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Schubert's Mature Operas: an Analytical Study
Durham E-Theses Schubert's mature operas: an analytical study Bruce, Richard Douglas How to cite: Bruce, Richard Douglas (2003) Schubert's mature operas: an analytical study, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4050/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Schubert's Mature Operas: An Analytical Study Richard Douglas Bruce Submitted for the Degree of PhD October 2003 University of Durham Department of Music A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. The copyright of this thesis rests with the author. No quotation from it should be published without their prior written consent and information derived from it should be acknowledged. 2 3 JUN 2004 Richard Bruce - Schubert's Mature Operas: An Analytical Study Submitted for the degree of Ph.D (2003) (Abstract) This thesis examines four of Franz Schubert's complete operas: Die Zwillingsbruder D.647, Alfonso und Estrella D.732, Die Verschworenen D.787, and Fierrabras D.796. -
Schubert: the Nonsense Society Revisited
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Schubert: The Nonsense Society Revisited RITA STEBLIN Twenty years have now passed since I discovered materials belonging to the Unsinnsgesellschaft (Nonsense Society).1 This informal club, active in Vienna from April 1817 to December 1818, consisted mainly of young painters and poets with Schubert as one of its central members. In this essay I will review this discovery, my ensuing interpretations, and provide some new observations. In January 1994, at the start of a research project on Schubert ico- nography, I studied some illustrated documents at the Historisches Museum der Stadt Wien (now the Wienmuseum am Karlsplatz), titled “Unsinniaden.”2 The documents comprise forty-four watercolor pictures and thirty-seven pages of text recording two festive events celebrated by the Nonsense Society: the New Year’s Eve party at the end of 1817 and the group’s first birthday party on 18 April 1818.3 The pictures depict various club members, identified by their code names and dressed in fan- ciful costumes, as well as four group scenes for the first event, including Vivat es lebe Blasius Leks (Long live Blasius Leks; Figure 1), and two group scenes for the second event, including Feuergeister-Scene (Fire Spirit Scene; Figure 6 below).4 Because of the use of code names—and the misidentifi- cations written on the pictures by some previous owner of the -
Franz Schubert: Inside, out (Mus 7903)
FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E. -
THOMAS! Dausgaard Conducts R
THOMAS DAUSGAARD, MUSIC DIRECTOR SEPTEMBER 2019 WELCOME THOMAS! Dausgaard conducts R. Strauss’ Also sprach Zarathustra Rachmaninov’s Fourth Piano Concerto with pianist Daniil Trifonov Mahler’s Symphony No. 1 Brahms’ Second Piano Concerto with pianist Yefim Bronfman My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. Take the first step in ensuring the preservation of your wealth for your lifetime and future generations. To learn more, please visit unionbank.com/theprivatebank or contact: Lisa Roberts Managing Director, Private Wealth Management [email protected] 415-705-7159 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2019 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. Untitled-3 1 4/30/19 12:11 PM CONTENTS SEPTEMBER 2019 4 / Calendar 6 / The Orchestra 53 / Benaroya Hall Guide FEATURES 5 / Community Connections 7 / Meet the Musicians 10 / On a High Note 12 / Thomas Dausgaard on the Season Ahead 54 / The Lis(z)t CONCERTS 14 / September 11 & 12 My legacy. My partner. Distant Worlds: music from Final Fantasy® with the Seattle Symphony 16 / September 14 You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave Opening Night Concert & Gala behind. -
Franz Schubert
