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Louise Farrenc (1804-1875)
Universität für Musik und darstellende Kunst Graz Institut 15: Alte Musik und Aufführungspraxis „Eine Künstlerin, hochverdient und mit einer ganz männlichen musikalischen Gestaltungsgabe …“ Louise Farrenc (1804-1875) Pianistin, Komponistin, Pädagogin, Editorin Wissenschaftliche Bachelorarbeit vorgelegt von Irina Vaterl Betreut durch Ao.Univ.Prof. Mag.phil. Dr.phil Ingeborg Harer September 2013 Inhaltsverzeichnis Vorwort ............................................................................................................. 4 Einleitung und Forschungsstand ................................................................... 6 TEIL 1. Louise Farrenc. Biografie .................................................................. 9 Paris um 1800 ....................................................................................... 10 Familie Dumont- eine Künstlerfamilie über Generationen .................... 11 Kindheit in der Künstlersiedlung ........................................................... 16 Die musikalische Ausbildung ................................................................ 18 Ehe mit Aristide Farrenc ....................................................................... 20 Victorine Farrenc .................................................................................. 23 Die letzten Lebensjahre ........................................................................ 25 TEIL 2. Louise Farrenc. Pianistin, Komponistin, Pädagogin, Editorin ..... 28 Die Pianistin Louise Farrenc ................................................................ -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
574094 Itunes Farrenc
Louise FARRENC (1804–1875) Symphony No. 1 Overtures Grand Variations on a Theme by Count Gallenberg Jean Muller, Piano Solistes Européens, Luxembourg Christoph König Louise Farrenc (1804–1875) rhythmic ‘stutter’ at the very beginning already brings the dedicatee of the ‘Moonlight’ Sonata of 1802. As is so Symphony No. 1 • Overtures, Opp. 23 & 24 • Grand Variations on a Theme by Count Gallenberg hints of dark and momentous tragedy; its sudden often the case with sets of variations, there is nothing movement away from E flat to D major in the central particularly remarkable about Gallenberg’s original theme, Louise Farrenc (originally named Jeanne-Louise Dumont) Farrenc wrote her Symphony No. 1 in 1841, and two development section is as unexpected as it is effective. but it is what Farrenc does with it that is interesting. was born in Paris on 31 May 1804 into a highly artistic further symphonies in 1845 and 1847, and they can all be No less a figure than Berlioz was one of those who took Indeed, she wrote a large number of sets of variations, family. Both her father, Jacques-Edme Dumont, and her considered significant contributions to the symphonic note of her talent as an orchestrator in this work. including works on themes by Rossini, Bellini, Weber, brother, Auguste Dumont, were highly successful literature of this period. In fact, the third was a huge The Grand Variations on a Theme by Count Donizetti and Onslow. She used the form as a vehicle for sculptors, as their predecessors had also been. She success, its first performance at the Conservatoire in Gallenberg , written immediately after the Overture in E flat all the elegance and technical display of which she was became renowned throughout France and beyond as a 1849 being talked about for years afterwards. -
Louise Farrenc's Trio for Flute, Cello and Piano: a Critical Edition and Analysis Andreas P
