and to all creation. Thurs 24th 10.00am Toddler Group St Michael’s 10.30am Holy Communion St Michael’s Welcome 1.00pm Toddler Group St Michael’s If you are visiting, we hope you feel at home. A welcome card is available 7.30pm Bell ringing Bell Tower near the entrance or from a sides-person. If you are new, please complete Sat 26th 10.00am Saturday Prayer Meeting Savage Chapel, St Michael’s one and hand it to a sides-person, so that we can keep in touch. Next week’s services Sunday 20th March 2016 Palm Sunday Maundy Thursday 23rd March 7.30pm Tenebrae Service: United Reformed Church th 9.30 Storytelling Service 11.00 Holy Communion Good Friday 24 March 10.30am Good Friday Service Leader Mike Strutt Good Friday 24th March 2.00-4.00pm Contemplating the Cross: Savage Chapel th Leader Jenny Speaker Rev’d Barry Langman Easter Sunday 27 March: 10.30am Joint Service of Holy Communion Storyteller Gemma Story The Last Passover Bible Passages Psalm 118:1-2, 19-29 Adult Leader Sue Luke 19:28-40 Electronic version of church notice sheet Roots Leader Jenny If you wish to be included in the list of those who receive the church notice sheet electronically each week, please email Lynne Spedding at [email protected] Roots Passage Luke 19:28-40 Roots Leaders George & Ruth Songs Make way Roots Passage Luke 19:28-40 Scout and Guide Groups We are on the Lord’s road Macclesfield Parish Church Scout and Guide Group provides youth Hymns activities throughout the week for young people aged from 5 - 26 as well MP 7 All creatures of our God and king as flexible volunteering opportunities for adults.
    [Show full text]
  • The Church Fathers' Spiritual Interpretation of the Psalms
    4 The Church Fathers’ Spiritual Interpretation of the Psalms Hans Boersma he world of the church fathers may seem far removed from our Teveryday lives. In some respects, that is indeed the case. It would be foolish to try to appropriate their writings into our theological and cultural contexts without taking into account the many centuries that separate us from the Fathers. Despite the obvious developments and changes that have taken place since the patristic era, however, there is an underlying commonality that links faithful biblical interpretation today with the exegetical endeavors of the early church. Over the past number of years, there has been a growing recognition of the shortcomings of historical critical exegesis and, as a result, an increasing appreciation for the church fathers and their spiritual or theological interpretation of the Bible.1 In this essay, I will focus on three theological concerns that we, along with the Fathers, may continue to bring to bear on our reading of the book of Psalms. In particular, I am thinking of (1) the Psalms’ focus on the harmonious virtue of the person who sings them, (2) the Psalms’ christological focus, and (3) the need to appropriate the Psalms in a personal manner. I want to preface my analysis, however, by recognizing with grati- tude that, long before I started reading the church fathers, I encountered 1. For helpful introductions to theological or spiritual interpretation, see Billings, Word of God; O’Keefe and Reno, Sanctified Vision; and Treier, Introducing Theological Interpretation. 41 42 LIVING WATERS FROM ANCIENT SPRINGS each of these three elements in the teaching of Professor Cornelis Van Dam.
    [Show full text]
  • December 1934) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1-1934 Volume 52, Number 12 (December 1934) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 52, Number 12 (December 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/53 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE s CMCusic S&gmim December 1934 Price 25 Cents <Cy/ i/<)/maJ ($v-e vnM, DECEMBER 19,% Page 695 THE ETUDE THE HARCOURT, BRACE MUSIC DEPARTMENT Albert E. Wier, Editor £Magnifying Christmas PRESENTS FOUR NEW AND DISTINCTIVE MUSIC COLLECTIONS PIECES FOR TWO PIANOS—Four Hands THE DAYS OF THE HARPSICHORD If you do any two-piano playing, this collection of This is the first volume of a series to be known as 48 classic, romantic and modem compositions is in¬ “The Pianist’s Music Shelf.” It contains 80 dispensable for recital, study or recreation. There melodic compositions by more than fifty famous Eng¬ is a 200-word note of general musical interest pre¬ lish, French, German and Italian harpsichord com¬ £Musical Joy ceding each composition, also a page of twelve recital posers in the period from 1500 to 1750.
