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Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation. -
Beethoven to Drake Featuring Daniel Bernard Roumain, Composer & Violinist
125 YEARS Beethoven to Drake Featuring Daniel Bernard Roumain, composer & violinist TEACHER RESOURCE GUIDE 87TH Annual Young People’s Concert William Boughton, Music Director Thank you for taking the NHSO’s musical journey: Beethoven to Drake Dear teachers, Many of us were so lucky to have such dedicated and passionate music teachers growing up that we decided to “take the plunge” ourselves and go into the field. In a time when we must prove how essential the arts are to a child’s growth, the NHSO is committed to supporting the dedication, passion, and excitement that you give to your students on a daily basis. We look forward to traveling down these roads this season with you and your students, and are excited to present the amazing Daniel Bernard Roumain. As a gifted composer and performer who crosses multiple musical genres, DBR inspires audience members with his unique take on Hip Hop, traditional Haitian music, and Classical music. This concert will take you and your students through the history of music - from the masters of several centuries ago up through today’s popular artists. This resource guide is meant to be a starting point for creation of your own lesson plans that you can tailor directly to the needs of your individual classrooms. The information included in each unit is organized in list form to quickly enable you to pick and choose facts and activities that will benefit your students. Each activity supports one or more of the Core Arts standards and each of the writing activities support at least one of the CCSS E/LA anchor standards for writing. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart. -
Franz Joseph Haydn (1732-1809)
Composer Fact Sheets Franz Joseph Haydn (1732-1809) FAST FACTS • Learned music as a choirboy in Vienna • Dismissed from the choir for playing a practical joke on another choir member • Wrote, performed, and organized music and events for Prince Paul Anton Esterházy • Is known for his sense of humor that is very clear in his music Born: 1732 (Rohrau, Austria) Died: 1809 (Vienna, Austria) Joseph Haydn began his long musical career in St. Stephen’s Cathedral in Vienna, where he successfully auditioned into the choir. In the early 1700s, choirboys received a well-rounded education, so Haydn became proficient at singing, harpsichord, and violin. When he turned 17, his voice changed, so he left the cathedral choir to study music even further, realizing that he had received little training in the fundamentals of music. He studied and mastered music theory, the music of other composers, and took music composition lessons from a famous Italian composer and teacher. Haydn is also rumored to have been dismissed due to a practical joke he played on one of the other members of the choir. After his departure, Haydn struggled to support himself through part-time teaching and even street- serenading. He also performed freelance work for the chapel in Vienna, and filled in as an extra musician at balls that were given for orphaned children. Haydn began to gain a reputation, however, through his independent music studies and performing career. In 1761, Haydn entered the service of Prince Paul Anton Esterházy in Hungary. Haydn was required to compose music at a rapid pace, and to perform his works in concerts weekly, and to assist with chamber music concerts that took place nearly every day. -
Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Diplomats As Musical Agents in the Age of Haydn
HAYDN: The Online Journal of the Haydn Society of North America Volume 5 Number 2 Fall 2015 Article 2 November 2015 Diplomats as Musical Agents in the Age of Haydn Mark Ferraguto Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ferraguto, Mark (2015) "Diplomats as Musical Agents in the Age of Haydn," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 5 : No. 2 , Article 2. Available at: https://remix.berklee.edu/haydn-journal/vol5/iss2/2 This Work in Progress is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ferraguto, Mark "Diplomats as Musical Agents in the Age of Haydn." HAYDN: Online Journal of the Haydn Society of North America 5.2 (Fall 2015), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2015. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Diplomats as Musical Agents in the Age of Haydn by Mark Ferraguto Abstract Vienna’s embassies were major centers of musical activity throughout the eighteenth and early nineteenth centuries. Resident diplomats, in addition to being patrons and performers, often acted as musical agents, facilitating musical interactions within and between courts, among individuals and firms, and in their private salons. Through these varied activities, they played a vital role in shaping a transnational European musical culture. -
Beethoven's Expanding Orchestral Horizons, 1795-1800 Theodore Albrecht Haydn's Concert in the Kleiner Redoutensaal, December
Beethoven’s Expanding Orchestral Horizons, 1795-1800 Theodore Albrecht Once Beethoven had tasted his initial success before the Viennese Tonkünstler-Societät’s public (as opposed to salon concerts of the nobility) on March 29-30, 1795, he began planning an Akademie of his own. For a typical potpourri program, he would need a new concerto, a symphony, plus works by other composers, and at least one or two vocal works. Even though he would need to get further use from his Piano Concerto in B-flat, he already had a Concerto in C Major in the works. He was also sketching a Symphony, likewise in C major. He worked on it, periodically, through 1795 and 1796, but it never progressed very far.1 Haydn’s Concert in the Kleiner Redoutensaal, December 18, 1795 Beethoven’s next public appearance playing his Concerto in B-flat was at a concert given by Joseph Haydn, primarily to introduce three of the six Symphonies (recently composed in London) to Viennese audiences on December 18, 1795. The concert took place in the Kleiner Redoutensaal, the smaller of the Imperial Ballrooms, often used for chamber music performances. The identity of the orchestra was not specified,2 but given the location---that is, not in the Burgtheater itself---and Griesinger’s mention that the Kärntnertor Theater’s orchestra under Wranitzky had performed Haydn symphonies,3 it is possible that this ensemble was in fact the orchestra employed. If so, Beethoven would probably again have had a positive experience in making music with Wranitzky. 1Beethoven did not use bound sketchbooks before the so-called “Grasnick 1 Sketchbook,” begun in the middle of 1798. -
