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Viola V26 N1 11/7/14 6:25 PM Page 102 Viola V30 N2 Viola V26 N1 11/7/14 6:25 PM Page 1
Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 101 30 Years of JAVS Features: A Survey of Hans Gál’s Chamber Works Vadim Borisovsky and His Viola Arrangements, Part I Alfred Uhl’s Viola Études Primrose’s Transcriptions Volume 30 Volume Number 2 and Arrangements Journal of Journal the American Viola Society Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 102 Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 1 Journal of the American Viola Society A publication of the American Viola Society Fall 2014 Volume 30 Number 2 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ In memoriam Feature Articles p. 13 A Survey of Hans Gál’s Chamber Works with Viola: Richard Marcus writes on the Austrian composer Hans Gál, who emigrated to Great Britain due to World War II. A catalog of his chamber works with viola is provided, along with a look at various selections of these compositions. p. 27 Vadim Borisovsky and His Viola Arrangements: Recent Discoveries in Russian Archives and Libraries, Part I: In the first installment of a two-part article, Elena Artamonova provides a detailed historical context of the Russian violist Vadim Borisovsky—who, in addition to his musical accomplishments, was also a poet. p. 37 Alfred Uhl’s Viola Études: Studies with a Heart: Études have long been an indispensible part of a violist’s training, but have also been typically confined to providing technical facility. Danny Keasler looks at the études of Alfred Uhl, which include melodic aspects that can relate directly to repertoire. -
9914396.PDF (12.18Mb)
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnaticn Compare 300 North Zeeb Road, Aim Arbor NO 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR’S GUIDE TO THREE SACRED CHORAL/ ORCHESTRAL WORKS BY ANTONIO CALDARA: Magnificat in C. -
Franz Schubert: Inside, out (Mus 7903)
FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
Where Words Leave Off, Music Begins”
CG1009 Degree Project, Bachelor, Classical Music, 15 credits 2017 Degree of Bachelor in Music Department of Classical Music Supervisor: David Thyrén Examiner: Peter Berlind Carlson Philip Sherman ”Where words leave off, music begins” A comparison of how Henry Purcell and Franz Schubert convey text through their music in the compositions Music for a while and Erlkönig Skriftlig reflektion inom självständigt, konstnärligt arbete Inspelning av det självständiga, konstnärliga arbetet finns dokumenterat i det tryckta exemplaret av denna text på KMH:s bibliotek. Summary ”The singer is always working through a text that in some way or another inspired the vocal line and its texture,” wrote American pianist, pedagogue, and author Thomas Grubb. But exactly how does a text inspire a composer to create this synergy between words and music? During the course of my studies at the Royal College of Music in Stockholm, I gradually began to deepen my knowledge and awareness of Henry Purcell and Franz Schubert. I was at once astounded by their ability to seemlessly amalgamate the chosen texts to their music, and decided that this connection required greater research. The purpose of this study was thus to gain a deeper understanding of how Purcell and Schubert approached the relationship between text and music by studying the two pieces Music for a while and Erlkönig. I also wished to discover any similarities and differences between the composers’ approaches to word painting, in addition to discerning the role of the accompaniment to further illustrate the narrative. I began by reading literature about the two composers as well as John Dryden and Johann Wolfgang von Goethe, the poets whose texts were set to music. -
NEE 2015 2 FINAL.Pdf
ADVERTISEMENT NEW EASTERN EUROPE IS A COLLABORATIVE PROJECT BETWEEN THREE POLISH PARTNERS The City of Gdańsk www.gdansk.pl A city with over a thousand years of history, Gdańsk has been a melting pot of cultures and ethnic groups. The air of tolerance and wealth built on trade has enabled culture, science, and the Arts to flourish in the city for centuries. Today, Gdańsk remains a key meeting place and major tourist attraction in Poland. While the city boasts historic sites of enchanting beauty, it also has a major historic and social importance. In addition to its 1000-year history, the city is the place where the Second World War broke out as well as the birthplace of Solidarność, the Solidarity movement, which led to the fall of Communism in Central and Eastern Europe. The European Solidarity Centre www.ecs.gda.pl The European Solidarity Centre is a multifunctional institution combining scientific, cultural and educational activities with a modern museum and archive, which documents freedom movements in the modern history of Poland and Europe. The Centre was established in Gdańsk on November 8th 2007. Its new building was opened in 2014 on the anniversary of the August Accords signed in Gdańsk between the worker’s union “Solidarność” and communist authorities in 1980. The Centre is meant to be an agora, a space for people and ideas that build and develop a civic society, a meeting place for people who hold the world’s future dear. The mission of the Centre is to commemorate, maintain and popularise the heritage and message of the Solidarity movement and the anti-communist democratic op- position in Poland and throughout the world. -