FRANZ SCHUBERT Licht und Liebe MARLIS PETERSEN ANKE VONDUNG WERNER GÜRA KONRAD JARNOT CHRISTOPH BERNER piano FRANZ LISZT FRANZ SCHUBERT (1797-1828) Licht und Liebe Lieder & Vocal Quartets 1 | Der Tanz D 826 - Kolumban Schnitzer von Meerau 1’49 2 | Die Unterscheidung op.95/1, D 866 - Johann Gabriel Seidl (AV) 3’55 3 | Die Geselligkeit (Lebenslust) D 609 - Johann Karl Unger 3’42 4 | Lieder der Delphine D 857/1 - Christian Wilhelm von Schütz (MP) 4’17 5 | Der Sänger op.post.117, D 149 - Johann Wolfgang von Goethe (WG) 6’51 6 | Der Hochzeitsbraten D 930 - Franz Adolf Friedrich von Schober (MP WG KJ) 10’53 7 | Licht und Liebe D 352 - Matthäus Kasimir von Collin (AV KJ) 3’49 8 | Des Tages Weihe D 763 - Anonymous 4’26 9 | Gott im Ungewitter D 985 - Johann Peter Uz 4’45 10 | Die Allmacht D 852 - Johann Ladislaus Pyrker (KJ) 4’45 11 | Hymne an den Unendlichen D 232 - Friedrich von Schiller 4’13 12 | Begräbnislied D 168 - Friedrich Gottlieb Klopstock 2’42 13 | Gebet D 815 - Friedrich Heinrich Karl, Freiherr de La Motte-Fouqué 9’06 Marlis Petersen, soprano Anke Vondung, mezzo-soprano Werner Güra, tenor Konrad Jarnot, bass Christoph Berner, fortepiano Rönisch les innombrables clichés qui dominent depuis toujours il n’y a dans l’intégrale des œuvres de Schubert aucune autre catégorie Parmi l’image “populaire” que nous avons de Franz Schubert, qui, par ses motifs ainsi que par son ambition poétique et musicale, donne deux perdurent avec insistance : le premier présente un mélancolique un une impression aussi chamarrée et hétérogène. -
Winterreise.Pdf
FRANZ SCHUBERT WinterPOETRY OF" WILHELM Journey MÜLLER " 1. GUTE NACHT 13. DIE POST 2. DIE WETTERFAHNE 14. DER GREISE KOPF SCHUBERT 3. GEFROR’NE TRÄNEN 15. DIE KRÄHE 4. ERSTARRUNG 16. LETZTE HOFFNUNG 5. DER LINDENBAUM 17. IM DORFE 6. WASSERFLUT 18. DER STÜRMISCHE MORGEN 7. AUF DEM FLUSSE 19. TÄUSCHUNG RANDALL SCARLATA 8. RÜCKBLICK 20. DER WEGWEISER GILBERT KALISH 9. IRRLICHT 21. DAS WIRTSHAUS 10. RAST 22. MUT 11. FRÜHLINGSTRAUM 23. DIE NEBENSONNEN 12. EINSAMKEIT " 24. DER LEIERMANN RANDALL SCARLATA | BARITONE GILBERT KALISH | PIANO BRIDGE 9494 FRANZ SCHUBERT POETRY OF" WILHELM MÜLLER 1. GUTE NACHT 13. DIE POST 2. DIE WETTERFAHNE 14. DER GREISE KOPF Recorded January 10-12, 2015 in Madeline Wing Adler Theater 3. GEFROR’NE TRÄNEN 15. DIE KRÄHE at West Chester University 4. ERSTARRUNG 16. LETZTE HOFFNUNG Adam Abeshouse, recording engineer 5. DER LINDENBAUM 17. IM DORFE 6. WASSERFLUT 18. DER STÜRMISCHE MORGEN Photo of Mr. Scarlata and Mr. Kalish: Tristan Cook 7. AUF DEM FLUSSE 19. TÄUSCHUNG CD Art: Molly Graver 8. RÜCKBLICK 20. DER WEGWEISER This recording was made possible by a grant from 9. 21. IRRLICHT DAS WIRTSHAUS West Chester University’s Faculty Development Fund. 10. RAST 22. MUT 11. FRÜHLINGSTRAUM 23. DIE NEBENSONNEN 12. EINSAMKEIT " 24. DER LEIERMANN RANDALL SCARLATA | BARITONE GILBERT KALISH | PIANO " Standing alone in Schubert’sWinter tiny “Death Journey Apartment” in Vienna, it is not hard to " imagine the last days of the composer’s life. Suffering with the later stages of Syphilis, Schubert’s doctor recommended he move in with his brother Ferdinand, where his “Lieder sang ich nun lange, lange Jahre. -
Schubert Lieder
CHRISTIAN ELSNER SCHUBERT LIEDER ORCHESTRATED BY MAX REGER & ANTON WEBERN Rundfunk-Sinfonieorchester Berlin Marek Janowski FRANZ SCHUBERT (1797–1828) 6 Prometheus D 674 5. 09 Poem by Johann Wolfgang von Goethe Lieder Orchestrated by Max Reger Orchestrated by Max Reger and Anton Webern 7 Nacht und Träume (Heil’ge Nacht, du sinkest nieder) D 827 2. 38 1 An die Musik (Du holde Kunst) D 547 2. 07 Poem by Matthäus von Collin Poem by Franz von Schober Orchestrated by Max Reger Orchestrated by Max Reger Gesänge des Harfners D 478 2 Erlkönig D 328 3. 49 Lyrics from “Wilhelm Meisters Lehrjahre” by Johann Wolfgang Poem by Johann Wolfgang von Goethe von Goethe Orchestrated by Max Reger Orchestrated by Max Reger 8 No. 1: Wer sich der Einsamkeit ergibt 3. 52 3 Du bist die Ruh’ D 776 3. 09 9 No. 2: Wer nie sein Brot mit Tränen aß 4. 11 Poem by Friedrich Rückert 10 No. 3: An die Türen will ich schleichen 2. 06 Orchestrated by Anton Webern 11 Gruppe aus dem Tartarus D 583 3. 01 4 Greisengesang (Der Frost hat mir bereifet) D 778 6. 02 Poem by Friedrich Schiller Poem by Friedrich Rückert Orchestrated by Max Reger Orchestrated by Max Reger 12 Tränenregen (from “Die schöne Müllerin”) D 795 No. 10 5. 35 5 An den Mond D 296 3. 54 Poem by Wilhelm Müller Poem by Johann Wolfgang von Goethe Orchestrated by Anton Webern Orchestrated by Max Reger 13 Der Wegweiser (from “Die Winterreise”) D 911 No. 20 4. 06 Poem by Wilhelm Müller Orchestrated by Anton Webern 14 Memnon (Den Tag hindurch nur einmal mag ich sprechen) D 541 3. -
