DOCSLIB.ORG

Siegfried Idyll Richard Wagner Arr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Siegfried Idyll Richard Wagner Arr 1. Clarinet in Bb Siegfried Idyll Richard Wagner arr. A.Dich-1999-2007 Ruhig bewegt poco rit. a tempo 3 4 w w &b4 Î · · î ä ä Ï p 10 poco rit. a tempo A Ï Ï Ï Ï ú Ï Ï Ï ú Ï Ï Ï ú Ï ú Ï Ï Ï Ï &b Ï Ï Ï Ï J ä Ï Ï 3 3 p 3 15 Etwas zögernd 3 Noch mehr zurückhaltend ú Ï Ï Ï Ï bÏ Ï Ï Ï Ï Ï Ï bÏ b Ï Ï Ï#Ï Ï Ï Ï Ï Ï Ï Ï#Ï ú Ï Ï Ï Ï & 3 3 Ï poco cresc. 3 dim. 3 3 19 a tempo ú ú Ï úª bÏÏ Ï ª Ï &b #Ï ÏÏÏ #Ï úª Ï úª Ï úª Î · 3 p pp 26B A tempo, Sehr ruhig C 6 úª Ï Ï Ïª 2 Ï Ï Ï Ï ú Ϫ Ï &b î Î E ª Î Î e e e ª e î Î mp e dolce E 39 Ï Ï Ï ú Ï Ï Ï Ï Ï Ï úª ªnÏ úª Ï Ï b ú Ï ÏÏ Î e e e ªn E e Î Î e e e ª & cresc. e E e 45 D Ï Ï Ï Ï Ï Ï Ï Ï 3 3 nÏ J J #Ï nÏ Ï J J #Ï nÏ Ï &b ä Ï. Ï. Ï. Ï. Ï. ú · î Î piu f p dolce 50 Ï #Ï Ï Ï ú Ï Ï Ï ú Ï Ï Ï ú Ï Ï Ï Ï Ï Ï &b w Ï #Ï pp pdolce mp 56 poco rit. E Sehr einfach nÏ Ï Ï Ï Ï Ï Ï Ïª Ï. Ï. Ϫ Ï. Ï. &b #Ï núª Î · J Ï ú Ï Ï J Ï p . 62 Ï. Ï. Ï. b ú Ï nÏ Ï. Ï. Ϫ Ï Ï nÏ Ï. Ï. Ϫ Ï & Ï. Ï. ª J J Ï. ª J J 67 Ï. 3 2 Ϫ Ï. &b J Ï nw Ï Î î ä Ï Ï Ï Ï Ï Ï Ï Ï w p dolce 3 J J www.DichMusik.dk © Arne Dich, DK-8240 Risskov 1. Clarinet in B Wagner Siegfried-Idyll 2 b 74 F G Leicht bewegt 3 Ϫ Ï Ï. 6 # # 2 &b J Ï ú Ï Î n # 43 Ï Ï Ï Ï Ï Ï p dolce sempre 89 poco rall. a Tempo # # 2 Ï # ú Ï Ï Ï Ï ú Ï Ïª Ï Ï Ïª Ï & ª úª úª Ï Ï J J 99 H Ï Ï Ï # # Ï Ï Ï Ï Ï Ï Ïª Ï ÏÏ & # Î Î ª Ï Ï Î Î #Ï Ï ª Ï J e Ï · poco cresJc. p dolce poco cresJc. mf 3 107 Ï Ïª Ï # # Ï Ïª Ϫ & # î Ï Ï Ï Î Ï Ï úª · î ä Ï Ï p J J p J cresc. J I J 115 3 all Ï úª Ï Ï Ï 7 Ù~~~ Ï # # Ϫ Ï#Ï îª Ï ª Ï & # Ï ÏÏÏ Î Î #ú #Ï Ï J Ï J f 3 Ï pÎ one player Î Î 129 solo tutti Ï Ïª Ï Ï # # Ï ª Ï Ïª Ï Ï ª Ï & # #Ï Ï J Ï J Ï J Ï úª #úª #Ï Ï J Ï p 137 Ï # Ϫ Ϫ Ï Ï Ï Ï Ï ## #Ï Ï Ï Ï Ï J Ï e ÏÏ Ï Ïª Ï Ïª Ï Ï Ïª Ï & J J poco cresc. J J 144 K Ï Ïª Ï Ï Ïª Ï ### Ï Ï Ïª Ï Ï Ïª #Ï Ï Ïª #Ï Ï Ïª #Ï n## Ï Ï Ï #Ï Ï & J J J J J J p cresc. mf ben tenuto 152 Ï Ï Ï Ï Ï Ïª Ï Ïª Ï Ïª # Ϫ Ï #Ï Ï Ï Ïª Ï Ïª Ï Ïª Ï e Ï e Ï e Ï & # J J J J J J J f 160 L Meno mosso Ï Ïª ú Ï Ï Ï . # e Ï E e Ï Ï Ï Ï Ï. & # J Ï Î · 4 ä Ï Ï Ï Ï Ï ú · ff 3 3 3 mp3 3 166 poco rit. a tempo Ï Ï Ï