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Louise Farrenc's Trio for Flute, Cello and Piano: A Critical Edition and Analysis Andreas P. Tischhauser Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOUISE FARRENC’S TRIO FOR FLUTE, CELLO AND PIANO: A CRITICAL EDITION AND ANALYSIS By ANDREAS P. TISCHHAUSER A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2005 Copyright © 2005 Andreas P. Tischhauser All Rights Reserved The members of the Committee approve the treatise of Andreas Tischhauser defended on 31 October 2005. Jeff Keesecker Professor Directing Treatise André Thomas Outside Committee Member Patrick Meighan Committee Member Evan Jones Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to offer special thanks to the following individuals who have made this project possible: Sylvia Glickman, President of Hildegard Publishing Company, whose idea of republication led to this project; Charles DeLaney for his patience, inspiration, and expert instruction; my wife Katherine for her support and expertise in analysis and string chamber music; and finally my dissertation chair, Jeff Keesecker for his time meticulously overseeing the composition of this document and all his hard work on the committee and the mundane administrative work I could not perform from my remote location in Colorado. iii TABLE OF CONTENTS LIST OF FIGURES ..............................................................................................v ABSTRACT .........................................................................................................vii I. -
Farrenc's Symphony No. 2 Digital Program
SEASON 2020-2021 Farrenc’s Symphony No. 2 April 29, 2021 Jessica GriffinJessica SEASON 2020-2021 The Philadelphia Orchestra Thursday, April 29, at 8:00 On the Digital Stage Yannick Nézet-Séguin Conductor Paul Jacobs Organ Foumai Concerto grosso, for chamber orchestra First Philadelphia Orchestra performance Poulenc Concerto in G minor for Organ, Strings, and Timpani Andante—Allegro giocoso—Subito andante moderato— Tempo allegro—Molto adagio—Très calme—Lent— Tempo de l’allegro initial—Tempo introduction—Largo Farrenc Symphony No. 2 in D major, Op. 35 I. Andante—Allegro II. Andante III. Scherzo: Vivace IV. Andante—Allegro This program runs approximately 1 hour, 10 minutes, and will be performed without an intermission. This concert is part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. Our World Lead support for the Digital Stage is provided by: Claudia and Richard Balderston Elaine W. Camarda and A. Morris Williams, Jr. The CHG Charitable Trust Innisfree Foundation Gretchen and M. Roy Jackson Neal W. Krouse John H. McFadden and Lisa D. Kabnick The Andrew W. Mellon Foundation Leslie A. Miller and Richard B. Worley Ralph W. Muller and Beth B. Johnston Neubauer Family Foundation William Penn Foundation Peter and Mari Shaw Dr. and Mrs. Joseph B. Townsend Waterman Trust Constance and Sankey Williams Wyncote Foundation SEASON 2020-2021 The Philadelphia Orchestra Yannick Nézet-Séguin Music Director Walter and Leonore Annenberg Chair Nathalie Stutzmann Principal Guest Conductor Designate Gabriela Lena Frank Composer-in-Residence Erina Yashima Assistant Conductor Lina Gonzalez-Granados Conducting Fellow Frederick R. -
Louise Farrenc Is Notable for Her Versatility, on the One Hand, and Also for a High Degree of Independence
Farrenc, Louise are able to tread, then we admire all the more the strict studies, objective principles and choice sagacity that ha- ve been able to lead her there." (Thérèse Wartel in: Revue et Gazette musicale de Paris, 31.3.1850, p. 108 (Reviews of the world premiere of the Nonet, Op. 38) (author's translation). Profile Louise Farrenc is notable for her versatility, on the one hand, and also for a high degree of independence. In al- most all of her various areas of activity, especially as a composer and researcher, she followed paths that were independent from the general current of Parisian musi- cal life in the context of which she worked. Cities an countries Louise Farrenc lived and