    [Show full text]
  • Jesus Is Crucified
    Unit 26, Session 5 Unit 26, Session 5 Jesus Is Crucified SESSION IN A SENTENCE: Jesus was rejected, mocked, and forsaken as He was unjustly condemned to die, but He gave up His life willingly on the cross to glorify the Father and bring us to Him. BACKGROUND PASSAGE: Mark 15:6-47 The early Christians could have chosen plenty of symbols to represent Jesus and the gospel: the dove as a symbol of the Holy Spirit descending on Jesus at His baptism; hands as a symbol of Jesus’ healing touch; the boat from which He calmed a storm; a royal scepter as a symbol of the kingdom He came to proclaim; the mountain on which He was transfigured in glory; palm branches as a symbol of His triumphal entry into Jerusalem. Any of these could have been worthy symbols of Jesus’ life and ministry, but instead, the early Christians chose a cross as their most important symbol, representing Jesus’ sacrificial death, a centerpiece of the gospel. What are some ways you have seen the cross used to represent the Christian faith? 84 Date of My Bible Study: ______________________________ © 2020 LifeWay Christian Resources Group Time Point 1: Jesus is the rejected Savior of the world (Mark 15:6,11-15). 6 At the festival Pilate used to release for the people a prisoner whom they requested … 11 But the chief priests stirred up the crowd so that he would release Barabbas to them instead. 12 Pilate asked them again, “Then what do you want me to do with the one you call the king of the Jews?” 13 Again they shouted, “Crucify him!” 14 Pilate said to them, “Why? What has he done wrong?” But they shouted all the more, “Crucify him!” 15 Wanting to satisfy the crowd, Pilate released Barabbas to them; and after having Jesus flogged, he handed him over to be crucified.
    [Show full text]
  • The Art of Music :A Comprehensive Ilbrar
    1wmm H?mi BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT or Hetirg W, Sage 1891 A36:66^a, ' ?>/m7^7 9306 Cornell University Library ML 100.M39 V.9 The art of music :a comprehensive ilbrar 3 1924 022 385 342 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022385342 THE ART OF MUSIC The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians Editor-in-Chief DANIEL GREGORY MASON Columbia UniveTsity Associate Editors EDWARD B. HILL LELAND HALL Harvard University Past Professor, Univ. of Wisconsin Managing Editor CESAR SAERCHINGER Modem Music Society of New Yoric In Fourteen Volumes Profusely Illustrated NEW YORK THE NATIONAL SOCIETY OF MUSIC Lillian Nordica as Briinnhilde After a pholo from life THE ART OF MUSIC: VOLUME NINE The Opera Department Editor: CESAR SAERCHINGER Secretary Modern Music Society of New York Author, 'The Opera Since Wagner,' etc. Introduction by ALFRED HERTZ Conductor San Francisco Symphony Orchestra Formerly Conductor Metropolitan Opera House, New York NEW YORK THE NASTIONAL SOCIETY OF MUSIC i\.3(ft(fliji Copyright, 1918. by THE NATIONAL SOCIETY OF MUSIC, Inc. [All Bights Reserved] THE OPERA INTRODUCTION The opera is a problem—a problem to the composer • and to the audience. The composer's problem has been in the course of solution for over three centuries and the problem of the audience is fresh with every per- formance.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • A Divine Round Trip: the Literary and Christological Function of the Descent/Ascent Leitmotif in the Gospel of John
    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2014 A Divine Round Trip: The Literary and Christological Function of the Descent/Ascent Leitmotif in the Gospel of John Susan Elizabeth Humble University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Biblical Studies Commons Recommended Citation Humble, Susan Elizabeth, "A Divine Round Trip: The Literary and Christological Function of the Descent/ Ascent Leitmotif in the Gospel of John" (2014). Electronic Theses and Dissertations. 978. https://digitalcommons.du.edu/etd/978 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. A Divine Round Trip: The Literary and Christological Function of the Descent/Ascent Leitmotif in the Gospel of John _________ A Dissertation Presented to the Faculty of the University of Denver and the Iliff School of Theology Joint PhD Program University of Denver ________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _________ by Susan Elizabeth Humble November 2014 Advisor: Gregory Robbins ©Copyright by Susan Elizabeth Humble 2014 All Rights Reserved Author: Susan Elizabeth Humble Title: A Divine Round Trip: The Literary and Christological Function of the Descent/Ascent Leitmotif in the Gospel of John Advisor: Gregory Robbins Degree Date: November 2014 ABSTRACT The thesis of this dissertation is that the Descent/Ascent Leitmotif, which includes the language of not only descending and ascending, but also going, coming, and being sent, performs a significant literary and christological function in the Gospel of John.