Ï Ï bÏ # . w Ï #ú Ï Ï #Ï n & # ä Ï Ï Ï Ï Ï Ï nb Î · 3 3 dolce www.DichMusik.dk © Arne Dich, DK-8240 Risskov Wagner Siegfried-Idyll 1. Clarinet in B b 3 poco rit. a tempo 172 Ï Ï Ï Ï ú Ï Ï ú Ï Ï Ï ú Ï Ï Ï Ï Ï &b · Î Ï p dolce3 M 177 nÏ Ï Ï Ï Ï nw Ï Ï nÏ Ï #Ï Ï ne e Ï w w nú #Ï Ï Ï Ï Ï<#>Ï &b # e e e e e p% pp p 3 183 Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï e e e Ï Ï &b Î î e e e e e e e e e e e e e 3 3 e 3 3 3 poco cresc. 3 N A tempo q=80 187 poco rit. Ï 2 ^ ^ Ï^ ú Ï Ï ú Ï #Ï Ï e Ï Ï &b Ï Î î · Î # e e e p cresc. 194 . Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï úª Ï Ï w Ϫ Ï Ï Ï#Ï Ï e e e e e e e e e e E ª e e &b J # e e J J e e e e e e 3 3 f 3 sf 3 3 poco meno mosso 198 O ruhig Ï Ï Ï Ï Ïª Ï úª Ï Ï Ï ú ú Ï Ï Ï Ï Ï b J ΠΠϪ Ï & 3 3 dim. p p dolcissimo 203 Ϫ . 2 Ï Ï Ïª Ï ú Ï Ï Ï ú &b úª Î Î Ï Ï J Ï Î 210 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï &b ú Ï w Ï Ï Ï ú î î Î piu p Ï 217 rallentando P Bedeutend Langsamer úª Ï 3 4 Ï Ï &b 2 úª #Ï Ïª ä úª #Ï Ïª ä 4#ú Ï Ï ú Ï ú Î sf piu p dim. poco a poco 223 2 3 3 Ï Ï &b Î Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï ú #ú Ï Ï piu p pp 229 U U b ú î · î Î î Ï ä w & ú úª ª www.DichMusik.dk © Arne Dich, DK-8240 Risskov 2. Clarinet in Bb Siegfried Idyll Richard Wagner arr. A.Dich-1999-2007 Ruhig bewegt poco rit. a tempo 3 3 4 w ú Ï Ï Ï Ï Ï ú Ï ú Ï ú Ï &b4 ª Ï ÏÏÏ Ï ÏÏÏ J äÎ pÏ 8 poco rit. a tempo A Etwas zögernd 3 bÏ Ï bÏ Ï &b · · î ääÎ Î Ï Ï Ï nÏ nÏ bÏ p poco cresc. Ï 17 Noch mehr zurückhaltend a tempo &b Ï Ï ú #ú w w úª Ï Ï Ï bdÏim. Ï ú ú pp úª úª B A tempo, Sehr ruhig 25 3 3 b j ä ú Ï Ï ú ú Ï Ï Ï ú Ï Ï Ï & ú Ï Ï Ï Ï ª Ï Ï Ï úª Ï p Ï Ï 3 31 3 3 3 úª Ï Ï &b Ï Ï Ï úª Ï Ï Ï ú Ï Ï Ï Ï Ï úª ú Ï Ï Ï Ï Ï ú 3 Ï 37 C Ï Ï Ïª Ï ú Ï Ï Ï ú Ï Ï Ï Ï úª ú Ï Ïª Ï &b úª Ï Ï Ï Ï Î e e e ª e E E e 3 3 cresc. 43 D Ï Ï Ï Ï 3 3 Ï Ï Ï Ï Ï Ï Ï Ï J #Ï nÏ Ï w &b e ä Ï Ï Ï Ï Ï ú w pJiu f p . 49 3 3 3 Ï ú Ï Ï ú Ï &b ä Ï. Ï. Ï. Ï. Ï. ú · · Î Ï Ï nÏ #ÏnÏ ú pp p dolce 55 poco rit. E Sehr einfach Ï Ï Ï. Ï. &b Ï #ÏnÏ Ï Ï Ï Ï w ú ÏnÏ Ï Ï Ï ÏnÏ Ï Ï Ï Ï p . 