worked in Paris, France. In 1832, she embarked on a concert tour to England; se- veral of her works were also published in England and Germany. Beyond these, no activities outside of Paris are known. Louise Farrenc. Portrait von Luigi Rubio (1835) Biography Louise Farrenc Jeanne-Louise Dumont was born on 31 May 1804 in Pa- Birth name: Jeanne-Louise Dumont ris. She received her first instruction in piano and solfège beginning in 1810; from 1819 she took lessons in harm- * 31 May 1804 in Paris, Frankreich ony from Anton Reicha, most likely privately. In 1821 she † 15 September 1875 in Paris, Frankreich married the flutist and music publisher Aristide Farrenc; after an interruption, Louise Farrenc resumed her stu- Composer, pianist, piano teacher, piano professor, dies with Reicha and extended her subjects to include researcher. harmony, counterpoint and fugue as well as orchestrati- on. -
Schriftenreihe Des Sophie Drinker Instituts Band 2
Schriftenreihe des Sophie Drinker Instituts Herausgegeben von Freia Hoffmann Band 2 Rebecca Grotjahn und Christin Heitmann (Hrsg.) Louise Farrenc und die Klassik-Rezeption in Frankreich BIS-Verlag der Carl von Ossietzky Universität Oldenburg 2006 Das Werk ist einschließlich aller seiner Teile urheberrechtlich ge- schützt. Jede Verwertung außerhalb der Grenzen des Urheberrechts bedarf der Zustimmung der Herausgeberinnen. Dies gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Medien. © BIS-Verlag, Oldenburg 2006 Umschlaggestaltung: Marta Daul Layout und Satz: Christin Heitmann, mit freundlicher Unter- stützung von Rebecca Grotjahn und Melanie Schütte, Frauencomputerzentrum Bremen Verlag / Druck / BIS-Verlag Vertrieb: der Carl von Ossietzky Universität Oldenburg Postfach 25 41, 26015 Oldenburg Tel.: 0441/798 2261, Telefax: 0441/798 4040 e-mail: [email protected] ISBN 3-8142-0964-8 Inhaltsverzeichnis Einleitung 5 Louise Farrenc und die Musikkultur ihrer Zeit Beate Angelika Kraus 15 Eine Frauenkarriere in Beethovens Heiligtum? Louise Farrenc im Paris des 19. Jahrhunderts Katharine Ellis 31 The Société des Concerts and the ‘Classical’ Symphony, 1831–1849 Ursula Kramer 51 „A defaut d’instruments à vent“ – Louise Farrenc und die Kammermusik mit Bläsern im Paris der ersten Hälfte des 19. Jahrhunderts Martin Loeser 69 „Cette sainte vérité, que le beau […] est de tous les temps“. Musikästhetische Aspekte der Pariser Musikkultur und ihre Bedeutung für das -
BEATRICE VENEZI Direttore
CITTÀ METROPOLITANA interMEZZ DI FIRENZE 20i20 BEATRICE VENEZI direttore MARGHERITA SANTI pianoforte CITTÀ METROPOLITANA DI FIRENZE BEATRICE VENEZI direttore MARGHERITA SANTI pianoforte PIETRO MASCAGNI concerto trasmesso in streaming MEZZ Intermezzo sinfonico sul canale YouTube e inter da Cavalleria rusticana 2020 i sulla pagina Fb dell’ORT gio_24 DICEMBRE 2020 / ore 17:00 FRYDERYCK CHOPIN Concerto n.1 in mi minore per pianoforte e orchestra op.11 Allegro maestoso Romanza: Larghetto Rondò: Vivace con il contributo di LOUISE FARRENC Sinfonia n.3 in sol minore op.36 Adagio - Allegro Adagio cantabile Scherzo. Vivace riprese e streaming Finale. Allegro a cura di Sicrea registrazione e produzione audio a cura di SoundStudioService PIETRO FRYDERYCK MASCAGNI CHOPIN / Livorno 1863 / Zelazowa Wola 1810 / Roma 1945 / Parigi 1849 Intermezzo sinfonico da Concerto n.1 per pianoforte Cavalleria rusticana e orchestra op.11 durata: 5 minuti circa durata: 37 minuti circa nota di Gregorio Moppi Non di rado ouverture preludi e intermezzi Mascagni ci insegna che la musica è pace L'11 ottobre 1830 Fryderyk Chopin come ogni pianista-compositore della sinfonici tratti da opere liriche sono per l’anima ed è capace di alleviare le presentò a Varsavia il suo nuovo Concerto sua generazione si era fatto un corredo di sopravvissuti autonoma mente rispetto al tensioni e le miserie umane. in mi minore: fu l'ultima volta che suonò in concerti e pezzi di bravura per pianoforte contesto per il quale furono pensati, Ciò che colpisce di questa dolcissima Polonia. Il 2 novembre partì per Vienna alla e orchestra. Ma i modelli a cui si rifaceva, assumendo così un valore estetico tale da melodia, è la potenza evocativa, descrittiva ricerca di un successo che non avrebbe i concerti di Kalkbrenner, di Johann garantirgli una diffusione e una notorietà e il grande lirismo; suscita un’incontenibile trovato. -
