Young Nietzsche and the Wagnerian Experience
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
IN SUMMER Lucerne Is a Wagner City
Der Ring des Nibelungen IN SUMMER Lucerne is a Wagner city. For six years – from 1866 to 1872 – the com- poser resided at the Villa Tribschen. This was a decisive period for him artistically as well as personally. It was here that he completed Die Meistersinger von Nürnberg and resumed work on The Ring of the Nibelung, composing both the third act of Siegfried and Götterdäm- merung. Wagner’s Lucerne years also represented a turning point in his personal life. He moved into his new home on Lake Lucerne with Cosima von Bülow, whom he then married on 25 August 1870 in the Protestant parish church. And it was in Tribschen that two of the couple’s three children – their daughter Eva and son Siegfried – were born. To mark the composer’s 200th birthday, LUCERNE FESTIVAL is presenting the first complete performance of theRing cycle in the Wagner city of Lucerne, with the English conductor Jonathan Nott, the Bamberg Symphony Orchestra, and internationally acclaimed Wagner singers, including Albert Dohmen as Wotan, the ruler of the gods, Petra Lang making her role debut as Brünnhilde, Torsten Kerl as Siegfried, Klaus Florian Vogt in the role of Siegmund, and the Russian bass Mikhail Petrenko in a threefold assignment as Fafner, Hunding, and Hagen. This concert presentation of the epoch-making work will enable us to focus on Wagner the musical revolutionary. The highly acclaimed acoustics of the KKL Lucerne’s Salle blanche concert hall will bring out the sonic details and nuances of Wagner’s astounding orchestration with a transparency that has not been heard before. -
182170262.Pdf
Deeper Than Reason Caspar David Friedrich, Large Enclosure at Dresden,c.1831. Photograph ß AKG London. Deeper Than Reason Emotion and its Role in Literature, Music, and Art JENEFER ROBINSON CLARENDON PRESSÁ OXFORD 3 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan South Korea Poland Portugal Singapore Switzerland Thailand Turkey Ukraine Vietnam Published in the United States by Oxford University Press Inc., New York ß Jenefer Robinson 2005 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2005 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available ISBN 0–19–926365–5 9780199263653 13579108642 Typeset by Kolam Information Services Pvt. -
The Importance of Aesthetic Education in the Formation
NOVATEUR PUBLICATIONS JournalNX- A Multidisciplinary Peer Reviewed Journal ISSN No: 2581 - 4230 VOLUME 7, ISSUE 5, May. -2021 THE IMPORTANCE OF AESTHETIC EDUCATION IN THE FORMATION OF PERFORMANCE AND CREATIVE SKILLS OF STUDENTS IN MUSIC LESSONS IN SECONDARY SCHOOLS Botirova Khilola Tursunbaevna Acting as Associate Professor Faculty of Study of Art, Andijan State University, Uzbekistan ANNOTATION: proportions of the general laws of emotional- This article discusses the role of figurative perception of reality are "sound- scientists in the development of meaning" operator with one or more specific performance and creative skills of students, features and laws of musical language. as a very as well as their approach to music. specialized analysis [1]. Information on the aesthetics of music is also V. V. According to Bichkov's aesthetics covered in theoretical theory. Important (from another Greek. ασσθάνομαι - feeling;) in factors in the active development of musical the process of perceiving feelings - the study of perception skills in musical aesthetic specific experiences in its development, the education have been identified. incredible thinking or creative attitude of man to reality as a result of science and feeling a Keywords: Music, thinking, perception, person, feeling, mental and emotional euphoria, ability, upbringing, creativity, thought, pleasure, incomprehensible joy, happiness, performance. understanding of concepts. For believers — with God. The term INTRODUCTION: “aesthetics” is used in the modern scientific Constant and serious attention to the literature and in everyday life and in another problems of aesthetic education, bringing young sense - to describe the aesthetic component of people closer to the the beauty of the world culture. In this sense, they speak of the around us, to the world of literature and art is aesthetics of behavior, activity, sport, ceremony, one of the distinctive features of the school and object, and so on. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