61 &b Ï Î î · Ï. Ï Ï Ï · Ï. Ï Ï Ï · · . Ï. Ï. Ï. Ï. 68 F bî Î nÏ ú nÏ Ï Î î & ª Ï w Ï ú Ï w ú Ï p dolce 3 ú www.DichMusik.dk © Arne Dich, DK-8240 Risskov 2. Clarinet in B Wagner Siegfried-Idyll 2 b 75 3 3 3 &bî Î Ï Ï Ï Ï Ï ú Ï Ï ú Ï Ï ú Ï Ï p ÏÏÏ ÏÏÏ Ï ÏÏ 80 G Leicht bewegt 3 3 # # 3 &b ú Ï Ï ú Ï Ï w w w n # 4#úª ú Î Ï Ï Ï Ï Ï Ï pp p 87 poco rall. a Tempo ~~~~~~~~~~~~~~~~~ all # # Ï Ï Ï Ï Ù 3 & # #Ï Ï ª Ï Ïª Ï úª · #úª úª Ï Ï Ï J J p one player dolce sempre 98 Ï Ï Ï # # Ϫ j Ϫ Ï & # ú nÏ Ï Ï Ï Ï · î ä Ï Ï Ï Ï Ï Ï poco cresc. J poco cresc.J mf 106 H Ï # # Ï Ï Ï Ï Ï Ïª Ï & # Ϫ Ï ª Ï ú Ï ú #Ï Ï Ï Ï Ï Ï Ï Ï p J J J p cresc.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 17, 1897-1898
    Metropolitan Opera House, New York. Boston Symphony Orchestra. Mr. EMIL PAUR, Conductor. Twelfth Season in New York. PROGRAMME OF THE Fifth and Last Concert THURSDAY EVENING, MARCH 24, AT 8.15 PRECISELY. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. (11 Steinway & Sons, Piano Manufacturers BY APPOINTMENT TO HIS MAJESTY, WILLIAM II., EMPEROR OF GERMANY. THE ROYAL COURT OF PRUSSIA. His Majesty, FRANCIS JOSEPH, Emperor of Austria. HER MAJESTY, THE QUEEN OF ENGLAND. Their Royal Highnesses, THE PRINCE AND PRINCESS OF WALES. THE DUKE OF EDINBURGH. His Majesty, UMBERTO I., the King of Italy. Her Majesty, THE QUEEN OF SPAIN. His Majesty, Emperor William II. of Germany, on June 13, 1893, also bestowed on our Mr William Stbinway the order of The Rkd Eagle, III. Class, an honor never before granted to a manufacturer The Royal Academy Of St. Ceecilia at Rome, Italy, founded by the celebrated composer Pales- trii a in 1584, has elected Mr. William Steinway an honorary member of that institution. The following it the translation of his diploma: — The Royal Academy of St. Ceecilia have, on account of his eminent merit in the domain of muse, and in conformitv to their Statutes, Article 12, solemnly decreed to receive William Stein- way into the number of their honorary members. Given at Rome, April 15, 1894, and in the three hundred and tenth year from the founding of the society. Albx Pansotti, Secretary. E. Di San Martino, President. ILLUSTRATED CATALOGUES MAILED FREE ON APPLICATION. STEINWAY & SONS, Warerooms, Steinway Hall, 107-111 East 14th St., New York.
