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Tchaikovsky's Romeo and Juliet
Tchaikovsky’s Romeo and Juliet: A Schleiermacherian Interpretation Emer Nestor This article will discuss the application of Friedrich Daniel Ernst Schleiermacher’s (1768-1834) hermeneutical methods to a general reading of Tchaikovsky’s fantasy-overture, Romeo and Juliet. The German philosopher gave a lecture series on hermeneutics at the University of Berlin in 1819, and from his research on the subject he invariably redefined this field of philosophical thinking. The central elements of his ‘whole and parts’ theory will be discussed as an alternative mode of investigative music analysis. Richard E. Palmer presents six modern definitions of hermeneutics as follows: 1) The theory of biblical exegesis 2) General philological methodology 3) The science of all linguistic understanding 4) The methodological foundation of Geisteswissenschaften 5) Phenomenology of existence and of existential understanding 6) The systems of interpretation, both recollective and iconoclastic used by man to reach the meaning behind myths and symbols.1 The term ‘hermeneutics’ is a word which is prominent in theological, philosophical and literary circles but relatively new to the discipline of musicology.2 Ian Bent asserts that it ‘came to prominence in writing about music implicitly in the nineteenth century and explicitly in the early twentieth century’.3 He remarks that no author in the nineteenth century 1 Richard E. Palmer.: Hermeneutics: Interpretation Theory in Schleiermacher, Dilthey, Heidegger and Gadamer (Evanstown: Northwestern University Press, 1969), 3 3 - Hereafter referred to as Palmer: Hermeneutics. 2 For a more in-depth discussion of hermeneutics see Kurt Mueller-Vollmer: The Hermeneutics Reader: Texts of the German Tradition from the Enlightenment to the Present (Oxford: Basil Blackwell, 1986). -
English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Download Booklet
570895bk RStrauss US:557541bk Kelemen 3+3 3/8/09 8:42 PM Page 1 Antoni Wit Staatskapelle Weimar Antoni Wit, one of the most highly regarded Polish conductors, studied conducting with Founded in 1491, the Staatskapelle Weimar is one of the oldest orchestras in the world, its reputation inextricably linked Richard Henryk Czyz˙ and composition with Krzysztof Penderecki at the Academy of Music in to some of the greatest works and musicians of all time. Franz Liszt, court music director in the mid-nineteenth Kraków, subsequently continuing his studies with Nadia Boulanger in Paris. He also century, helped the orchestra gain international recognition with premières that included Wagner’s Lohengrin in graduated in law at the Jagellonian University in Kraków. Immediately after completing 1850. As Weimar’s second music director, Richard Strauss conducted first performances of Guntram and STRAUSS his studies he was engaged as an assistant at the Warsaw Philharmonic Orchestra by Humperdinck’s Hänsel und Gretel. The orchestra was also the first to perform Strauss’s Don Juan, Macbeth and Death Witold Rowicki and was later appointed conductor of the Poznan´ Philharmonic. He and Transfiguration. After World War II Hermann Abendroth did much to restore the orchestra’s former status and Symphonia domestica collaborated with the Warsaw Grand Theatre, and from 1974 to 1977 was artistic director quality, ultimately establishing it as one of Germany’s leading orchestras. The Staatskapelle Weimar cultivates its of the Pomeranian Philharmonic, before his appointment as director of the Polish Radio historic tradition today, while exploring innovative techniques and wider repertoire, as reflected in its many recordings. -
Der Rosenkavalier by Richard Strauss
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Don Quijote Von Miguel De Cer Vantes Seit Nunmehr Vier Jahrhunderten Generationen Von Lesern Immer Wieder Neu in Seinen Bann
