Oi#O. KUNKEL's MUSICAL REVIEW, AUGUST, 1882

Total Page:16

File Type:pdf, Size:1020Kb

Oi#O. KUNKEL's MUSICAL REVIEW, AUGUST, 1882 PRICE, 25 CENTS. $3.50 WORTH OF MUSIC IN THIS NUMBER. Yearly Subscription, Including Valuable Premium, $1.50. See Pages 360 and 364 . No.lO. .]-====v==o==l.=:::::::V==. ===-t-~ _-+. + READING MUSIC. PAGE. PAGE. E DITORIAJr-Music in Colleges-The Blind "La Varsovienne"-Goldbeck................ 367 as Musicians-Paragraphs . • 360 "Bright Eyes" (Rondo)-Siclus.............. 372 MUSICAL AND :MISCELLANEOUS-Philip F. Branson (with portrait)-Gluck-Raff "The Flirt" duet (Impr.:>mptu ala Polka)- as a Composer-A Toast (poetry)-l~obert Jean Paul . • 374 Schumann's First Symphony -Mary's I.amb on a New Principle-The Unlucky "Etude de la Vclocite" (Book II. No.1)- Clarionet Concerto-Alfred H. Pease (with Czerny . ...••••.•..•• _. • • . • . • . • . • • • 380 portrait)-Saved by a Hymn-Our Music -Answers to Correspondents-Music in "I Uan not Say Good-Bye" (Ballad)-Rmckel 381 St. Louis-Questions Pertinent and Im­ pertinent-Stage Drolleries-Correspond­ "Love's Rejoicing'' (Vocal w ·auz for Quar- ence-Comical Chords-Morning Rrain­ tette)- Voerster............................ 384 work-Major and ·l\linor-A Great Dra­ matic Singer-Smith and Jones, etc .. 350 to 400 IIarmony-Goldbeck......................... 365 II II ~..Uioh=o, KUNKEL BROS., @t. ~oi#o. KUNKEL'S MUSICAL REVIEW, AUGUST, 1882. ''101111" BEHNING SOHMER & CO., M:ANUFAO'I'URERS::;o GRAND, ~~UAR~ ~ UPRIGHT PIAN~-F~Rn~. Received First Medal of Merit and Dip!oma of Honol" at Cen­ Wit~ Improved Palent ~graffe Attacnment and Name . ~oar~, tennal Exhibition and at Grand Exhibition, Mont.real, 1881. OFFICE AND WAREROOMS, Nos. 149-155 East Fourteenth St., NE\V YOR.K. 14th Street and 5th Avenue and 129 East 12:ith Street. E. r. DL~HAU~EN &~0., Agents for ~t. Louis, Mo., No. 1~ South Fourth St. FACTORY, N. E. Cor. 124th St. and 1st Ave., NEW YORK. p •I I A A N N 0 0 & s ~SQUARE! ~UPRIGHT! ~GRAND! ----- ESTABLISHED IN NEW YORK AND CHICAGO, OVER 30 YEARS! l:Jsed and Recommended by 25,000 Artists and Amateurs. Patent Self-Bearing Agraffe Attachment, Concave Name-Board and Patent Veneered Bridge-Are valuable Improvements Used in the Bauer Pianos only. Manufacturers and Importers of Musical Merchandise. Band InstrumeRts, Fine Vio· lins and Strings a SpecialtY.. A Complete Assortment of the Finest Instruments in the World at the Lowest Possible Prices. JULIUS BAU~R & 00., ST. LOUIS. 182-184 Wabash Ave., between Monroe and Adams Sts.. CHICAGO, ILL. KUNKEL'S MUSICAL REVmW, AUGUST, 1882. 357 1VL-r.TSIC EOOX:S FUELISE:ED BY - OLIVER DITSON & Co., :BOSTON., :JY.I:.A..SS. NE':JV OFE::B.A..S. THE HERALD OF PRAISE. LIGHT.AND LIFE! NOW READY. It is the work of L. 0. EMERSON, of whose previous books of MADAME FAVART; AIDA, $2.00; CARMEN, $2.00; MIGNON sacred music about half a million copies have been sold. So A ROUSING, GODD, NEW SUNDAY SCHOOL SONG BOOK $3.00; INFANTA'S DOLLS, (Les Poupees de L'Infante); that the issue of a new Church Music Book by him is a notable event. Judging by previous experience, as many as a hundred WITH A GOOD TITLE. MEPHISTOFELE,(Boito)$2.00; OLIVETTE, 50c; thousand persons are to use this, the last and best compilation, MASCOT, 50c; LES MOUSQUETAIRES, filled from cover to cover with new, fresh, interesting, prac­ The compiler Mr. R. M Mcintosh, is well known to hundreds $1.00; PATIENCE,$1.00; BILLEE tical music and words. Specimen copies mailed for $1.00, of thousands as on-e of the most successful providers of sweet The usual reduction for quantities. melodies and bright hymns for tho great Sunday School puiJlic. TAYLOR. 