    [Show full text]
  • Eberhard Kloke · Wieviel Programm Braucht Musik? Eberhard Kloke (* 1948 in Hamburg)
    Eberhard Kloke · Wieviel Programm braucht Musik? Eberhard Kloke (* 1948 in Hamburg). Nach Kapellmeistertätigkeiten in Mainz, Darmstadt, Düsseldorf und Lübeck wurde Eberhard Kloke 1980 als Generalmusikdirektor nach Ulm berufen und ging 1983 in gleicher Position nach Freiburg im Breisgau. 1988 bis 1994 war er Generalmusikdirektor der Bochumer Symphoniker, und von 1993 bis 1998 übernahm er die Leitung der Nürnberger Oper und des Philharmonischen Orchesters Nürnberg. 1990 wurde Kloke mit dem Deutschen Kritikerpreis ausgezeichnet. Die Musik der Moderne bildet das Zentrum der künstlerischen Arbeit von Eberhard Kloke. In Freiburg, Bochum und Nürn- berg und von Berlin aus organisierte und leitete er großangelegte Zyklen mit zeitgenös- sischer Musik-Programmatik (Götterdämmerung_Maßstab und Gemessenes; Jakobsleiter, Ein deutscher Traum, Aufbrechen Amerika, Prometheus, Jenseits des Klanges). Seit 1998 lebt er als freiberuflicher Dirigent und Projektemacher in Berlin und gründete im Hinblick auf seine vielfältigen kulturellen Aktivitäten den Verein musikakzente 21. Seit 2001 erwei- terte sich das Arbeitsspektrum um kuratorische Aufgaben und kompositorische Heraus- forderungen. Wieviel Programm braucht Musik? Programm Musik-Konzept: Eine Zwischenbilanz 1980– 2010 Eberhard Kloke ISBN 978-3-89727-447-1 © 2010 by PFAU-Verlag, Saarbrücken Alle Rechte vorbehalten. Umschlaggestaltung: Sigrid Konrad, Saarbrücken Layout und Satz: Judy Hohl, Alexander Zuber Lektorat: Heinz-Klaus Metzger, Rainer Riehn Printed in Germany PFAU-Verlag · Hafenstr. 33 · D 66111 Saarbrücken www.pfau-verlag.de · www.pfau-music.com · [email protected] Wieviel Programm braucht Musik? Programm Musik-Konzept: Eine Zwischenbilanz 1980– 2010 4 Leitfaden für das Handbuch 8 Kapitel 1 Die Krise des Programmatischen Musik und ihr Programm in den öffentlichen Erscheinungsformen 14 Kapitel 2 Von der Expansion der Klangdistrikte Programm als musikalisches Konzept Übersicht zu den Kapiteln 3, 4 und 5: S.
    [Show full text]
  • SCHOLARLY PROGRAM NOTES of SELECTED WORKS by LUDWIG VAN BEETHOVEN, RICHARD WAGNER, and JAMES STEPHENSON III Jeffrey Y
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 5-2017 SCHOLARLY PROGRAM NOTES OF SELECTED WORKS BY LUDWIG VAN BEETHOVEN, RICHARD WAGNER, AND JAMES STEPHENSON III Jeffrey Y. Chow Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp CLOSING REMARKS In selecting music for this program, the works had instrumentation that fit with our ensemble, the Southern Illinois Sinfonietta, yet covering three major periods of music over just a little more than the past couple of centuries. As composers write more and more for a chamber ensemble like the musicians I have worked with to carry out this performance, it becomes more and more idiomatic for conductors like myself to explore their other compositions for orchestra, both small and large. Having performed my recital with musicians from both the within the Southern Illinois University Carbondale School of Music core and from the outside, this entire community has helped shaped my studies & my work as a graduate student here at Southern Illinois University Carbondale, bringing it all to a glorious end. Recommended Citation Chow, Jeffrey Y. "SCHOLARLY PROGRAM NOTES OF SELECTED WORKS BY LUDWIG VAN BEETHOVEN, RICHARD WAGNER, AND JAMES STEPHENSON III." (May 2017). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected].
