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THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects -
Download Booklet
557943bk Cello US 3+3 Rev 8/10/05 5:41 PM Page 1 Maria Kliegel A native of Dillenburg, but living in Essen since 1975, Maria Kliegel is one of the leading cello virtuosi of our time VIRTUOSO CELLO and the most recorded on CD. She took up her studies with Janos Starker at Indiana University in the United States, and won first prize at the American College Competition, at the First German Music Competition, and at the Concours Aldo Parisot. After her triumph at the Rostropovich Competition in 1981, she began a series of ENCORES outstanding international concerts and tours, playing in Basle, with the National Symphony Orchestra in Washington and with the Orchestre National de France in Paris, always accompanied by Mstislav Rostropovich Bach • Schubert • Popper • Debussy • Ravel conducting. Successful concert events have led to numerous sessions for radio, television and for record labels. In 1990, when she recorded Alfred Schnittke’s First Cello Concerto, the Russian composer recognized her interpretation as the standard recording of the work, a judgement echoed by critics when the recording appeared on Offenbach • Rachmaninov • Shostakovich Marco Polo, and later on Naxos (8.554465). Maria Kliegel appears regularly as a guest soloist at venues all over the world, as well as with her duo partner, the American pianist Nina Tichman, and, since 2001, with her and the violinist Ida Bieler in the newly established Xyrion Tro. She has an exceptionally wide repertoire and her versatility Maria Kliegel, Cello and interest in exploring newer works has stimulated contemporary composers to write music for her to perform, for example Hommage à Nelson by Wilhelm Kaiser-Lindemann (recorded on Naxos 8.554485) , dedicated to Raimund Havenith, Piano Nelson Mandela. -
Julius Stockhausen's Early Performances of Franz Schubert's
19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16. -
Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
*l'\ fr^j BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 G> X will MIIHIi H tf SEVENTY-SEVENTH SEASON 1957-1958 BAYARD TUCEERMAN. JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT 8. TUCEERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mast. LA fayette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1958, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. -
Eugene Ormandy Commercial Sound Recordings Ms
Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985 -
Four Further Spohr Mysteries
FOUR FURTHER SPOHR MYSTERIES by Keith Warsop Introduction T\ REVIOUS Spohr mysteries were considered in Spohr Journal2T for Winter 2000, pages lJ $-19 (1. The Rondo for Violin and Harp, "Op.88"; 2. Psalm XX[V, Op.97a;3. Trio for I Violin, Viola and Guitar. WoO.138; 4. Konzertsflick for Clarinet and Orchestra) and in Spohr Journal\Sfor Winter z}}l,pages 30-35 (1, Spohr's slow movements; 2. Spohr and Bach; 3. Spohr's Russian tune; 4. Spohr's Harp Trio). Fresh light was thrown on some of these subjects while others remain mysterious. 1. Cadenzas to Beethoven's Violin Concerto, WoO.46 The fact that Spohr wrote cadenzas for Beethoven's Violin Concerto may come as a surprise to many outside the circle of Spohr scholarship. After all, the general prejudice is that Spohr was out of sympathy with all except the works of Beethoven's first period, such as the string quartets Op.l8. Leslie Orrey, for instance, states: "He was unsympathetic to the later Beethoven; in the whole of his Autobiography there is no reference to the greatest of all violin concertos." [BncHenecH 1958]. As Spohr's cadenzas were not published until 1896 they have remained little known and hardly ever played. They appeared in print in the Edition Chamot in London (No.741) though credited to aLeipzig printer. The title page reads: "Edition Charnot". Trois Cadences pour le CoNcEnto DE VloLoN de L.veN BgeruovEN par Louis Spohr. 741. Price 3A. Printed by C'G.Rdder, Leipzig' This edition gives no clue as to the date of composition but in his Spohr thematic catalogue, Folker G6thel speculates about two possible occasions when Spohr might have written the cadenzas fG6rffir, 198i]. -
Symposium Records Cd 1156