Liszt and Christus: Reactionary Romanticism
LISZT AND CHRISTUS: REACTIONARY ROMANTICISM A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Robert Pegg May 2020 Examining Committee Members: Dr. Maurice Wright, Advisory Chair, Music Studies Dr. Michael Klein, Music Studies Dr. Paul Rardin, Choral Activities Dr. Christine Anderson, Voice and Opera, external member © Copyright 2020 by Robert Pegg All Rights Reserved € ii ABSTRACT This dissertation seeks to examine the historical context of Franz Lizt’s oratorio Christus and explore its obscurity. Chapter 1 makes note of the much greater familiarity of other choral works of the Romantic period, and observes critics’ and scholars’ recognition (or lack thereof) of Liszt’s religiosity. Chapter 2 discusses Liszt’s father Adam, his religious and musical experiences, and his influence on the young Franz. Chapter 3 explores Liszt’s early adulthood in Paris, particularly with respect to his intellectual growth. Special attention is given to François-René, vicomte de Chateaubriand and the Abbé Félicité de Lamennais, and the latter’s papal condemnation. After Chapter 4 briefly chronicles Liszt’s artistic achievements in Weimar and its ramifications for the rest of his work, Chapter 5 examines theological trends in the nineteenth century, as exemplified by David Friedrich Strauss, and the Catholic Church’s rejection of such novelties. The writings of Charles Rosen aid in decribing the possible musical ramifications of modern theology. Chapter 6 takes stock of the movements for renewal in Catholic music, especially the work of Prosper Gueranger and his fellow Benedictine monks of Solesmes, France, and of the Society of Saint Cecilia in Germany. -
TOCC0509DIGIBKLT.Pdf
THE BIOGRAPHICAL BACKGROUND by Eva Fox-Gál Hans Gál (1890–1987) was born near Vienna in 1890. Following considerable success as a composer during the 1920s, particularly with his second opera, Die heilige Ente (‘The Sacred Duck’), he was appointed Director of the conservatoire in Mainz in 1929. A major blow to his career came with the Nazi accession to power in 1933: it led to instant dismissal from his post and a ban on all publication and performance in Germany. He returned to Vienna, but was forced to leave by Hitler’s annexation of Austria to the Third Reich in 1938, fleeing to Britain. Donald Tovey brought him to Edinburgh, where he became a lecturer at the University, and where he remained until his death in 1987. In addition to his rich output as a composer, he was the author of books on Brahms, Schubert, Wagner, Verdi and Schumann. His compositions include four operas, four symphonies, large-scale cantatas and a host of chamber, piano and choral works. By the end of his long life, he had left a legacy of around 140 published works. Gál’s gift was to be able to remain intact in his creative soul, regardless of external circumstances, and to remain true to his own inner values in everything that he wrote. ‘Hans Madri-Gál’ Wherever Gál lived, whether in Vienna, in Mainz or in Edinburgh – the three main stations of his life – he involved himself in music-making in the community. In an article from 1928, entitled ‘Vocal Chamber Music’, he wrote about the ever-increasing gap between the composer and his audience in contemporary music, and the importance of reconnecting the consumers of music, the audience, with the direct experience of practical music-making. -
6.5 X 11 Double Line.P65
Cambridge University Press 978-0-521-87392-5 - Never Sang for Hitler: The Life and Times of Lotte Lehmann, 1888-1976 Michael H. Kater Index More information Index 8 [Acht] Uhr-Blatt, Vienna, 56 Auguste Victoria, ex-queen of Portugal, 137 Abessynians, 273 Auguste Viktoria, Empress, 3, 9 Abravanel, Maurice, 207, 259–61, 287, 298 Austrian Honor Cross First Class, 278 Academy Awards, Hollywood, 232, 236 Austrian Republic, 44, 48, 51, 57, 64–66, 77, Adler, Friedrich, 38 85, 94, 97–99, 166, 307–8 Adolph, Paul, 110–11 Austrian State Theaters, 220 Adventures at the Lido, 234 Austrofascism, 94, 166–69, 308 Agfa company, 185 Aida, 266, 276 Bachur, Max, 15, 18–21, 28, 30–31, 33, Albert Hall, London, 117 42–43 Alceste, 269 Baker, Janet, 251 Alda, Frances, 68 Baker, Josephine, 94 Aldrich, Richard, 69 Baklanoff, Georges, 43 Alexander, king of Yugoslavia, 170 Ballin, Albert, 16, 30, 77, 304 Alice in Wonderland, 193 Balogh, Erno,¨ 147–49, 151, 158, 164, Alien Registration Act, 211 180–81 Allen, Fred, 230 Bampton, Rose, 183, 206, 245 Allen, Judith, 253 Banklin oil refinery, Santa Barbara, 212 Althouse, Paul, 174 Barnard College, Columbia University, New Altmeyer, Jeannine, 261 York, 151 Alvin Theater, New York, 204 Barsewisch, Bernhard von, 1, 13, 35, 285, Alwin, Karl, 102, 106–7, 189, 196 298, 302, 319n172, 343n269 American Committee for Christian German Barsewisch, Elisabeth von, nee´ Gans Edle zu Refugees, 211 Putlitz, 13, 82, 285, 295 American Legion, 68 Bartels, Elise, 11, 14 An die ferne Geliebte, 217 Barthou, Louis, 170 Anderson, Bronco Bill, 198 -
Cadenzas Written for the First Movement Of