Franz Joseph Haydn's Writing for Wind Instruments and the Evolution of the Military Band and Orchestral Wind Section
Graduate Theses, Dissertations, and Problem Reports 2008 Franz Joseph Haydn's writing for wind instruments and the evolution of the military band and orchestral wind section Jonathan Neiderhiser West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Neiderhiser, Jonathan, "Franz Joseph Haydn's writing for wind instruments and the evolution of the military band and orchestral wind section" (2008). Graduate Theses, Dissertations, and Problem Reports. 2845. https://researchrepository.wvu.edu/etd/2845 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Franz Joseph Haydn‟s Writing for Wind Instruments and the Evolution of the Military Band and Orchestral Wind Section Jonathan Neiderhiser Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Performance: Conducting Dr. Kathleen Shannon, chair Prof. John Hendricks Dr. Mary Ferer Dr. -
12 Things You Probably Didn't Know About Beethoven Originally 19
12 Things You Probably Didn't Know About Beethoven Originally 19 Things BY GILI MALINSKY AUGUST 12, 2014 (UPDATED: MARCH 9, 2020) Beethoven-Haus, Wikimedia Commons // Public Domain BEETHOVEN-HAUS, WIKIMEDIA COMMONS // PUBLIC DOMAIN Ludwig van Beethoven, one of the greatest composers who ever lived, was born in December 1770 in Bonn, Germany to a musical family. His grandfather and father were both singers in the state choir. Stubborn and self-involved, dramatic yet loving of his friends, Beethoven would become a virtuoso pianist and canonical composer of nine symphonies, concertos for piano, piano sonatas, and string quartets. His oeuvre spanned the period between the Classical style, characterized by Wolfgang Amadeus Mozart and Joseph Haydn, and Romantic style, led by Frédéric Chopin and Franz Liszt, and created a new vocabulary of humanism and enlightenment in music. Having performed brilliantly for much of his youth and into his early thirties, Beethoven slowly lost his hearing, yet went on to write many of the most important works in musical history. To celebrate the 250th birthday of Ludwig van Beethoven this year, here’s a list of things you might not know about this beloved artist, with information from Jan Swafford’s biography Beethoven: Anguish and Triumph. 1. LUDWIG VAN BEETHOVEN’S FATHER HUSTLED HIS SON INTO PERFORMING. Early on, Johann van Beethoven noticed the boy’s penchant for playing. He set his sights on creating a prodigy just as Mozart had been a couple of decades before. Johann forced his son to practice day and night to reach the same level of genius. -
Mozart's String Quartet in D Minor, K
THE BIOGRAPHY OF A STRING QUARTET: Mozart’s String Quartet in D minor, K. 421 (417b) by Alexa Vivien Wilks A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Alexa Vivien Wilks 2015 The Biography of a String Quartet: Mozart’s String Quartet in D minor, K. 421 (417b) Alexa Vivien Wilks Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract Wolfgang Amadeus Mozart’s String Quartet K. 421 in D minor remains one of his most celebrated quartets. K. 421 is the second work in a set of six quartets dedicated to Mozart’s colleague and mentor, Joseph Haydn, and is the only ‘Haydn’ Quartet in a minor key. An overview of the historical background of K. 421, the significance of D minor in Mozart’s compositions, as well as the compositional relationship between Mozart and Haydn situates this work amongst Mozart’s other string quartet compositions and provides context for the analysis of different editions. An outline of the historical practices and roles of editors, as well as a detailed analysis and comparison of different editions against the autograph manuscript and the first edition published by Artaria in 1785 examines the numerous discrepancies between each of the different publications of K. 421. Using the information acquired from the comparative study of selected historical editions, some possibilities for future editions of K. 421 are discussed. When undertaking the study of a new quartet, performers can learn a great deal from listening to recordings. -
Mozart's Annotations of Haydn Symphony Themes and Their Relationship to the "Linz" Symphony, K
HAYDN: The Online Journal of the Haydn Society of North America Volume 9 Number 2 Fall 2019 Article 2 November 2019 Mozart's Annotations of Haydn Symphony Themes and Their Relationship to the "Linz" Symphony, K. 425 Martin F. Heyworth Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Heyworth, Martin F. (2019) "Mozart's Annotations of Haydn Symphony Themes and Their Relationship to the "Linz" Symphony, K. 425," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 9 : No. 2 , Article 2. Available at: https://remix.berklee.edu/haydn-journal/vol9/iss2/2 This Rediscovered and Important Documents is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Heyworth, Martin F. “Mozart’s Annotations of Haydn Symphony Themes and Their Relationship to the ‘Linz’ Symphony, K. 425.” HAYDN: Online Journal of the Haydn Society of North America 9.2 (Fall 2019), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2019. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Mozart’s Annotations of Haydn Symphony Themes and Their Relationship to the “Linz” Symphony, K. 425. By Martin F. Heyworth Philadelphia, Pennsylvania Figure 1. Page of musical annotations made by Mozart, which includes themes (with minor modifications) from three Haydn symphonies.