Der Auftakt 1920-1938
Der Auftakt 1920-1938 The Prague music journal Der Auftakt [The upbeat. AUF. Subtitle: “Musikblätter für die tschechoslowakische Republik;” from volume seven, issue two “Moderne Musikblätter”]1 appeared from December 1920 to April 1938.2 According to Felix Adler (1876-1928), music critic for the Prague journal Bohemia and editor of the first eight issues of AUF,3 the journal was formed out of the Musiklehrerzeitung [Journal for music teachers] (1913-16, organ of the Deutscher Musikpädagogischer Verband [German association for music pedagogy] in Prague) and was to be a general music journal with a modern outlook and with a concern for the interests of music pedagogues.4 Under its next editor, Erich Steinhard, AUF soon developed into one of the leading German-language modern music journals of the time and became the center of Czech-German musical collaboration in the Czechoslovakian Republic between the wars.5 Adolf Weißmann, eminent music critic from Berlin, writes: “Among the journals that avoid all distortions of perspective, the Auftakt stands at the front. It has gained international importance through the weight of its varied contributions and the clarity of mind of its main editor.”6 The journal stopped publication without prior announcement in the middle of volume eighteen, likely a result of the growing influence of Nazi Germany.7 AUF was published at first by Johann Hoffmanns Witwe, Prague, then, starting with the third volume in 1923, by the Auftaktverlag, a direct venture of the Musikpädagogischer Verband.8 The journal was introduced as a bimonthly publication, but except for the first volume appearing in twenty issues from December 1920 to the end of 1921, all volumes contain twelve monthly issues, many of them combined into double issues.9 The issues are undated, but a line with the date for the “Redaktionsschluss” [copy deadline], separating the edited content from the 1 Subtitles as given on the first paginated page of every issue. -
Ilker Arcayürek Ilker Arcayürek
FRANZ SCHUBERT : DER EINSAME ILKER ARCAYÜREK ILKER ARCAYÜREK tenor SIMON LEPPER piano FOREWORD TRACK LISTING FRANZ SCHUBERT (1797 –1828) Schubert and the feeling of solitude have been my companions for many years. We can 1 Frühlingsglaube D686 03’13 find ourselves alone as the result of many different circumstances in life – unhappiness 2 Nachtstück D672 05’51 in love, a bereavement, or simply moving to another country. For me, however, being 3 Sehnsucht D879 02’46 alone has never meant being ‘lonely’. 4 Schäfers Klagelied D121 03’36 As in Schubert’s song Der Einsame , I try to enjoy the small things in life, and, 5 Der Musensohn D764 02’14 especially in those times when I am alone, to consciously take time out of 6 Romanze zum Drama ‘Rosamunde’ D797/3b 03’49 everyday life and reflect on my own experiences. I find that making music is 7 Der Schiffer D536 02’00 a particularly good way of occupying myself in moments of solitude. 8 Der Jüngling an der Quelle D300 01’45 9 Über Wildemann D884 02:19 A running brook, a broken heart, the bitter-sweet release of death – few 10 Abendstern D806 02’29 composers have succeeded in setting these varied images to music as Drei Gesänge des Harfners D478 transparently as Schubert did. His diverse emotional and musical world had 11 i Wer sich der Einsamkeit ergibt 04’03 me under its spell from an early age. This developed into such a thirst for 12 ii Wer nie sein Brot mit Tränen a ß 04’46 more that now I can hardly wait to sing works by Schubert that are new to 13 iii An die Türen will ich schleichen 02’21 me. -
The Life of Schubert