    [Show full text]
  • Female Composer Segment Catalogue
    FEMALE CLASSICAL COMPOSERS from past to present ʻFreed from the shackles and tatters of the old tradition and prejudice, American and European women in music are now universally hailed as important factors in the concert and teaching fields and as … fast developing assets in the creative spheres of the profession.’ This affirmation was made in 1935 by Frédérique Petrides, the Belgian-born female violinist, conductor, teacher and publisher who was a pioneering advocate for women in music. Some 80 years on, it’s gratifying to note how her words have been rewarded with substance in this catalogue of music by women composers. Petrides was able to look back on the foundations laid by those who were well-connected by family name, such as Clara Schumann and Fanny Mendelssohn-Hensel, and survey the crop of composers active in her own time, including Louise Talma and Amy Beach in America, Rebecca Clarke and Liza Lehmann in England, Nadia Boulanger in France and Lou Koster in Luxembourg. She could hardly have foreseen, however, the creative explosion in the latter half of the 20th century generated by a whole new raft of female composers – a happy development that continues today. We hope you will enjoy exploring this catalogue that has not only historical depth but a truly international voice, as exemplified in the works of the significant number of 21st-century composers: be it the highly colourful and accessible American chamber music of Jennifer Higdon, the Asian hues of Vivian Fung’s imaginative scores, the ancient-and-modern syntheses of Sofia Gubaidulina, or the hallmark symphonic sounds of the Russian-born Alla Pavlova.
    [Show full text]
  • Illustrated and Descriptive Catalogue and Price List of Stereopticons
    —. ; I, £3,v; and Descriptive , Illustrated ;w j CATALOGUE AND PRICE LIST- t&fs — r~* yv4 • .'../-.it *.•:.< : .. 4^. ; • ’• • • wjv* r,.^ N •’«* - . of . - VJ r .. « 7 **: „ S ; \ 1 ’ ; «•»'•: V. .c; ^ . \sK? *• .* Stereopticons . * ' «». .. • ” J- r . .. itzsg' Lantern Slides 1 -f ~ Accessories for Projection Stereopticon and Film Exchange W. B. MOORE, Manager. j. :rnu J ; 104 to no Franlclin Street ‘ Washington . (Cor. CHICAGO INDEX TO LANTERNS, ETC. FOR INDEX TO SLIDES SEE INDEX AT CLOSE OF CATALOGUE. Page Acetylene Dissolver 28 Champion Lantern 3g to 42 “ Gas 60 Check Valve S3 •* 1 • .• Gas Burner.... ; 19 Chemicals, Oxygen 74, 81 ** < .' I j Gas Generator.. ; 61 to 66 Chirograph 136 “ Gas Generator, Perfection to 66 64 Chlorate of Potash, tee Oxygen Chemicals 74 Adapter from to sire lenses, see Chromatrope.... 164 Miscellaneous....... 174 Cloak, How Made 151 Advertising Slides, Blank, see Miscellaneous.. 174 ** Slides 38010,387 " Slides 144 Color Slides or Tinters .^140 “ Slides, Ink for Writing, see Colored Films 297 Miscellaneous, 174 Coloring Films 134 “ Posters * *...153 " Slides Alcohol Vapor Mantle Light 20A v 147 Combined Check or Safety Valve 83 Alternating.Carbons, Special... 139 Comic and Mysterious Films 155 Allen Universal Focusing Lens 124, 125 Comparison of Portable Gas Outfits 93, 94 America, Wonders cf Description, 148 “Condensing Lens 128 Amet's Oro-Carbi Light 86 to 92, 94 " Lens Mounting 128 •Ancient Costumes ....! 131 Connections, Electric Lamp and Rheostat... 96, 97 Approximate Length of Focus 123 " Electric Stage 139 Arc Lamp 13 to 16 Costumes 130 to 152, 380 to 3S7 ** Lamp and Rheostat, How to Connect 96 Cover Glasses, see Miscellaneous ,....174 Arnold's Improved Calcium Light Outfit.
    [Show full text]
  • Julius S. Held Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt.