50c; PIRATES Our best writers and comyosers have contributed. The book OF PENZANCE, $1.00; has a beautiful title, is wel printed, and is in every way desir­ able. Send for specimen pages (free), or specimen copy, BOCCACCIO, $2.00; BELLS THE IDEAL which is mailed for the retai price, 35 cents. OF CORNEV~LLE, $1.50; FIELD OF HONOR, (Le Pre aux Clercs.) $2.00; Is a companion book to the HERALD OF PRAISE, and is intended for Singing Classes only, with no reference to choir FATINITZA, $2.00; SORCERER, $1.00; LITTLE singing. The contents are similar to those of the excellent BEAUTIES OF SACRED SONG. DUKE, $1.00; TWO CADIS, $2.00; PINAFORE, 50c., HERALD, but matters are condensed, and whatever is not per­ This splendid, new collection of the best sacred songs of ALL WITH FULL LIBRETTO, FOR PERFORMANCE. fectly appropriate for Singing Classes, is left out. the day, will be a most valuable addition to our libraries, and is Specimen copies mailed for 75 cents. full of gems. SENT POST-PAID, ON RECEIPT OF PRICF The usual reduction for quantities. Among the authors we notice the names of Gounod Sullivan, With the IDEAL, which is a most real book, and the HERALD Marzials, Abt, '.rho mas, Smart, and Pinsuti, and there are more OF PRAISE, which is the best praise book, teachers and choir than 30 others of good repute. Gounod's ''Green Hill far ANTHEM BOOKS. leaders will be fully equipped for a successful musical season. away;" ~'aure's "Palm Branches;'' and Abt's ·'Above the ANTHEM HARP. ($1.25.) W. 0. PEn·kinR, high' character of the compositions, which EMERSON'S BOOK OJJ' ANTHEMS. ($1.25.) ~~:1:8 ·~~n~~~~~ 1~he AMERICAN ANTHEM BOOK. ($1.25.) Johnsor., Tenney and Abbey. PRICE $2.00, BOARDS,· $2./JO, CLOTH. GEM GLEANER. ($1.00.) J. M. Chadwick. THE NORWAY MUSICAL ALBUM. PERKINS' ANTHEM BOOK. ($150.) At this season choirs are much in need of new anthems. BY FORESTIER AND ANDERSON. In the above five books will be found all that poslilibly can be A collection of weird, strange, and yet strangely captivating THE BANNER OF VICTORY. needed, ftnd of the very best quality. Sonli's and l\Ielodies from the land of OLE BULL; just the This inspiring title belongs to a new SONG BOOK for SUN­ Excellent Anthems and easy Choruses will also be found in mus1c that inspired his imagination. Norse and English DAY SCHOOLS, just out. It is by Abbey & Munger, who made a Emerson's new HERALD OF PRAISE (1 00); in J. P. Cobb's words. i\ musical novelty that will delight lovers of what is decided success in their last book, "WHITE ROBES," and who, }"ES'riVAL CHORUS BOOK, ($1.25); in Zerrahn's INDEX ($1.00); wild, rich, and romantic in legend and song. PRICE, $2.150. in this new compilation, fumish a number of the sweetest in Tom·jee's CHORUS CHOIR ($1.50); in Perkins' 'l'E~1PLE melodies ever placed in a collection of the kind. One hundred ($1.00); and in Emerson's VOICE OF WOHSIIIJ.