SYMPOSIUM RECORDS CD 1156 The GREAT VIOLINISTS – Volume VII SHIN-ICHI SUZUKI GEORGE ENESCO JAQUES THIBAUD ZINO FRANCESCATTI At first glance there may appear to be little connection between the four composers on this disc other than their Gallicism, and even that may be disputed in the case of César Franck who was French only by adoption. Certainly there could hardly be a wider contrast of aims and ideals than between Franck, the priest of High Seriousness, and Ravel, the advocate of "le plaisir...d'une occupation inutile". Yet there are important, if unobvious, links. Franck and Fauré were the architects of the revival of French chamber music, and between them inspired what were to become the two main traditions of the late 19th/early 20th century. Chausson was a pupil of Franck, Ravel of Fauré. There is a link, too, in the dedications of two of the works. César Franck dedicated his Sonata to Eugène Ysaÿe as a wedding gift and, we are told, when it was presented to him at a banquet, so moved was he that he performed it, then and there. Chausson's Poème, too, is dedicated to Ysaÿe. After one run-through with piano and one rehearsal with orchestra he gave this piece too, its first performance. (One might add, on a more gruesome note, that both Franck and Chausson died as a result of vehicular accidents: Franck struck by the pole of a horse-omnibus, Chausson thrown over the handlebars of his bicycle.) The distinguished violinists on this disc between them have provided us with a recital of four masterworks from the French violin repertoire. -
Program Notes
PROGRAM NOTES Camille Saint-Saëns – Introduction and Rondo capriccioso, Op. 28 Composition History Saint-Saëns composed this work in 1863. The date of the first performance is not known. The score calls for solo violin and an orchestra consisting of pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, with timpani and strings. Performance time is approximately nine minutes. Performance History The Chicago Symphony Orchestra’s first subscription concert performances of Saint-Saëns’s Introduction and Rondo capriccioso were given at the Auditorium Theatre on December 13 and 14, 1895, with Martin Marsick as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on December 17, 18, 19, and 20, 1997, with Nadja Salerno-Sonnenberg as soloist and Christoph Eschenbach conducting. The Orchestra first performed this work at the Ravinia Festival on July 7, 1956, with Zino Francescatti as soloist and Pierre Monteux conducting, and most recently on August 14, 1999, with Midori as soloist and Christoph Eschenbach conducting. For the record The Orchestra recorded Saint-Saëns’s Introduction and Rondo capriccioso in 1962 with Erick Friedman as soloist and Walter Hendl conducting for RCA. Camille Saint-Saëns Born October 9, 1835, Paris, France. Died December 16, 1921, Algiers, Algeria. Introduction and Rondo capriccioso, Op. 28 Like many composers who write concertos for instruments they do not play, Saint-Saëns welcomed the advice of the great Spanish violinist, Pablo de Sarasate, when he composed music for solo violin. They met when Sarasate was just fifteen, and Saint-Saëns twenty-four, and at the very beginning of a long and productive career. -
Music of the Mississippi Carlos Miguel Prieto, Conductor Ariana Kim, Violin Jane Redding, Soprano Mikko, Mark Twain
Louisiana Philharmonic Orchestra Carlos Miguel Prieto, Music Director Adelaide Wisdom Benjamin Music Director and Principal Conductor and The Historic New Orleans Collection present Music of the Mississippi Carlos Miguel Prieto, Conductor Ariana Kim, Violin Jane Redding, Soprano mikko, Mark Twain February 13, 2008 St. Louis Cathedral The Louisiana Philharmonic Orchestra and The Historic New Orleans Collection gratefully acknowledge the Rev. Msgr. Crosby W. Kern and the staff of the St. Louis Cathedral for their generous support and assistance with tonight’s performance. Music of the Mississippi is the result of a collaboration Jean-Philippe Rameau (1683–1764) of The Historic New Orleans Collection and the Louisiana Philharmonic Les Indes galantes Ouverture Orchestra. The seeds for this partnership were planted many years ago Entrée des Quatre nations by General and Mrs. L. Kemper Williams, founders of The Historic New Air des Sauvages Orleans Collection. The Williamses championed many philanthropic Chaconne causes during their lives, and General Williams had a particular