    [Show full text]
  • Programmheft Zum Download
    PROGRAMM RICHARD WAGNER „Siegfried-Idyll“ WWV 103 (18 Min.) FRANZ SCHUBERT Rondo für Violine und Streicher A-Dur D 438 (15 Min.) Ermir Abeshi, Violine PETER TSCHAIKOWSKY Serenade für Streichorchester C-Dur op. 48 (30 Min.) Pezzo in forma di Sonatina. Andante non troppo – Allegro moderato Valse. Moderato Elegia. Larghetto elegiaco Finale (Tema russo). Andante – Allegro con spirito Sendetermin Radiokonzert live ab 11.04 Uhr auf SR 2 KulturRadio und auf Radio 100,7 Luxemburg. Danach auf drp-orchester.de und sr2.de 1 DAS GOLDENE TOR, ODER: DIE SCHÖNHEIT IN DER MUSIK Werke von Richard Wagner, Franz Schubert und Peter Tschaikowsky Die Nächte sind lang und dunkel, die Tage oft grau und kalt. Wie wichtig ist in solchen Wochen das Licht! Es scheint und wärmt vielleicht sogar ein bisschen, am Ende des Tunnels entdeckt, macht es uns Hoffnung. Und nur mit Licht können wir Schönheit sehen. Doch was ist schön? Was klingt schön? Ist das ruhige Schwingen schön, das sich in Richard Wagners „Siegfried-Idyll“ klangsinnlich ausbreitet? Ist es die ungetrübte Fröhlichkeit im Rondo A-Dur von Franz Schubert? Ist es das schwebende Walzer-Kreiseln in Peter Tschaikowskys Streicherserenade? Am Anfang war die Schönheit in der Natur. Betrachten wir zum Beispiel ein makelloses Ei: Kein Weltenschöpfer hat es designt, seine feine Form ist die evolutionäre Folge physikalischer Notwendigkeiten. Das Ei muss mit möglichst wenig Kalk möglichst stabil sein. Ähnlich effektiv wie Hühner ihre Eier legen, spinnen Spinnen ihre Netze. Welche schönen, regelmäßig- unregelmäßigen Strukturen sind da zu entdecken! Vor allem, wenn Tau im Gegenlicht an einem Spinnennetz perlt. Welche Klarheit in der Viel- falt! Oder die Haut von Schlangen; die Farben von Gefiedern; die Facetten eines Insektenauges! Schön wird in der Natur oft das, was nützlich ist.
    [Show full text]
  • UGASO Repertoire Through the Years
    BUILDING THROUGH PERFORMANCE AND REPERTOIRE A SAMPLING OF MAJOR WORKS PERFORMED BY THE UGASO IN PAST YEARS Barber Second Essay Mussorgsky Violin Concerto -Ravel Pictures at an Exhibition Bartok Concerto for Orchestra Orff Carmina Burana Violin Concerto No. 2 Prokofiev Symphonies 1, 5 Beethoven Symphonies 2, 3, 4, 5, 6, 7, 8, 9 Suite from Romeo and Juliet Triple Concerto Violin Concerto No 2 Piano Concertos 3, 5 Egmont Overture Puccini La boheme Coriolan Overture Madama Butterfly Berlioz Symphonie Fantastique Rachmaninov Symphonic Dances Harold in Italy Symphony No. 2 The Bells Bernstein Symphonic Dances West Side Story Rhapsody on Theme of Paganini Bizet Carmen Ravel Daphnis & Chloe Suite No. 2 Mother Goose Suite Brahms Symphonies 1, 2, 3, 4 Concerto for the Left Hand Double Concerto Piano Concerto No. 2 Ri. Korsakov Scheherazade Requiem ` Tragic Overture Rossini The Barber of Seville Haydn Variations Schumann Symphonies 1, 4 Bruckner Symphonies 4, 7 Shostakovich Symphonies 5, 9, 10 Copland Billy the Kid Suite Violin Concerto No. 1 A Lincoln Portrait Cello Concerto Debussy Nocturnes Sibelius Symphonies 1, 2, 5 Dvorak Symphonies 7, 8, 9 Strauss Four Last Songs Cello Concerto Death and Transfiguration Carnival Overture Till Eulenspiegel Don Juan Elgar Symphony No. 2 Horn Concerto No 1 Violin Concerto Rosenkavalier Suite In the South Metamorphosen for 23 Solo Strings Enigma Variations Strauss Der Fledermaus Gershwin Piano Concerto Stravinsky Firebird Suite Grofe Grand Canyon Suite Symphony in Three Movements Divertimento from Fairy’s Kiss Hanson Symphony No 2 Tchaikovsky Symphonies 2, 4, 5, 6 Hindemith Symphonic Metamorphosis Romeo and Juliet Holst The Planets Torke Bright Blue Music Liszt Les Preludes Vaughn Williams Sea Symphony Mahler Symphonies 1, 2, 4, 5, 6 Verdi La Traviata Songs of a Wayfarer Falstaff Mendelssohn Elijah Wagner Siegfried Idyll Symphony No.