> ($1.00). and sixty pages, and about as many songs. many of them Sunday School Song Book by J. adapted to the Prayer Meeting, as well as to the Sunday , ALBUM OF SONG $2. bds,; $2.50 <?1:; $3. gil.t. BEACON LIGHT , H. TENNEY and E. A. IOFF~IAN. School. PRICE, 315 C'l'S. , Franz' own editiOn of his THESpecimen copies mailed for 30 cents. Liberal reduction for famousFRANZ German songs. <Jnantities. DITSON & Co. respectfully call attention to the marked improvement which is apparent in theit· newer publi­ $2.bds.;$2.50cl.;$3.gilt. cations for Sunday Schools. The best talent in the country GEMS OF ENGLISH SONG , The new aMl most favor­ has .been ~mployed in compiling them, and they have been ite collection. Jece1ved w1th marked favor. THE BEACON LIGHT is the work l1_0BERT FRANZ' ALBUM OF SONG. of two of the best hymn and tune composers in the country, is Old and new. Approved by the master himself. A book in Charming collection of House­ holll Songs, Lullabies, and Kin- a carefully 'win no wed' book1 only the best 100 out of 500 man­ which every note is a gem. German and English words. RHYMES AND TUNES. uscripts having been retain ea. A hun~red exquisite songs. $2. Boards; $2.50 cloth. dergarten Lays ($1.50.) RE-OPENING OF --T::S:E-- PETERS' MUSIC sTORE HAINES 307 NORTH FIFTH ST., ST, LOUIS, MO. (ESTABLISHED 1.829.) UPRIGHT PIANO-FORTE We Have Ollened MUSIC We have unusual -at- BOXESfacilities for supply­ mg the BEST Goods RANKS AHEAD OF ALL OTHERS. 307 N. Fifth. St., AT • ~~:l~rt~~E~~ll~~: ST. LOUIS, MO., PETERS'~~RJe~i~~!~ep only After several months' preparation, and are MlJSI<J I " Haines makes a magnificent Up1'igh~." now prepared to fill STOBE, Mus1cal Instruments, -CAMPANINI. orders for anything in the 3 07 And will supply you N orth with a '' The tone of the Haines Upright is simply lovely." ~IUSIC LINE 5th -EMMA THURSBY. Street, PIANO, ORGAN, AT THE S'l'. LOUIS. GUITAR, FLUTE, " They are delightjul to sing by." -ALWINA VALLERIA. lowest Eastern Prices. CHASE PIANOS. Ditson'li and Peters' Editions. VIOLIN, Particular attention paid to filling orders I or any other Musical Instrument of '' I do not see in what respect tltey can be excelled." for Teachers, Convents, Seminaries, Etc. And FIRST QUALITY cheaper than you can -OLE BULL. where selections are left to us, we will gnar- get the same grade of Instruments else- antee satisfaction. where. , '' In all my experience 1 ha1•e yet to find a piano that suits me Acting as Wholesale Agents for such houses as OLIVER DITSON & CO., of Boston; SCHIRMER, O\ New Y:ork; NOVELLO, of London, a.nd PETERS, of Leipsig, we are bette1· ." prev:,tred to furmsh Music and Books at the Lowest Pnce of these houses. We make a -BRIGNOLI. SpeCialty of the CHASE PIANO (the Cheapest, First-Class In.strument in the M>trket.) DITSON and NOVELLO'S Cheap Choruses Church Music Operas Etc.· PETER'S Lei.psig Edition of Cheap Classics, Bay State Organs ($65 'to $200)'; Gen'uine Martin ''In every ?'espect the Haines Upright Piano answers the de­ Guitars, Etc.