interest Henri Vieuxtemps (1820–1881) in the New Orleans Philharmonic Symphony Orchestra, serving as the Concerto No. 5 in A minor, Opus 37 (“Gretry”) symphony’s president for six seasons from 1951 to 1957. During that Adagio, Allegro con fuoco time, General Williams worked to bring programs to schoolchildren Ariana Kim, violin and arranged tours for the orchestra. Today, General Williams’s legacy Nicolò Paganini (1782–1840) continues through this partnership with the LPO. The annual program Caprice No. 13(for solo violin) in B flat major, from Opus 1 consists of a lecture, concert, and educational resource for elementary Ariana Kim, violin and high school students throughout the state. -
French Performance Practices in the Piano Works of Maurice Ravel
Studies in Pianistic Sonority, Nuance and Expression: French Performance Practices in the Piano Works of Maurice Ravel Iwan Llewelyn-Jones Submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy School of Music Cardiff University 2016 Abstract This thesis traces the development of Maurice Ravel’s pianism in relation to sonority, nuance and expression by addressing four main areas of research that have remained largely unexplored within Ravel scholarship: the origins of Ravel’s pianism and influences to which he was exposed during his formative training; his exploration of innovative pianistic techniques with particular reference to thumb deployment; his activities as performer and teacher, and role in defining a performance tradition for his piano works; his place in the French pianistic canon. Identifying the main research questions addressed in this study, an Introduction outlines the dissertation content, explains the criteria and objectives for the performance component (Public Recital) and concludes with a literature review. Chapter 1 explores the pianistic techniques Ravel acquired during his formative training, and considers how his study of specific works from the nineteenth-century piano repertory shaped and influenced his compositional style and pianism. Chapter 2 discusses Ravel’s implementation of his idiosyncratic ‘strangler’ thumbs as articulators of melodic, harmonic, rhythmic and textural material in selected piano works. Ravel’s role in defining a performance tradition for his piano works as disseminated to succeeding generations of pianists is addressed in Chapter 3, while Chapters 4 and 5 evaluate Ravel’s impact upon twentieth-century French pianism through considering how leading French piano pedagogues and performers responded to his trailblazing piano techniques. -
French Violin Performance from Franck to Ravel A
UNIVERSITY OF CALIFORNIA Los Angeles In Search of a Style: French Violin Performance from Franck to Ravel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Ji Young An 2013 © Copyright by Ji Young An 2013 ABSTRACT OF THE DISSERTATION In Search of a Style: French Violin Performance from Franck to Ravel by Ji Young An Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert Winter, Chair My dissertation focuses on issues of French sound and style in late nineteenth and early twentieth-century French violin repertoire. As a violinist who studied at the Paris Conservatory, I have long been puzzled as to why so little had been written about something that everyone seems to take for granted—so called French style. I attacked this elusive issue from three perspectives: 1) a detailed look at performance directions; 2) comparisons among recordings by artists close to this period (Jacques Thibaud, Zino Francescatti, as well as contemporary French artists such as Philippe Graffin and Guillaume Sutre); and 3) interviews with three living French violinists (Olivier Charlier, Régis Pasquier, and Gérard Poulet) with strong ties to this tradition. After listening to countless historical recordings, I settled on three pivotal works that illustrate the emergence and full flowering of the French style: César Franck’s Violin Sonata (1886), Claude Debussy’s Violin Sonata (1917), and ii Maurice Ravel’s Tzigane: Rapsodie de Concert pour Violon et Piano (1924). Each of them presents specific challenges: notational and stylistic issues in Franck’s Violin Sonata, Debussy’s performance directions in his Violin Sonata, and notational and interpretive issues in Ravel’s Tzigane that led to a separate, orally-transmitted French tradition.