    [Show full text]
  • Richard Wagner Richard Strauss Andris Nelsons
    RICHARD WAGNER SIEGFRIED-IDYLL TANNHÄUSER: OVERTURE AND VENUSBERG MUSIC RICHARD STRAUSS ALSO SPRACH ZARATHUSTRA ANDRIS NELSONS CONCERTGEBOUW AMSTERDAM RICHARD WAGNER This edition of the traditional Kerstmatinee in the 125th anniver- Siegfried-Idyll sary year of the orchestra, features works by Richard Wagner, Tannhäuser: Overture and Venusberg Music celebrated on the occasion of his 200th birthday, and Richard Strauss, with whom the orchestra has always had close ties. RICHARD STRAUSS Wagner’s Siegfried-Idyll was composed as a birthday present Also sprach Zarathustra, Op. 30 for his wife Cosima. It is combined with the Overture and the Venusberg Music from his opera Tannhäuser. The programme is completed by Strauss’s symphonic poem Also sprach Zarathustra that the orchestra performed several times under the baton of Strauss himself. The Kerstmatinee (Christmas Matinee) of the Royal Concert- Conductor Andris Nelsons gebouw Orchestra enjoys a long tradition in the orchestra’s Orchestra Royal Concertgebouw concert calendar. Every year, the orchestra performs a special Orchestra concert on the 25th of December. The Kerstmatinee is usually conducted by the chief conductor of the orchestra. For this Produced by Castus performance the orchestra’s current chief conductor Mariss Video Director Joost Honselaar Jansons hands over the baton to his former student and fellow countryman Andris Nelsons, who is considered as one of the most sought-after talents of the younger generation of conductors. Length: 83' Shot in HDTV 1080/50i Cat. no. A865500060000 A production of RCO in co-production with UNITEL CLASSICA World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Marco Borggreve, Anne Dokter · Flyer: luebbeke.com Flyer: · Dokter Anne Borggreve, contractual Marco Different Photos: © territories credits · not rights · All reserved · Tel.
    [Show full text]
  • PROGRAM NOTES Richard Wagner
    PROGRAM NOTES Richard Wagner - Siegfried Idyll Richard Wagner Born May 22, 1813, Leipzig, Germany. Died February 13, 1883, Venice, Italy. Siegfried Idyll Although Cosima Wagner was born on December 24, she chose to celebrate her birthday on the twenty-fifth. Her diary entry for Sunday, December 25, 1870, reads: When I woke up I heard a sound, it grew ever louder, I could no longer imagine myself in a dream, music was sounding, and what music! After it had died away, R. came in to me with the five children and put into my hands the score of his "symphonic birthday greeting." I was in tears, but so, too, was the whole household; R. had set up his orchestra on the stairs and thus consecrated our Tribschen forever! The Tribschen Idyll —so the work is called . R. is her beloved Richard, and two of the five children are Cosima's from her previous marriage to Hans von Bülow, whom she abruptly left for the man that even Hans, a talented pianist and conductor, admitted to be his superior in the world of music. The other three are five-year-old Isolde; Eva, three; and Siegfried, eighteen months—Cosima and Richard Wagner's children, all born before their marriage on August 25, 1870. Tribschen is the name of the house on a promontory overlooking Lake Lucerne, where Cosima and Richard made their home. Tribschen Idyll is, of course, the Siegfried Idyll —though it wasn't given that name for many years, after the Wagners elected to publish their private musical communication in exchange for a nice sum of money.