Recommended publications
  • Volume 58, Number 01 (January 1940) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1940 Volume 58, Number 01 (January 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 01 (January 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/265 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. January THE ETUDE 1940 Price 25 Cents music mu — 2 d FOR LITTLE TOT PIANO PLAYERS “Picuurl cote fa-dt Wc cocUcUA. Aeouda them jot cJiddA&i /p ^cnJUni flidi ffiTro JEKK1HS extension piano SHE PEDAL AND FOOT REST Any child (as young as 5 years) with this aid can 1 is prov ided mmsiS(B mmqjamflm® operate the pedals, and a platform Successful Elementary on which to rest his feet obviating dang- . his little legs. The Qualities ling of Published monthly By Theodore presser Co., Philadelphia, pa. Teaching Pieces Should Have EDITORIAL AND ADVISORY STAFF THEODORE PRESSER CO. DR. JAMES FRANCIS COOKE, Editor Direct Mail Service on Everything in Music Publications. TO PUPIL Dr. Edward Ellsworth Hipsher, Associate Editor /EDUCATIONAL POINTS / APPEALING William M. Felton, Music Editor 1712 Chestnut Street, Philadelphia, Pa.
    [Show full text]
  • Marie Wilt Article Website Version
    Note: the final version of this article was published in The Record Collector, volume 47, no. 3, September 2002, pp. 235-239 “The Hippopotamus That Swallowed a Nightingale”: The Life (and Recording) of Marie Wilt By Christopher Kuner I remember that I once heard Wilt when I was a young child…I was enraptured and walked around for days in love with that voice—for such emotions can only be compared with love. Gustav Mahler1 [T]he greatest voice that I have ever heard…[T]he greatest dramatic soprano that ever existed—the size of it was absolutely superhuman. Blanche Marchesi2 Reports such as those of Mahler and Marchesi (not exactly the easiest observers to impress!) leave no doubt that the Viennese soprano Marie Wilt (ca. 1833-1891), who was regularly compared to Malibran, Grisi, Louise Dustmann, Jenny Lind, and Patti, was one of the greatest singers of the 19th century. Moreover, her life, which included many triumphs but ended in tragedy, could hardly have been more eventful had it been scripted in Hollywood, and it appears that she even made a recording (but more on that later…). Yet today she is hardly more than a footnote in most books on the history of singing. Kutsch & Riemens give the artist’s birthday as January 30, 1833, but contemporary newspaper articles are more cautious, putting it sometime between 1833 and 1835.3 Born into a poor family in Vienna as Marie Liebenthaler, her parents died in an epidemic while she was still an infant, and the doctor who treated them brought her to his sister, a Frau Tremier, who adopted her.4 As a child Wilt demonstrated great musical ability, and she was much affected by hearing a concert by Jenny Lind.
    [Show full text]
  • Introduction
    INTRODUCTION 1. ORIGINS OF THE OPERA Later that year it was read to the actors of the National Theatre, this is how Egressy may have got acquainted Ferenc Erkel’s first opera, Bátori Mária, was premièred with it.6 However, the drama Hunyadi László was not on August 8, 1840 in the Hungarian National Theatre in performed until January 17, 1842. According to Ambrus Pest. The audience had to wait three and a half years for Oltványi its première has probably been hindered by the first performance of his second work in this genre, censorship.7 If indeed censors quibbled it might have Hunyadi László (January 27, 1844, in the same theatre), discouraged Erkel and Egressy, and Tóth may also have despite the fact that on October 22, 1840 Honmûvész had disapproved of the opera being staged earlier than the already announced the news that “our industrious Ben- play it was based on. Another cause of delay might have jámin Egressy is working on the text of another new been the miserable state of the Pest opera company after national opera entitled Hunyadi László (the music will 1840. Erkel had seemingly planned to compose but one be composed by Mr Erkel)”.1 The dating of the last three great opera seria role for Hunyadi László originally: that acts in the autograph score helps to clarify which part of of Erzsébet Szilágyi, the mother of László and Mátyás this long wait was dedicated to the composition of the ope- Hunyadi. She is the only character whom the libretto and ra. (Erkel had not dated the first act.) He only put the the music introduce through a real sortita, that is, a year “1842” on the first page of the second act whereas technically challenging two-part aria extending over a full dates appear on the first pages of the third and whole scene.