DON_Schutzumschlag_Grafik_rechts.FH11 Wed May 30 13:04:18 2007 Seite 1 C M Y CM MY CY CMY K Wie kein zweiter Roman zieht der Don Quijote von Miguel de Cer vantes seit nunmehr vier Jahrhunderten Generationen von Lesern immer wieder neu in seinen Bann. Abgefasst im Spanien des frühen 17. Jahrhunderts, das zu jener Zeit die Geschicke Europas wesentlich mitbestimmte, wurde der Roman bald zum Inbegriff der spanischen Literatur und Kultur. Von Madrid aus hat er auf den Rest Europas ausgestrahlt und Denker, Dichter, Künstler, Komponisten und später Tilmann Altenberg auch Filmemacher zur Auseinandersetzung mit ihm angeregt. Klaus Meyer-Minnemann (Hg.) Die acht Beiträge des Bandes erkunden zentrale Aspekte des cervantinischen Romans und gehen seiner Rezeption und Verar- beitung in Literatur, Kunst, Film und Musik im europäischen Kontext nach. Europäische Dimensionen des Inhalt: · Klaus Meyer-Minnemann: Zur Entstehung, Konzeption und Wir- Film und Musik Kunst, in Literatur, Don Quijote in Literatur, Kunst, kung des Don Quijote in der europäischen Literatur · Hans-Jörg Neuschäfer: Boccaccio, Cervantes und der utopische Possibilismus Film und Musik · Katharina Niemeyer: Der Furz des Sancho Panza oder Don Quijote als komischer Roman Don Quijote · Dieter Ingenschay: Don Quijote in der spanischen und deutschen Literaturwissenschaft · Johannes Hartau: Don Quijote als Thema der bildenden Kunst · Tilmann Altenberg: Don Quijote im Film · Bárbara P. Esquival-Heinemann: Don Quijote in der deutschsprachi- gen Oper · Begoña Lolo: Musikalische Räume des Don -
Richard Lert Papers 0210
http://oac.cdlib.org/findaid/ark:/13030/kt638nf3ww No online items Finding Aid of the Richard Lert papers 0210 Finding aid prepared by Rebecca Hirsch The processing of this collection and the creation of this finding aid was funded by the generous support of the National Historic Publications and Records Commission. USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California, 90089-0189 213-740-5900 [email protected] June 2010 Finding Aid of the Richard Lert 0210 1 papers 0210 Title: Richard Lert papers Collection number: 0210 Contributing Institution: USC Libraries Special Collections Language of Material: English Physical Description: 58.51 Linear feet70 boxes Date (inclusive): 1900-1981 Abstract: This collection consists of Richard Lert's video and audio recordings of performances, rehearsals and lectures, personal papers and his music score library. Lert was born in Vienna and trained as an orchestral conductor in Germany. He moved to the United States in 1932 with his family and was the conductor of the Pasadena Symphony Orchestra from 1932 until his retirement in 1972. creator: Lert, Richard, 1885-1980 Biographical Note Richard Lert was born September 19, 1885, in Vienna, Austria. He trained as an orchestral conductor under Arthur Nikisch and began his career in Darmstadt, Germany, where he met and married his wife, Vicki Baum, in 1916. They had two sons. Lert held posts in Frankfurt, Kiel and Hannover before becoming the music director of the Berlin National Opera. Lert and his family moved to Los Angeles in 1932, where he became the music director of the Pasadena Symphony Orchestra. -
OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20
OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall Highlights 2019/20 November Acclaimed soprano Diana Damrau is renowned for her interpretations of the music of Richard Strauss, and this November she sings a selection of her favourite Strauss songs. Page 12 September October Principal Conductor and Mark Elder conducts Artistic Advisor Vladimir Elgar’s oratorio Jurowski is joined by The Apostles, arguably Julia Fischer to launch his greatest creative the second part of Isle achievement, which of Noises with Britten’s will be brought to life elegiac Violin Concerto on this occasion with alongside Tchaikovsky’s a stellar cast of soloists Sixth Symphony. and vast choral forces. Page 03 Page 07 December Legendary British pianist Peter Donohoe plays his compatriot John Foulds’s rarely performed Dynamic Triptych – a unique jazz-filled, exotic masterpiece Page 13 February March January Vladimir Jurowski leads We welcome back violinist After winning rave reviews the first concert in our Anne-Sophie Mutter for at its premiere in 2017, 2020 Vision festival, two exceptional concerts we offer another chance presenting the music in which she performs to experience Sukanya, of three remarkable Beethoven’s groundbreaking Ravi Shankar’s works composed Triple Concerto and extraordinary operatic three centuries apart, a selection of chamber fusion of western and by Beethoven, Scriabin works alongside LPO traditional Indian styles. and Eötvös. Principal musicians. A love story brought to Page 19 Pages 26–27 life through myth, music -
1 the Alps, Richard Strauss's Alpine Symphony and Environmentalism
