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The Happiest Years Sonatas for Violin Solo by Artur Schnabel and Eduard Erdmann
The Happiest Years Sonatas for Violin Solo by Artur Schnabel and Eduard Erdmann Judith Ingolfsson, Violin The Happiest Years Sonatas for Violin Solo by Artur Schnabel a nd Eduard Erdmann Judith Ingolfsson, Violin Artur Schnabel (1882–1951) Sonata for Violin Solo (1919) 01 I. Langsam, sehr frei und leidenschaftlich . (09'23) 02 II. In kräftig-fröhlichem Wanderschritt, durchweg sehr lebendig . (03'10) 03 III. Zart und anmutig, durchaus ruhig . (11'27) 04 IV. Äußerst rasch (Prestissimo) . (06'39) 05 V. Sehr langsame Halbe, mit feierlichem ernstem Ausdruck, doch stets schlicht . (15'58) Eduard Erdmann (1896–1958) Sonata for Violin Solo, Op. 12 (1921) 06 I. Ruhig – Fließend – Ruhig . (07'48) 07 II. Allegretto scherzando – Trio: Einfach, wie eine Volksweise . (04'17) 08 III. Langsam . (02'39) 09 IV. Lebendig . (03'44) Total Time . (65'11) The Happiest Years he years from 1919 to 1924 in Berlin,” Artur Schnabel told an audience of stu- dents in 1945, “were, musically, the most stimulating and perhaps the happiest I ever experienced.” During this brief period of his life, the great pianist chose to T play fewer concerts and devote more time to composing. He was “happy” com- posing and considered it “a kind of hobby, or love aff air.” He was not interested in the “value” of his compositions, rather in the “activity.” In 1919 the atmosphere in Berlin was turbulent. The loss of the First World War, the No- vember Revolution, and the subsequent establishment of the Weimar Republic had created social disparity. Although theaters, cinemas, and cabarets abounded, and literary and artis- tic life displayed great vitality, there remained a striking contrast between the neon lights of Kurfürstendamm and the impoverished working-class areas. -
Solo Piano Music in Vienna from Haydn to Webern
ABSTRACT Title of Dissertation: SOLO PIANO MUSIC IN VIENNA FROM HAYDN TO WEBERN Jungyeon Yim, Doctor of Musical Arts, 2020 Dissertation directed by: Professor Bradford Gowen Piano Division For centuries, Vienna has always had a reputation of being a musical city. Even when national and regional styles of composition developed in various European countries, one cannot doubt that Vienna remained an important musical city. However, the history of music in Vienna is based mostly on studies of composers who were either born in Vienna or visited and lived there for significant periods of time: Joseph Haydn (1732-1809), Wolfgang Amadeus Mozart (1756-1791), Ludwig van Beethoven (1770-1827), Franz Schubert (1797-1828), Robert Schumann (1810-1856), Johannes Brahms (1833-1897), Alban Berg (1885-1935), Anton Webern (1883-1945), and so on. In order to fully understand the history of music in Vienna, a broader approach, which includes political and cultural development, is required. The purpose of this project is to explore piano literature of Vienna from the late eighteenth century to the early twentieth / century, and to demonstrate the unique expression in the piano literature of Viennese composers, as well as to discuss how social conditions changed over two centuries, and how composers responded to those changes through their piano compositions. I have recorded approximately two hours of solo piano music, which were recorded by Antonino D’Urzo of Opusrite Productions at the Dekelboum Concert Hall, University of Maryland. The recordings are available in the Digital Repository at the University of Maryland, and the CDs are available through the Library System at the University of Maryland. -
Marek Bobéth Eduard Erdmann