    [Show full text]
  • Brahms's Arrangements of Bach's Cantatas
    Volume XXXI, Number 2 Fall 2013 “In Concert-Life, the Most Striking, Most Pleasing of Adventures” – Brahms’s Arrangements of Bach’s Cantatas When in October 1874 Brahms wrote to his friend, the musicologist and Bach specialist Philipp Spitta in the above terms, he was describing his own concert performances of cantatas by Johann Sebastian Bach, specifically his recent performances of Christ lag in Todesbanden BWV 4 and Nun ist das Heil BWV 50.1 He had begun performing Bach cantatas with the first mixed-voice choir he directed on a regular basis, the Singverein at the Detmold Court (1857–60), and he continued when he got to Vienna with the Singakademie in 1863–64 and the Singverein of the Gesellschaft der Musikfreunde in 1872–75. Table 1 lists all his known performances of Bach’s vocal music, from which we can see that he gave complete or nearly complete performances of five cantatas, of the St. Matthew Passion, and of four of the six parts of the Christmas Oratorio. For these performances, especially for those of the cantatas, Brahms prepared arrangements that met the practical requirements of his time, though he would often do this in imaginatively creative ways. Broadly speaking, he (1) added instruments to support Brahms in 1853. Photo courtesy of the Brahms-Institut and color Bach’s vocal parts where he thought necessary; an der Musikhochschule Lübeck. (2) replaced or adapted Bach’s high trumpet parts, which were no longer fully playable by late nineteenth-century musicians; Bach cantata arrangements on 2 and 6 September, comprising (3) wrote continuo realizations; and (4) added performance those works and movements for which the sources are complete nuancing (dynamics, articulations, etc.) in accordance with and clear, conducted by Hans-Christoph Rademann and Jos contemporary taste.
    [Show full text]
  • STADTREPORTER UECKERMÜNDER STADTREPORTER - 18 - Nr
    UECKERMÜNDER STADTREPORTER AMTLICHES MITTEILUNGSBLATT DER STADT UECKERMÜNDE kostenlos und monatlich Jahrgang 16 ISSN 1439-1465 Dienstag, der 18. September 2012 Nr. 09 Sparkassenstiftung Uecker-Randow UECKERMÜNDER STADTREPORTER - 2 - Nr. 09/12 Nr. 09/12 - 3 - UECKERMÜNDER STADTREPORTER STEUERN / VERANLAGUNG BÜRGERSERVICE - WOHNGELD BÜRGERMEISTERIN Gabriela Berndt Bärbel Böttcher Heidi Michaelis Am Rathaus 3 (Schloss) Zi. 209 Tel. 28424 Am Rathaus 3 (Schloss) Zi. 107 Tel. 28446 Am Rathaus 3 (Schloss) Zi. 226 Tel.: 28414 Mail: [email protected] Mail: [email protected] SEKRETARIAT STADTKASSE STADTWÄCHTER Bianka Sachtler Carola Chappuzeau Wolfgang Höppner Am Rathaus 3 (Schloss) Zi. 225 Tel. 28413 Am Rathaus 5 Zi. 011 Tel. 28453 Am Rathaus 5 Zi. 404 Tel. 28451 Mail: [email protected] Mail: [email protected] BAUHOF PERSONALSERVICE Roswitha Bandelow Dietrich Schlee Hans-Jürgen Vollmann Am Rathaus 5 Zi. 010 Tel. 28422 Ueckerstraße 4a Tel. 22800 Am Rathaus 2 Zi. 2 Tel. 28432 Mail: [email protected] Mail: [email protected] VOLLSTRECKUNG Sabine Klawitter GEBÄUDE- U. GRUNDSTÜCKSVERWALTUNG PERSONALSERVICE / KITA Am Rathaus 5 Zi. 012 Tel. 28475 Ute Scholwin (Hochbau) Steffi Heinrich / Martina Saeger Mail: [email protected] Am Rathaus 5 Zi. 209 Tel. 28469 Am Rathaus 2 Zi. 1 Tel. 28433 Mail: [email protected] Mail: [email protected] BAU- UND ORDNUNGSAMT Amtsleiter Jürgen Kliewe Torsten Bröcker-Stellwag (Tiefbau) KÄMMEREI UND HAUPTAMT Am Rathaus 5 Zi. 206 Tel. 28460 Am Rathaus 5 Zi. 208 Tel. 28463 Amtsleiter Joachim Trikojat Mail: [email protected] Mail: [email protected] Am Rathaus 3 (Schloss) Zi. 308 Tel. 28415 Mail: [email protected] SEKRETARIAT Ilona Beeckmann Karin Behrmann Am Rathaus 2 Zi.