Bowen Abstract
The Rise and Fall of the Bass Clarinet in A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. It was used up to 1990 in about sixty works by over twenty composers, including the Ring cycle, five Mahler symphonies and Rosenkavalier. But it last appeared in Messiaen’s Turangalîla-Symphonie (1948, revised 1990), and the instrument is generally regarded as obsolete.1 Several publications discuss the bass clarinet, notably Rice (2009). However, only Leeson2 and Joppig3 seriously discuss the ‘A’ instrument. Leeson suggests possibilities for its popularity: compatibility with the tonality of the soprano clarinets, the extra semitone at the bottom of the range and the sonority of the instrument. For its disappearance he posits the extension of range of the B¨ bass, and the convenience of having only one instrument. He suggests that its history is more likely to be found in the German than in the French bass clarinet tradition. Joppig examines one aspect of this tradition: Mahler’s use of the clarinet family. The first successful4 bass clarinet was the bassoon form, invented by Grenser in 1793 and made in quantity for almost a century. These instruments descended to at least C and had sufficient range for all parts for the bass clarinet in A.5 They were made in B¨ and C, but no examples in A are known so far. Their main use was in wind bands to provide a more powerful bass than the bassoon.6 For orchestral music, they were perceived to be only partially successful as bass for the clarinet family because of their different principle of construction.7 The modern form was invented by Desfontenelles in 1807 and improved by Buffet (1833) and Adolphe Sax (1838). -
Revisiting Zero Hour 1945
REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs. -
Hitler's Germania: Propaganda Writ in Stone
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Hitler's Germania: Propaganda Writ in Stone Aaron Mumford Boehlert Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Boehlert, Aaron Mumford, "Hitler's Germania: Propaganda Writ in Stone" (2017). Senior Projects Spring 2017. 136. https://digitalcommons.bard.edu/senproj_s2017/136 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to 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. For more information, please contact [email protected]. Hitler’s Germania: Propaganda Writ in Stone Senior Project submitted to the Division of Arts of Bard College By Aaron Boehlert Annandale-on-Hudson, NY 2017 A. Boehlert 2 Acknowledgments This project would not have been possible without the infinite patience, support, and guidance of my advisor, Olga Touloumi, truly a force to be reckoned with in the best possible way. We’ve had laughs, fights, and some of the most incredible moments of collaboration, and I can’t imagine having spent this year working with anyone else. -
Der „Bonner“ Beethoven