Marek Bobéth Eduard Erdmann (1896 – 1958) Leben und Wirken eines deutschbaltischen Künstlers Wiedergabe des Artikels aus der Erstveröffentlichung im: Zusätzliches Copyright © by Carl-Schirren-Gesellschaft e. V. Lüneburg 2009 e-Mail: [email protected] Alle Rechte vorbehalten. Diese Beiträge einschließlich aller Teile sind urheber- rechtlich geschützt. Jede Verwendung außerhalb der engen Grenzen des Urheber- rechtes ist ohne Zustimmung der Carl-Schirren-Gesellschaft unzulässig und straf- bar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfil- mungen und die Einspeicherung zur Verarbeitung in elektronischen Systemen. 2 Inhaltsverzeichnis Vorbemerkung.......................................................... 5 Der Lebensweg ......................................................... 6 Der Pianist .............................................................. 19 Der Pädagoge ......................................................... 24 Der Komponist ....................................................... 27 Die Persönlichkeit .................................................. 36 Schlussbemerkung .................................................. 39 Werksverzeichnis ................................................... 40 Tonaufnahmen ........................................................ 42 Literaturverzeichnis ................................................ 43 Weitere Quellen ..................................................... 44 Informationen über den Autor ................................ 45 3 4 EDUARD -
TOCC 0323 Krenek Piano Concertos Vol. 1 Booklet Copy
ERNST KRENEK’S PIANO CONCERTOS NOS. 1–3 1. The Music-Historian’s Perspective by Peter Tregear Ernst Krenek might be most commonly known today as a composer of operas, but he was also prolifc across many instrumental genres. Te piano in particular served as a principal medium of musical expression and experimentation throughout his long compositional life. Born in Vienna in 1900, Krenek had grown up in the fading days of the Austro-Hungarian empire, and, as beftted the child of a middle-ranked ofcer in the Austro-Hungarian Army, he had received piano lessons from a young age. He demonstrated an early, and prodigious, talent for the instrument and compositions for it soon followed. A draf score for a piano concerto and a suite for piano led to his successful audition for a place in Franz Schreker’s composition class at the Imperial Academy of Music in Vienna. Any chance that his interests in the piano might be circumscribed by Viennese tradition ended with Austria’s defeat in the First World War and the political, economic, cultural and humanitarian crises that followed. Although Krenek’s direct experience of war was mercifully brief and some distance from the front-line, it – and the revolutionary turmoil which followed – was enough to undermine faith he otherwise might have had had in the validity of the old social and aesthetic orders. For his older compatriot, Arnold Schoenberg, the search for new forms of musical expression led to the ‘discovery’ (as he termed it) of the twelve-tone technique. But Krenek was less confdent that a way of securing the continuing centrality of Austro-German music would be so clear-cut. -
GERMAN & AUSTRIAN SYMPHONIES from the 19Th
GERMAN & AUSTRIAN SYMPHONIES From The 19th Century To The Present Composers other than Beethoven, Brahms, Bruckner, Mahler, Mendelssohn, Schubert & Schumann A Discography of CDs and LPs Prepared by Michael Herman Composers A-L JOHANN JOSEPH ABERT (1832-1915) A Sudeten German, he was born in Kochowitz, Bohemia (now Kochovice, Czech Republic). He studied double bass at the Prague Conservatory with Josef Hrabe and also received lessons in theory from Johann Friedrich Kittl and August Wilhelm Ambros. He became a double bassist for the Court Orchestra at Stuttgart and later was appointed Kapellmeister. He composed orchestral and chamber works as well as lieder and several successful operas. His unrecorded Symphonies are: Nos. 1 in B minor (1852), 2 in C minor (1854), 3 in A major (1856), 5 in C minor (1870), 6 in D minor "Lyric Symphony" (1890) and 7 in C major "Spring Symphony" (1894). Symphony No. 4 in D major, Op. 31 "Columbus, A Musical Portrait of the Sea in the Form of a Symphony" (1863) Werner Stiefel/Bohuslav Martinu Philharmonic Orchestra ( + Concerto for Double Bass and Variations for Double Bass and Orchestra) BAYER RECORDS 100160 (1996) AUGUST RITTER VON ADELBURG (1830-1873) Born in Pera, Turkey. The son of a diplomat, he spent his early years in Istanbul before going to Vienna to study music with Joseph Mayseder for violin and with Hoffmann for composition. He then toured Europe as a violinist. He later returned to Istanbul where he played the violin before the Sultan to whom he dedicated this Symphony. He mostly composed operas, chamber, instrumental and vocal works. -
Ernst Krenek: a Composer Without Qualities?