Note: This is an expanded version of an article appearing in the journal Green Letters (2011); it is intended for a literary rather than musical readership, and the punctuation and spellings are British. The Alps, Richard Strauss’s Alpine Symphony and Environmentalism By Brooks Toliver Introduction After love and death, nature may well be European music’s preferred theme; it figures significantly in troubadour cansos, pastoral madrigals and operas, tone poems, impressionistic preludes, and elsewhere. In light of this it is puzzling how seldom actual nature is invoked in musical discourse. Composers—Richard Strauss among them—have been known to seek out nature in the manner of landscape painters, but there is no similar tradition among the critics, who ground nature-music and their judgments of it not in nature but in other music and criticism. When confronted with the vivid imagery of Strauss’s Alpine Symphony (1915), contemporaries wrote primarily of the aesthetics of vivid imagery, relegating the images themselves to the level of anecdote. Musicologists are quite adept at exploring the relationship of works to cultural constructions of nature, but relatively few have brought real environments into the discussion of canonical music. There has as yet been no serious consideration of how the Alps might be critical to an appreciation of the Alpine Symphony, nor has anyone theorized what the consequences of the Alpine Symphony might be for the Alps. Surely it is worth asking whether it metaphorically embodies sustaining or destructive relationships to the environment it represents, if it respects or disrespects nonhuman nature, and if love of nature is contingent on a symbolic domination of it, to name just three questions. -
An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXAMINATION OF STYLISTIC ELEMENTS IN RICHARD STRAUSS’S WIND CHAMBER MUSIC WORKS AND SELECTED TONE POEMS By GALIT KAUNITZ A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Galit Kaunitz defended this treatise on March 12, 2012. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffrey Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to my parents, who have given me unlimited love and support. iii ACKNOWLEDGEMENTS I would like to thank my committee members for their patience and guidance throughout this process, and Eric Ohlsson for being my mentor and teacher for the past three years. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi Abstract -
Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
iMffi BOSTON SYMPHONY TRA **** ft %?% Levine James | Music Dim "fe Bernard Haitink Cone1 \cvuu Seiji Ozawa Music Diircti « he Clarendon BACK BAY The Way to Live ; 'j v 11 B 1 1 1 1 1 # iilf)I « 1 1 '" ' ; ! i m r m if l Dill H incut ** IE DIC | m ''IS !! 1 iS a . i! W i PIE i w: i«. 1 114 IE fc, IBS OP 1 iir; * ! : jjj E*. aiwi ill yiM " r i. *' ; - '' • J £j L : • ' liur m §ii !! !l Hi v ii I J!! '! iii ni" fill «• «*« il 1191 III I INTRODUCING FIVE STAR LIVINGtm WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOR CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com U t I^^J^ BRELATED DC/\L COMPANIES, UPh REGISTER : U.S. GREEN BUILDING COUNCIL WITH ANTI SILVER CERTIFICATION whic The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, No Fe subject to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or described. being Void where prohibite agency has judged the merits or value, if any, of this property. This is not an offer where registration is required prior to any offer made. Table of Contents Week 6 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 29 A BRIEF HISTORY OF SYMPHONY HALL 35 THIS WEEK'S PROGRAM 36 THE PROGRAM IN BRIEF Notes on the Program 37 Johannes Brahms 49 Richard Strauss 65 To Read and Hear More.. -
Symphony and Symphonic Thinking in Polish Music After 1956 Beata
Symphony and symphonic thinking in Polish music after 1956 Beata Boleslawska-Lewandowska UMI Number: U584419 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584419 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signedf.............................................................................. (candidate) fa u e 2 o o f Date: Statement 1 This thesis is the result of my own investigations, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed:.*............................................................................. (candidate) 23> Date: Statement 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed: ............................................................................. (candidate) J S liiwc Date:................................................................................. ABSTRACT This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century.