Bürger für Beethoven Schriftreihe für Beethoven No 6 Ulrich Konrad Der „Bonner“ Beethoven (Juni 2017) Bürger für Beethoven - Kurfürstenallee 2-3, D-53177 Bonn Tel. 0228 36 62 74 - Fax 0228 184 76 37 – [email protected] Vorsitzender: Dr. Stephan Eisel– [email protected] Bankverbindung: Sparkasse KölnBonn IBAN: DE52 3705 0198 0034 4004 32 - BIC: COLSDE33 www.buerger-fuer-beethoven.de 1 Prof. Dr. Ulrich Konrad wurde 1967 in Bonn geboren und studierte an den Universitäten Bonn und Wien Musikwissenschaft, Germanistik und Geschichte. Nach einer Professur an der Staatlichen Hochschule für Musik in Freiburg im Breisgau wurde er 1996 Ordinarius für Musikwissenschaft an der Universität Würzburg. 2001 erhielt er als erster und bislang einziger Musikwissenschaftler den Gottfried-Wilhelm-Leibniz-Preis. Er ist auch Vorsitzender des wiss. Beirates des Beethoven Hauses Bonn. Der hier abgedruckte Vortrag ist im Jahrbuch der BÜRGER FÜR BEETHOVEN 2015 dokumentiert. Es handelt sich dabei um den Eröffnungsvortrag zur Jahrestagung der Görres-Gesellschaft in Bonn am 26. September 2015. Eine erweiterte Fassung erscheint in den Bonner Beethoven-Studien, Band 12. Nach wie vor grundlegend zum Thema sind Alexander Wheelock Thayer, Ludwig van Beethovens Leben. Nach dem Original-Manuskript deutsch bearbeitet von Hermann Deiters; Erster Band, 3. Auflage, Revision der von H. Deiters bewirkten Neubearbeitung (1901) von Hugo Riemann, Leipzig 1917, und Ludwig Schiedermair, Der junge Beethoven, Leipzig 1925, Nachdruck Hildesheim 1978. Jüngste biographische Überblicksdarstellungen: Lewis Lockwood, Beethoven. Seine Musik. Sein Leben, Kassel 2009 (zuvor New York und London 2003), und Jan Caeyers, Beethoven. Der einsame Revolutionär, München 2012 (zuvor Amsterdam 2009). Die Lebenszeugnisse liegen in wissenschaftlichen Referenzausgaben vor: Ludwig van Beethoven. -
The Routledge Companion to Philosophy and Music Rhythm
This article was downloaded by: 10.3.98.104 On: 23 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Companion to Philosophy and Music Theodore Gracyk, Andrew Kania Rhythm, Melody, and Harmony Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203830376.ch3 Roger Scruton Published online on: 07 Feb 2011 How to cite :- Roger Scruton. 07 Feb 2011, Rhythm, Melody, and Harmony from: The Routledge Companion to Philosophy and Music Routledge Accessed on: 23 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203830376.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 RHYTHM, MELODY, AND HARMONY Roger Scruton Music in the Western tradition is spread out in three dimensions: rhythm, mel- ody and harmony. One or other dimension might be lacking, but the possibil- ity of all three, and of music that develops simultaneously along each of the axes that they define, is both distinctive of Western art music and respon- sible for its many aesthetic triumphs. -
SOMMARIO Una Premessa Sul Puro Umano E Wagner Oggi Il Puro
SOMMARIO L'ONTOLOGIA DELL'UMANO Una premessa sul puro umano e Wagner oggi Il puro umano VII L'intreccio XVII Wagner oggi XX RICHARD WAGNER LA POETICA DEL PURO UMANO A PARIGI: BERLIOZ, LISZT, WAGNER Un intreccio affascinante La malinconia dell'essere: la poetica della Romantik 3 La cultura musicale nella Parigi degli anni Trenta, una fìtta trama di relazioni 16 Berlioz, emancipazione del parametro timbrico 33 Liszt e Chopin, ricerca strumentale e compositiva 45 Wagner, «Un musicista tedesco a Parigi» 71 IN GERMANIA, LA POETICA DEL PURO UMANO Trame di passione Le composizioni strumentali giovanili 101 Mendelssohn e gli Schumann, incomprensioni e polemiche 123 I primi abbozzi teatrali e Le fate 133 II divieto d'amare, «Canto, canto e ancora canto, o tedeschi!» 144 Rienzi, «Armi», «Bandiere», «Onore», «Libertà» 153 L'Olandese volante, «Ah! Superbo oceano!» 170 http://d-nb.info/1024420035 Tannhàuser, «Potete voi tutti scoprirmi la natura dell'amore?» 196 Lohengrin, «Mai non dovrai domandarmi» 222 I Wibelunghi, i moti rivoluzionari, L'arte e la rivoluzione, Gesù di Nazareth 2S3 SCHOPENHAUER E LE «DIVINE PARTITURE» Gli scritti e i capolavori L'arrivo in Svizzera, Wieland il fabbro, Liszt, i brani pianistici, Berlioz 269 L'opera d'arte dell'avvenire, Il giudaismo nella musica, Opera e dramma, Una comunicazione ai miei amici 290 Schopenhauer, «Mi sentii subito profondamente attratto» 314 Wesendonck-Lieder, Parigi, Rossini, Ludwig II 322 Tristan, «Naufragare / affondare / inconsapevolmente / suprema letizia!» 359 Il libro bruno, La mia vita, Il -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time.