Krenek's Conversions: Austrian Nationalism, Political Catholicism, and Twelve-Tone Composition Gregory Dubinsky Ernst Krenek: A Composer Without Qualities? In the interwar period the central European music press usually placed Ernst Krenek in the company of composers of the stature of Bart6k, Stravinsky, Hindemith, Schonberg, and Weill. The decades following the end of the Second World War, however, saw his reputation fade. Though his works of the fifties and sixties were consistent with contem porary trends in European composition, he was widely per ceived as an aging composer whose best years were behind him. Premieres were greeted with respect but little enthusi asm. Along with composers such as Philipp Jarnach, Eduard Erdmann, Heinrich Kaminski, and Karol Rathaus, Krenek had been stamped a has-been from the Weimar Republic. Unlike the others, however, Krenek lived long enough to make a comeback. In the late 1970s, performers and mu sicologists in Germany and Austria took a second look at Krenek's early career. Krenek stood out from his forgotten contemporaries for, among other things, the sheer variety of music he composed between 1920 and 1945. The composer seemed to have touched every contemporary-music base: There were expressionist shockers like Die Zwingburg (1922) and the Symphony No.2 (1922), Stravinskyisms in the Sym phony for Wind Instruments and Percussion (1924-25), a 242 repercussions Spring-Fall 1996 243 hip Zeitoper in Der Sprung iiber den Schatten (1923), a hip Zeitoperette in Schwergewicht, oder Die Ehre der Nation (1927), a bankable Jazzoper in Jonny spielt auf (1926), and the neo Romantic, Schubert-infused Reisebuch aus den osterreich ischen Alpen (1929), to say nothing of the twelve-tone works, which varied from Bergian expressionism (Karl V [1933]) to knotty Schonbergianism (String Quartet No.6 [1936]) to the neo-medieval (Lamentatio Jeremiae prophetae [1942]). -
A Study of Neoclassical Elements in Ernst Krenek's George Washington
A STUDY OF NEOCLASSICAL ELEMENTS IN ERNST KRENEK’S GEORGE WASHINGTON VARIATIONS, OP. 120 Eun Deok Jeon, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Gustavo Romero, Major Professor Elvia Puccinelli, Related Field Professor Diego Cubero, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music Warren Henry, Interm Dean of the College of Music Costas Tsatsoulis, Acting Dean of the Toulouse School of Graduate Studies Jeon, Eun Deok. A Study of Neoclassical Elements in Ernst Krenek’s George Washington Variations, Op. 120. Doctor of Musical Arts (Performance), May 2016, 36 pp., 15 musical examples, 5 figures, references, 29 titles. The purpose of this study is to explore neoclassical elements present in Krenek’s George Washington Variations. By identifying the stylistic features associated with the eighteenth and twentieth centuries, the study will examine Krenek’s application of his neoclassical tendencies. Key neoclassical elements include musical form and structure, key relationships, melody and harmony, and chromaticism. Since at this time there is little research on Krenek’s piano works, and none on the George Washington Variations, the result of this examination provides pianists and instructors with historically constructive information about Krenek’s musical style, as well as a deeper understanding of Krenek’s Neoclassicism in his George Washington Variations. Copyright 2016 by Eun Deok Jeon ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to my advisor, Professor Gustavo Romero, for his assistance and guidance during the writing of this dissertation. -
Self-Analysis Ernest Krenek