    [Show full text]
  • ROBYN CATHCART: M.A. CANDIDATE in MUSICOLOGY the UNIVERSITY of VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia
    ROBYNCATHCART: M.A. CANDIDATEIN MUSICOLOGY THEUNIVERSITY OF VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia IZ- Supervisor: Dr. Gordana Lazarevich December 12,2003 University of Victoria PO Box 1700 STN CSC Victoria, BC V8W 2Y2 Canada Supervisor: Dr. Gordana Lazarevich A~STRACT Manuel Garcia 11 (1805-1906) is perhaps the greatest teacher of voice in history, and his approach, stated in A Complete Treatise on the Art of Singing, Parts One (1841) and Two (1847), became one of the principal methods of vocal instruction during his time. By tracing Garcia 11's methodology, based on the Italian Schools of Singing and be1 canto opera, it will become clear that his type of voice building holds many of the keys needed to unlock the voices of singers today. Analysis of Garcia II's vocal treatises, combined with first hand research conducted with faculty throughout three prominent Canadian university voice programs, will further substantiate the claim that Garcia 11 is a pivotal figure within the landscape of vocal pedagogy, also putting to rest several misconceptions (i.e. vocal onset and the coup de la glotte, and vocal registers) concerning his teachings. Respected internationally for his contributions to the worlds of classical voice and opera, performance practice, voice science, and pedagogy during his lifetime, Garcia II's theories on vocal production remain intact in current vocal pedagogy, despite shifts in the paradigms of musical, cultural, social and vocal aesthetics. List of Figures ............................................................................ 11 ... List of Appendices ...................................................................... 111 Acknowledgements ..................................................................... iv Preface ......................................................................................... v Chapter 1: Planting the Seeds of the Garcia 11 School ................. 1 (a) The Italian Schools ......................................
    [Show full text]
  • Madame Schumann-Heink: a Legend in Her Time
    MADAME SCHUMANN-HEINK: A LEGEND IN HER TIME by Richard W. Amero Madame Ernestine Schumann-Heink's life had the before-and-after quality of a fairy story. Born in poverty, she became rich. Considered plain and plump in appearance, on stage she was regal and impressive. When she began singing in public, at age 15, no one thought she would become a professional singer. When she moved to San Diego, at age 48, music critics in Europe and the United States hailed her as "the world's outstanding contralto." Her parents called her "Tini" and her friends in Germany "Topsy," in reference to her physical size. Her children knew her by the intimate name "Nona." Composer Richard Strauss referred to her by the impersonal "the Heink," while impresario Maurice Grau addressed her by the friendlier name of "Heinke." Those who knew her on the stage or by reputation called her "Mother" or "Madame," reflecting the respect she inspired. Born Ernestine Roessler at Lieben, near Prague (then part of Austria), June 15, 1861, her mother was Italian-born Charlotte (Goldman) Roessler and her father Hans Roessler, a cavalry lieutenant in the Austrian army. She got her aggressiveness and stubbornness from her father, whom she described as "a real old roughneck." Her softer qualities and appreciation for art came from her mother, who taught her to sing "When I was three," she recalled, "I already sang. I sang what my mother sang. I'd put my mother's apron around me and start to act and sing." Ernestine became acquainted with Leah Kohn, her Jewish grandmother on her mother's side, when she was five years old.