    [Show full text]
  • Form in Richard Wagner's Siegfried Idyll
    ABSTRACT MATTHEW BOYLE Sonata Reinvented: Form in Richard Wagner’s Siegfried Idyll (Under the Direction of DR. ADRIAN CHILDS) In the middle of the 19th century a crisis in the development of symphonic music occurred. How should pieces interact with the masterworks from the early part of the century strongly identified with Beethoven? Should composers conform to the conventional norms of Formenlehre, or was each piece to seize its own form? Perhaps the most important response to the crisis is to be found in Franz Liszt’s body of 13 symphonic poems and 2 programmatic symphonies, and also in Richard Wagner’s domestic tone poem, the Siegfried Idyll. The triumphs and failures of Liszt’s and Wagner’s experiments in a new type of symphonic music ultimately served as models to the highly individualized forms and compositions of early modernists, including Richard Strauss’s tone poems and Gustav Mahler and Jean Sibelius’s symphonies. Works of this later generation have recently been examined by James Hepokoski and Warren Darcy, who have peered into how these works interact with processes of sonata deformation, rotational form, and interactions with their notion of “sonata theory.” The purpose of this paper will be to devise a formal analysis of the Siegfried Idyll, which attempts to link the piece’s formal aspects with the symphonic poem compositional style and the common deformational options of the later 19th century. INDEX WORDS: Wagner, Siegfried Idyll, Symphonic Poem, Sonata Theory, Form, Sonata Deformation, Hepokoski, Darcy SONATA REINVENTED: FORM IN RICHARD WAGNER’S SIEGFRIED IDYLL by MATTHEW LEE CIEMBOR BOYLE A Thesis Submitted to the Honors Council of the University of Georgia in Partial Fulfillment of the Requirements for the Degree BACHELOR OF MUSIC in MUSIC THEORY with HONORS Athens, Georgia 2009 SONATA REINVENTED: FORM IN RICHARD WAGNER’S SIEGFRIED IDYLL by MATTHEW LEE CIEMBOR BOYLE Approved: Dr.
    [Show full text]
  • Neo-Riemannian Transformations and Prolongational Structures in Wagner's Parsifal Steven Scott Baker
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Neo-Riemannian Transformations and Prolongational Structures in Wagner's Parsifal Steven Scott Baker Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC NEO-RIEMANNIAN TRANSFORMATIONS AND PROLONGATIONAL STRUCTURES IN WAGNER’S PARSIFAL By STEVEN SCOTT BAKER A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2003 The members of the Committee approve the dissertation of Steven Scott Baker defended on April 1, 2003. _______________________ Jane Piper Clendinning Professor Directing Dissertation _______________________ Douglas Fisher Outside Committee Member _______________________ Evan Jones Committee Member _______________________ James R. Mathes Committee Member _______________________ Matthew R. Shaftel Committee Member The office of Graduate Studies has verified and approved the above named committee members. ii This document is dedicated to Dr. Jonathan May for instilling in me a love of music that has never wavered. I extend my deepest gratitude to him for believing that I could succeed in the field of music, and more importantly, for making me believe it. iii ACKNOWLEDGEMENTS My thanks and appreciation are extended to Prof. Jane Piper Clendinning for her constant support and advice during the preparation of this document. I am forever indebted to her for being the best and most enthusiastic advisor I could have asked for. I would also like to thank the members of my dissertation committee: Prof. Evan Jones, Prof.
    [Show full text]
  • Download Booklet
    8.111283 bk Koussewitzky EU 16/1/08 13:44 Page 5 Producer’s Note 8.111283 The performances presented here were made during a period of great transition in recording technology and published formats. From around 1944 until its adoption of magnetic tape late in 1949, RCA Victor recorded on two Great Conductors • Koussevitzky ADD master formats: direct to 78-rpm wax matrices for commercial issue and to lacquer backup discs recorded at 33 1/3 rpm. The latter method was able to capture a wider frequency range than wax, and provided a backup for dubbing purposes in case something went wrong with the 78 masters. As new vinyl media supplanted shellac for record releases, the lacquers offered a quieter source from which to prepare transfers. When American Columbia released the first modern LP records in 1948, RCA, unwilling at first to pay the Also available licensing fees, countered with the 45 rpm disc. They eventually bowed to the inevitable in 1950; but during and after this interim period, there seemed to be no general rule as to the format on which a recording would be issued. For example, the Flying Dutchman Overture and the Prelude to Act 1 of Parsifal were both recorded at the same session; yet, the former was issued on a quiet, wide-frequency vinyl 45 rpm disc (as well as 78 rpm shellac) while WAGNER the latter only came out on shellac 78s. Similarly, the Prelude to Act 1 of Lohengrin and the Siegfried Idyll were done at the same session, with the former released on the 45 and 78 rpm formats and the latter on 45 and LP only.