New Mexico Quarterly Volume 23 | Issue 1 Article 3 1953 Self-Analysis Ernest Krenek Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Krenek, Ernest. "Self-Analysis." New Mexico Quarterly 23, 1 (1953). https://digitalrepository.unm.edu/nmq/vol23/iss1/3 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. 4 Krenek: Self-Analysis Ernst Krenek SELF-ANALYSIS1 Preface HE PRE SEN T work is not meant t'O be an autobiog raphy, but an attempt at self-evaluation. During the last T ten years I have been working on a detailed account of my life. So far, I have covered the early phases of my career; but even if I succeed in bringing it up to date,'publication of the complete account will have to be postponed for the usual reason of contem· porary references. As each section is completed, it is turned over to the Library ofCongress, with the understanding that the entire work will be made available to the public after a suitable lapse of time. The decision to prepare so comprehensive a report on my life implies my belief that its contents may be of some interest to fu ture students of music history. 1£ my name at present were as "fa· mous" as that of a few other living composers-fame taken here as a matter of quantity and expressed in terms of numbers of per formances of works, sales of copies, quotations in news reports and such-I would assume that my work, and thus also my person, would undoubtedly interest ppsterity. -
The Reconstruction of Post-War West German New Music During the Early Allied Occupation
The Reconstruction of Post -War West German New Music during the early Allied Occupation (1945 -46), and its Roots in the Weimar Republic and Third Reich (1918 -45) PhD Submission, 2018 Cardiff University Ian Pace Abstract This thesis is an analysis of the development of new music in occupied Germany from the end of World War Two, on 8 May 1945, until the end of 1946, in terms of the creation of institutions for the propagation of new music, in the form of festiva ls, concert series, radio stations, educational institutions and journals focusing on such a field, alongside an investigation into technical and aesthetic aspects of music being composed during this period. I argue that a large number of the key decisions which would affect quite fundamentally the later trajectory of new music in West Germany for some decades were made during this period of a little over eighteen months. I also argue that subsequent developments up to the year 1951, by which time the infra structure was essentially complete, were primarily an extension and expansion of the early period, when many of the key appointments were made, and institutions created. I also consider the role of new music in mainstream programming of orchestras, opera h ouses, chamber music societies, and consider all of these factors in terms of the occupation policies of the three Western powers – the USA, the UK and France. Furthermore, I compare these developments to those which occurred in during the Weimar Republic and the Third Reich, of which I give an overview, and argue as a result that the post -war developments, rather than being radically new, constituted in many ways a continuation and sometimes distillation of what was in place especially in the Weimar years . -
Hermann Scherchen'sâ•Ž Aesthetics of Modern Music
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Performance, Technology, and Politics: Hermann Scherchen's Aesthetics of Modern Music Dennis C. Hutchison Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC PERFORMANCE, TECHNOLOGY, AND POLITICS: HERMANN SCHERCHEN’S AESTHETICS OF MODERN MUSIC BY DENNIS C. HUTCHISON 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 Dennis C. Hutchison defended on 26 March 2003 ________________________ Denise Von Glahn Professor Directing Dissertation ________________________ Jane Piper Clendinning Outside Committee Member ________________________ Charles E. Brewer Committee Member ________________________ Jeffrey Kite-Powell Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TO MY PARENTS iii AKNOWLEDGEMENTS Many people helped me to complete this project. Among them were Werner Gruenzweig and the archivists at the Akademie der Künste, Berlin; Helene Geyer at the Hochschule für Musik, Weimar; and Elmar Budde at the Hochschule für Musik, Berlin. Myriam Scherchen gave me valuable insights into her father’s work. I would also like to thank Arend Herold and Hanno Gundert, friends who made me feel at home in their country. I owe a great debt to my dissertation committee, above all to Denise Von Glahn, for her enthusiasm, perspicuity, and wisdom. Finally, initial research for this project was completed as part of a Fulbright Graduate Fellowship Grant, 1998.