Abstract This thesis is an analytical study of various cadenzas written for the first movement of Mozart’s Piano Concerto No.20 in D minor, K.466. As one of the six of his own concertos for which Mozart did not provide an original cadenza, the D minor concerto poses an important challenge to the performer: should she compose or improvise her own cadenza, or should she select one written by someone else? Many composer/pianists active during the nineteenth and twentieth centuries penned cadenzas to this concerto for their own use, and this thesis explores those by August Eberhard Müller, Emanuel Aloys Förster, Ludwig van Beethoven, Johann Nepomuk Hummel, Charles-Valentin Alkan, Clara Schumann, Johannes Brahms, Ferruccio Busoni, Bedrich Smetana and Paul Badura-Skoda. In addition to these written-out cadenzas, it also discusses improvised cadenzas in the recordings by Robert Levin and Chick Corea. Each composer/pianist’s unique compositional style is illuminated through the study of each cadenza, and consideration of these styles allows multiple views on a single concerto. A discussion of the meaning and history of cadenzas precedes the analytical study, and in conclusion, the author contributes her own cadenza. Acknowledgments Dr. Karim Al-Zand, for your guidance and wonderful insight during my research. Dr. Jon Kimura Parker, for being the endless source of my inspiration, in every way. Dr. Robert Roux and Dr. Richard Lavenda for your continuous support throughout my five years of study at Rice University. And my deepest love and gratitude to my parents, for always believing in me. Table of Contents Abstract Acknowledgements Introduction.......................................................................................................1 I. -
The Vocal Chamber Music of Hans Gál THOMAS LLOYD
AMERICAN CHORAL REVIEW WILLIAM WEINERT, EDITOR Volume 52 Number 1 BULLETIN OF THE AMERICAN CHORAL FOUNDATION Winter/Spring 2010 Hans Gál – portraits from between 1925 and 19851 The Vocal Chamber Music of Hans Gál THOMAS LLOYD The last decade has seen a resurgence of interest musical imagination with a rich harmonic and in the music of Hans Gál (1890-1987), the eminent melodic palette, and a sophisticated affinity for poet- composer and musicologist who fled Nazi Germany ic texts, including many settings of English poems. to Scotland in 1938. Gál was long known primarily This rich collection deserves a place in the repertoire for his early work as a Brahms scholar, but his own of advanced mixed chamber choirs and intermediate compositions have now become more widely known to advanced treble and men’s choirs. This article will through a growing catalog of thirty commercially present an overview of Gál’s life with special atten- available recordings, the majority of which docu- tion to the context of his extensive choral catalog, ment his extensive repertoire of instrumental cham- followed by a discussion of distinctive aspects of ber music.2 However, close to one-third of his total representative part songs and a complete listing of output consists of vocal works, including forty-four his choral works. choral works and madrigal collections, twenty-five of which are a cappella. Yet despite the flourish of The legacy of Hans Gál has benefitted immensely instrumental recordings, there are currently no pro- from the efforts of his daughter Eva Fox-Gál, her fessionally produced recordings of his choral music.3 husband Anthony Fox, and his grandson Simon Fox, who have established a very well-designed Gál’s choral works are evenly divided among website devoted to the composer’s life and works, mixed, men’s, and women’s choirs, and are of an with a complete catalog of his compositions and exceptionally high quality. -
The Narrative Function of the Piano Voice in Schubert's Winterreise
HEARING VOICES: THE NARRATIVE FUNCTION OF THE PIANO VOICE IN SCHUBERT’S WINTERREISE Mariclare Dempsey A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2020 Committee: Eftychia Papanikolaou, Advisor Ryan Ebright © 2020 Mariclare Dempsey All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Franz Schubert (1797-1828) composed his last song cycle Winterreise in the spring and fall of 1827. The text for this celebrated work comes from a set of twenty-four poems written by Wilhelm Müller (1794-1827) and describes the physical and emotional journey of the protagonist after he has been rejected by his loved one. In this thesis I will analyze the narrative relationship between the voice and the piano and its development throughout the cycle, using the methodologies of Edward T. Cone and Carolyn Abbate. Musico-poetic works can be challenging to view as a seamless piece in which both music and text work together to create a full image of the narrative. By distinguishing the personas of the vocal and piano parts, however, and assessing their distinct “voices” (separately and in collaboration) it is possible to view them as a cohesive whole and grasp the full meaning of the song cycle. The melody sung by the cycle’s protagonist, often referred to as “the Wanderer,” bears much of the obvious burden for narrating Müller’s poetry as the Wanderer’s conscious voice. The Wanderer’s unconscious emotions that guide his journey are found in the piano part which plays an integral role by setting the scene, providing insights before and after the singer’s words, and even actively consoling and inspiring the Wanderer as he pours out the tale on stage for all to hear.