    [Show full text]
  • Coastal Symphony of Georgia 2020-21 Concert Season
    Coastal Symphony of Georgia 2020-21 Concert Season Michelle Merrill, Music Director and Conductor Brunswick High School Auditorium Monday, November 9, 2020 8:00 p.m. Coriolan Overture Ludwig von Beethoven Siegfried Idyll Richard Wagner Intermission Symphony No. 3 Ludwig von Beethoven Our second concert of the season opens and closes with the genius of Beethoven, as part of the global celebration of his 250th birthday. (December 17, 1770–December 17, 2020) Beethoven’s Coriolan Overture depicts a Roman leader’s transition from brutality to tenderness by capturing the moods of the story of Gaius Marcius Coriolanus rather than its narrative. A main C minor theme represents Coriolanus’ resolve and war-like tendencies as he is about to invade Rome. A more tender E-flat major theme reflects the pleadings of his mother to desist. An explosive beginning gives way to lighter winds, but there is a continuing sense of underlying urgency as it moves to a pastoral feeling, ending quietly as the troubled Coriolanus takes his own life. A mother and son theme also informs the second piece on the program in Richard Wagner’s Siegfried Idyll. Originally titled The Tribschen Idyll, the symphonic poem presented in sonata form celebrates private joys, domestic bliss, and the birth of a son, Siegfried. Wagner presented it to his wife Cosima as a birthday present on December 25, 1870, gathering a small ensemble on the stairs of their home, Tribschen, on Lake Lucerne, Switzerland. He later arranged the piece for full orchestra and retitled it Siegfried Idyll. This work is considered the most personal of all his compositions and has been described as a sumptuous piece of music that expresses his paternal and romantic love.
    [Show full text]
  • Download the Program for This Concert
    Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Thursday, February 20, 2020 at 8:00pm Saturday, February 22, 2020 at 8:00pm Majestic Bruckner Donald Runnicles, conductor Richard Wagner Siegfried Idyll Intermission Anton Bruckner Symphony No. 7 in E Major, WAB 107 I. Allegro moderato II. Adagio: Sehr feierlich und sehr langsam III. Scherzo: Sehr schnell IV. Finale: Bewegt, doch nicht schnell As a courtesy to musicians, guest artists, and fellow concertgoers, please put your phone away and on silent during the performance. FEBRUARY 20 & 22, 2020 23 ABOUT THE WORKS enriched by the sensuous harmonies and luxuriant chromatic counterpoint typical of late Wagner, but with not a trace of Wagnerian Richard Wagner bombast. (This is the Wagner of choice for people who hate Wagner.) Wagner’s scoring is Siegfried Idyll delicate and discriminating, and every detail Born: Leipzig, Germany, May 22, 1813 counts—when, after 35 bars for strings alone, Died: Venice, Italy, Feb 13, 1883 the first wind instrument (the flute) enters Composed: 1870 with a new motif, the effect is magical. The 17 Idyll can be played as Wagner played it, with a min chamber ensemble of just 13 performers, one to a part, but even in an orchestral setting, with a larger body of strings, it conveys the The Siegfried Idyll was Wagner’s Symphonia intimacy of chamber music. domestica, an orchestral fantasy on The Idyll is structured as a single great domestic themes. It grew out of his personal arch. Wagner gradually introduces a series circumstances at Tribschen, the lakeside of themes and motifs, and subjects all of villa near Lucerne where he and his wife them to perpetual (though unobtrusive) Cosima spent six of the most contented and metamorphosis—freely varying, extending productive years of their lives.
    [Show full text]