The life of Schubert C HRISTOPHER H. GIBBS published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011Ð4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United Kingdom at the University Press, Cambridge Typeset in FF Quadraat 9.75/14 pt, in QuarkXPressª [se] A catalogue record for this book is available from the British Library Library of Congress cataloguing in publication data Gibbs, Christopher Howard. The life of Schubert / Christopher H. Gibbs. p. cm. Ð (Musical lives) Includes bibliographical references and index. isbn 0 521 59426 x 1. Schubert, Franz, 1797Ð1828. 2. Composers Ð Austria Biography. 1. Title. 11. Series. ml410.s3g53 2000 7809.92 Ð dc21 [b] 99-32936 cip isbn 0 521 59426 x hardback isbn 0 521 59512 6 paperback Contents List of illustrations viii Acknowledgments x Note on the text xii List of abbreviations xiii Prologue: Schubert yesterday 1 1 Representing Schubert: “A life devoted to art” 5 2 Young Schubert: “The master in the boy” 22 3 Ingenious Schubert: “The prince of song” 41 4 Popular -
A Guide to Franz Schubert's Religious Songs
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks A GUIDE TO FRANZ SCHUBERT’S RELIGIOUS SONGS by Jason Jye-Sung Moon Submitted to the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice December 2013 Accepted by the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice. __________________________________ Mary Ann Hart, Chair & Research Director __________________________________ William Jon Gray __________________________________ Robert Harrison __________________________________ Brian Horne ii Copyright © 2013 by Jason Jye-Sung Moon All rights reserved iii Acknowledgements I would like to express my deepest gratitude to my committee chair and research director, Professor Mary Ann Hart, for the excellent guidance, caring, patience, and encouragement I needed to finish this long journey. I would also like to thank Dr. Brian Horne, who supported me with prayers and encouragement. He patiently corrected my writing even at the last moment. I would like to thank my good friend, Barbara Kirschner, who was with me throughout the writing process to help me by proofreading my entire document and constantly cheering me on. My family was always there for me. I thank my daughters, Christine and Joanne, my parents, and my mother-in-law for supporting me with their best wishes. My wife, Yoon Nam, deserves special thanks for standing by me with continuous prayers and care. I thank God for bring all these good people into my life. -
Introduction Schubert Familiar and Unfamiliar
Nineteenth-Century Music Review, 13 (2016), pp 3–9. © Cambridge University Press, 2016 doi:10.1017/S1479409815000488 Introduction Schubert Familiar and Unfamiliar: Continuing Conversations Lorraine Byrne Bodley Maynooth University Email: [email protected] James William Sobaskie Mississippi State University Email: [email protected] Two decades ago, the bicentenary celebrations of Franz Schubert’s birth in Duisberg, Graz, Oxford, Paris and Vienna confirmed that a warm spirit of collegiality, one rare among musicians today, had arisen and begun to flourish. Perhaps tired by the irresolvable controversy regarding Schubert’s sexuality, or taken with the newly emerging portrait of the composer and his art, many embraced the collaborative process of developing that image, engaging in cordial conversation regarding their shared fascination in print, in public and in private. The result was a burgeoning of literature in the field of Schubert studies, evidenced and furthered by the founding of five Schubert-centred journals, 1 including Cahiers Franz Schubert: Revue de musique classique et romantique, the 2 3 4 Schubert-Jahrbuch, The Schubertian, Schubert durch die Brille and Schubert: 5 Perspektiven. The wealth of research published in these and other journals has greatly enhanced our understanding of Schubert’s social circle, addressed histor- ical and biographical issues, drawn attention to neglected repertoire and changed 1 Cahiers Franz Schubert: Revue de musique classique et romantique 1–17 (Paris: Societé Franz Schubert, 1992–2009), edited by Xavier Hascher. 2 Schubert–Jahrbuch (Duisberg: Deutsche Schubert-Gesellschaft, 1996–), edited by Christiane Schumann. 3 The Schubertian (Leeds: Schubert Institute [UK], 1996–) edited by Crawford Howie. 4 Schubert durch die Brille (Vienna [1988/89,vols.1–3], then Tutzing [1990–2003,vols.4–30]: Internationales Franz Schubert Institut, 1988–2003), edited by Ernst Hilmar.