The Symphonies of Louise Farrenc (1804-1875): a Comparative Examination
The Symphonies of Louise Farrenc (1804-1875): A Comparative Examination By J. Cameron Stephenson July, 2021 Director of Thesis: Dr. Kevin N. Moll Major Department: Theory/Composition/Musicology Abstract This study examines the three symphonies of Louise Farrenc. The entirety of Symphony No. 2 in D major, op. 35 is discussed, with the finale movements of symphonies 1 and 3 being provided to compare form, tonality, and orchestration. Each analysis is supplemented by formal charts and an appendix of relevant musical examples. The first section supplies biographical information on Louise Farrenc, followed by a list of her compositions. The second section discusses scholarship available on Farrenc, including contemporaneous primary sources and recent dissertations, books, and articles. The third section presents an overview of the three symphonies and the historical context surrounding each. The fourth section provides analyses for the first three movements of Symphony No. 2, which is followed by analyses of each symphony’s finale movements in section five. This thesis aims to account for current scholarship available of Louise Farrenc and her music, assimilate relevant primary and secondary sources, and present a comprehensive study on her symphonies through analysis of representative movements. The Symphonies of Louise Farrenc (1804-1875): A Comparative Examination A Thesis Presented to the Faculty of the Department of Music Theory, Composition, and Musicology East Carolina University In Partial Fulfillment of the Requirements of the Degree Master of Music With concentrations in Music Theory and Music History and Literature J. Cameron Stephenson July, 2021 i © 2021 by J. Cameron Stephenson All Rights Reserved ii The Symphonies of Louise Farrenc (1804-1875): A Comparative Examination By J. -
Théophile Gautier (1811-1872)
1/62 Data Théophile Gautier (1811-1872) Pays : France Langue : Français Sexe : Masculin Naissance : Tarbes (Hautes-Pyrénées), 30-08-1811 Mort : Neuilly-sur-Seine (Hauts-de-Seine), 22-10-1872 Note : Homme de lettres, auteur et critique d'art et de théâtre. - Prénoms complets : Pierre, Jules, Théophile Domaines : Littératures ISNI : ISNI 0000 0001 2144 4602 (Informations sur l'ISNI) Théophile Gautier (1811-1872) : œuvres (2 026 ressources dans data.bnf.fr) Œuvres textuelles (963) Oeuvres de Henri Regnault exposées à l'École des beaux- arts "Peintures décoratives de Paul Baudry au grand foyer (1872) de l'Opéra" (1875) de Émile Bergerat avec Théophile Gautier (1811-1872) comme Préfacier Tableaux de siège, Paris, 1870-1871 XV Décembre 1840 (1871) (1869) 15 décembre 1840 Hamlet devant la critique (1869) (1868) Collection des tableaux anciens et modernes de S. Exc. Khalil-Bey. Analyse du "Mangeur de fer" (1867) (1866) Le palais pompéien de l'avenue Montaigne Premières poésies. 1830-1845 (1866) (1866) data.bnf.fr 2/62 Data Le vicomte de Launay. Lettres Parisiennes Quand on voyage (1866) (1865) La Belle Jenny (1865) Spirite (1865) Loin de Paris Photosculpture (1865) (1864) L'Obole des conteurs Jean et Jeannette. Les Roués innocents (1864) (1863) Abécédaire du Salon de 1861 La femme de Diomède (1861) (1860) Les Vosges Les Vosges (1860) (1860) Histoire de l'art Le roman de la momie (1858) (1858) De la Mode (1858) "Les fleurs du mal" (1857) de Charles Baudelaire avec Théophile Gautier (1811-1872) comme Préfacier Nativitaet, Ode auf die Geburt -