    [Show full text]
  • Phd April 2019 Pp
    The University of Adelaide Elder Conservatorium of Music Faculty of Arts Revisiting George Enescu’s 1921 Bucharest Recital Series: a performance-based investigation with recordings and exegesis. by Elizabeth Layton submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) Adelaide, April 2019 Table of Contents Abstract 5 Declaration 6 Acknowledgements 7 List of Musical Examples 8 List of Tables 11 Introduction 12 PART A: Sound recordings 22 A.1 CD 1 Tracks 1-4 Pierre de Bréville, Sonata no. 1 in C # minor 39:17 Tracks 5-8 Gabriel Fauré, Sonata no. 1 in A major, Op. 13 26:14 A.2 CD 2 Tracks 1-4 André Gédalge, Sonata no. 1 in G major, Op. 12 23:39 Tracks 5-7 Claude Debussy, Sonata in G minor (performance 1) 13:44 Tracks 8-10 Claude Debussy, Sonata in G minor (performance 2) 13:36 A.3 CD 3 Tracks 1-3 Ferruccio Busoni, Sonata no. 2 in E minor, Op. 36a 34:25 Tracks 4-7 Zygmunt Stojowski, Sonata no. 2 in E minor, Op. 37 29:30 A.4 CD 4 Tracks 1-4 Louis Vierne, Sonata in G minor, Op. 23 32:44 Tracks 5-7 Stan Golestan, Sonata in E flat major 26:56 Tracks 8-10 George Enescu, Sonata in F minor, Op. 6 22:34 PART B: Exegesis Chapter 1 George Enescu: Musician, and his path to the 1921 Bucharest Recital Series 27 1.1 Understanding the context and motivation behind the series 35 2 Chapter 2 The 1921 Bucharest Recital Series 38 2.1 Recital 1: Haydn, d’Indy, Bertelin 38 2.2 Recital 2: Mozart, Busoni, Vierne 39 2.3 Recital 3: Sjögren, Schubert, Lauweryns 41 2.4 Recital 4: Weingartner, Stojowski, Beethoven 42 2.5 Recital 5: Bargiel, Haydn, Golestan 42 2.6 Recital 6: Le Boucher, Mozart, Saint-Saëns 43 2.7 Recital 7: Gédalge, Dvorák, Debussy, Schumann 44 2.8 Recital 8: Huré, Bach, Lekeu 45 2.9 Recital 9: Beethoven, Fauré, Franck 46 2.10 Recital 10: Gallon, de Bréville, Beethoven 48 2.11 Recital 11: Magnard, Le Flem, Brahms 49 2.12 Recital 12: Franck, Enescu, Beethoven 49 Chapter 3 Performance notes on nine sonatas selected from the 1921 Bucharest Recital Series 3.1 Pierre de Bréville, Sonata no.
    [Show full text]
  • Autobiographical Reminiscences with Family Letters and Notes on Music
    Autobiographical Reminiscences with Family by Charles Gounod 1 Autobiographical Reminiscences with Family by Charles Gounod The Project Gutenberg EBook of Autobiographical Reminiscences with Family Letters and Notes on Music, by Charles Gounod 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.org Title: Autobiographical Reminiscences with Family Letters and Notes on Music Author: Charles Gounod Autobiographical Reminiscences with Family by Charles Gounod 2 Translator: W. Hely Hutchinson Release Date: April 10, 2011 [EBook #35812] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK AUTOGIOGRAPHICAL REMINISCENCES *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This book was produced from scanned images of public domain material from the Google Print project.) CHARLES GOUNOD [Illustration: Charles Gounod] CHARLES GOUNOD AUTOBIOGRAPHICAL REMINISCENCES WITH FAMILY LETTERS AND NOTES ON MUSIC FROM THE FRENCH BY THE HON. W. HELY HUTCHINSON [Illustration: colophon] LONDON WILLIAM HEINEMANN 1896 Autobiographical Reminiscences with Family by Charles Gounod 3 [All rights reserved] Printed by BALLANTYNE, HANSON & CO. At the Ballantyne Press CONTENTS CHARLES GOUNOD-- PAGE I. CHILDHOOD 1 II. ITALY 54 III. GERMANY 110 IV. HOME AGAIN 127 LATER LETTERS OF CHARLES GOUNOD 173 BERLIOZ 195 M. CAMILLE SAINT-SAENS AND HIS OPERA "HENRI VIII." 209 NATURE AND ART 225 THE ACADEMY OF FRANCE AT ROME 239 THE ARTIST AND MODERN SOCIETY 253 INTRODUCTION The following pages contain the story of the most important events of my artistic life, of the mark left by them on my personal existence, of their Autobiographical Reminiscences with Family by Charles Gounod 4 influence on my career, and of the thoughts they have suggested to my mind.
    [Show full text]