Joy Farrenc and Beethoven
Joy Farrenc and Beethoven 7:30pm | Tuesday | 25 September 2018 City Recital Hall What’s On Vocalise: Rachmaninoff Master Series and Poulenc 2:30pm | Sun | 21 Oct Utzon Room, Sydney Special Guest: Lee Abrahmsen, soprano Opera House Poulenc Selected Chansons, Banalités and Poemes Rachmaninoff Selections from 14 Romances, Op.34 sydneyoperahouse.com Munro Letter to a Friend [Australian Premiere] 02 9250 7777 Momentum: Schubert and Virtuoso Series Mendelssohn 7:30pm | Tue | 13 Nov City Recital Hall Bruce “Gumboots” for Clarinet and String Quartet [Australian Premiere] cityrecitalhall.com Schubert String Quintet in C major 02 8256 2222 Mendelssohn String Quintet No. 2 in B flat major Maria Raspopova in Recital Master Series 2:30pm | Sun | 2 Dec Prokofiev Vision Fugitives, Op.22 Utzon Room, Sydney Debussy Claire de Lune Opera House Chopin Ballade No. 4 in F minor, Op. 52 Satie Trois Gymnopédies sydneyoperahouse.com Liszt Grandes études de Paganini No.3 in 02 9250 7777 G sharp minor, “La campanella” Rachmaninoff Etudes-Tableaux Op.33 No.8 Joy Farrenc and Beethoven Tuesday 25 September 2018 Franz Schubert 7:30pm Notturno in E flat major, Op. 148 City Recital Hall Ludwig van Beethoven Presented as part of the Violin Sonata No.5 in F major, Op. 24, “Spring” 2018 Virtuoso Series Interval Louise Farrenc Nonet in E flat Major, Op. 38 Elena Kats-Chernin Russian Rag (arrangement by the composer for Omega Ensemble) The concert will last approximately 105 minutes, including a 20 minute interval. Please ensure your mobile devices are turned to silent and switched off for the full duration of this performance. -
1750 to 1950 International Virtual Conference 27-30 November 2020 Centro Studi Oper a Omnia Luigi Boccherini International Conference
«WOMEN ARE NOT BORN TO COMPOSE» FEMALE MUSICAL WORKS FROM 1750 TO 1950 International Virtual conference 27-30 November 2020 CENTRO STUDI OPERA OMNIA LUIGI BOccHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE «WOMEN ARE NOT BORN TO COMPOSE»: FEMALE MUSICAL WORKS FROM 1750 TO 1950 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Palazzetto Bru Zane – Centre de musique romantique française, Venice Virtual conference 27-30 November 2020 Programme Committee: ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) ÉTIENNE JARDIN (Palazzetto Bru Zane) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) MARIATERESA STORINO (Conservatorio di Musica ‘G. Rossini’, Pesaro) SUSAN WOLLENBERG (Oxford University) ef Keynote Speakers: MARIATERESA STORINO (Conservatorio di Musica ‘G. Rossini’, Pesaro) SUSAN WOLLENBERG (Oxford University) FRIDAY 27 NOVEMBER 10.45-11.00 Opening • FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) • ÉTIENNE JARDIN (Palazzetto Bru Zane) 11.00-12.30 Composers, Musicians, Virtuosos (Chair: Mariateresa Storino, Conservatorio ‘G. Rossini’, Pesaro) • DANIEL LIENHARD (Independent Researcher, Basel), Chamber Music and Concertos for Horn/Horns by Female Composers – A Survey • MONIKA KOLENDA (University of Warsaw), Polish Composers and Pianists: Nadia Boulanger’s Legacy • MARIA STRATIGOU (Royal Northern College of Music), Louise Farrenc’s Piano Études: Dates, Purpose, Reception and Role ef 15.00-15.45 Keynote Speaker 1: • SUSAN WOLLENBERG (University of Oxford), (Why) Do We Need ‘Women Composers’? ef 16.00-17.30 Reflections on Women Composers’ Position in the History of Music (Chair: Susan Wollenberg, University of Oxford) • JOE DAVIES (University of Oxford / Maynooth University), Clara Schumann as Composer: Reflections, Challenges, and New Directions • SIEGWART REICHWALD (Converse College, Spartanburg, SC), Mendelssohn the Progressive: Narrative Strategies in Fanny Mendelssohn Hensel’s Piano Trio Op.