    [Show full text]
  • Közös Munka Erkel Ferenc Színpadi Műveiben (1840–1857)
    Liszt Ferenc Zeneművészeti Egyetem Doktori iskola (6.8 Művészeti és művelődéstörténeti tudományok: zenetudomány) AZ ERKEL–MŰHELY KÖZÖS MUNKA ERKEL FERENC SZÍNPADI MŰVEIBEN (1840–1857) Liszt Ferenc Zeneművészeti Egyetem Doktori iskola (6.8 Művészeti és művelődéstörténeti tudományok: zenetudomány) AZ ERKEL–MŰHELY KÖZÖS MUNKA ERKEL FERENC SZÍNPADI MŰVEIBEN (1840–1857) SZACSVAI KIM KATALIN DOKTORI ÉRTEKEZÉS TÉMAVEZETŐ: DR. TALLIÁN TIBOR 2012 TARTALOMJEGYZÉK Rövidítések jegyzéke . 6 Köszönetnyilvánítás . 9 I. BEVEZETÉS I.1 Előzmények . 11 I.2 A disszertáció felépítése . 18 II. A KOMPOZÍCIÓS FOLYAMAT ELSŐDLEGES DOKUMENTUMAI – 23 SZERZŐI KÉZIRATOK III. KÖZÖS MUNKA AZ ERZSÉBET ELŐTT Bevezetés . 29 III.1 Bátori Mária (1840) 1.1 Források . 33 1.2 Szerzőség A premieren elhangzott műalak . 42 Az első befejezett műalak (1841) . 50 Felújítások (1852, 1858) . 55 III.2 Hunyadi László (1844) 2.1 Szerzőség . 61 2.2 Források . 79 III.3 Erkel és a népszínmű (1844–1846) 3.1 A népszínmű . 89 3.2 Erkel népszínmű-betéteinek dallamai . 97 3.3 Többszörösen felhasznált zenei betétek . 102 A kalandor Debreceni rüpők – A rab – Egy szekrény rejtelme 3.4 Idegen betétek az Erkel által szerkesztett népszínművekben . 110 A zsidó, A rab és a Két pisztoly 3.5 Közös komponálás a népszínművekben . 115 3.6 Erkel népszínműbetét dallamainak eredete – Incipites forrásjegyzék . 124 III.4 Salvator Rosa (1855) . 141 IV. ERZSÉBET (1857) Az opera számai . 145 Az Erzsébet szereplői . 148 Az Erzsébet tartalmi kivonata . 149 IV.1 Recepció . 151 IV.2 Források – Előadástörténet 2.1 Autográfok, nemzeti színházi játszópéldányok . 159 2.2 Előadástörténet. Összefoglalás . 177 IV.3 Kompozíciós módszer – Közös komponálás 3.1 A kompozíciós folyamat primer dokumentumai . 186 3.2 No.
    [Show full text]
  • To Read More About the Life of Mme. Ernestine Schumann-Heink
    129118 SCHUMANN-HEINK THE LAST OF THE TITANS BY MARY LAWTON New York THE MACMILLAN COMPANY 193J COPYRIGHT, 1926, 1927, BY INTERNATIONAL MAGAZINE COMPANY, INC. COPYRIGHT, igjS, By MARY LAXVTON. Set up and electrotyped. Published November, 19,28. New Edition, October. 1929. Reissued May, i<M5- Printed in tJtf United States flf Amfrteo fry J. J. I.ITTI.R AND IVFS OMI\NV, NKW V"KK TO WILLIAM F. BIGELOW, ESQ., WITH APPRECIATION OF HIS UNFAILING COURTESY AND FRIENDSHIP LIST OF ILLUSTRATIONS Mmc. Schumann -Heink frontispiece FACE Schumaiin-Hcink's Mother and Father 6 . Schumann-Heink and her Mother . 8 The Rope-Maker's House where Schumann-Heink lived when a little girl 10 Schumann-Heink when a child 15 Marietta von Lcclair, first singing teacher of Schumann- Heink 23 Schumann-Heink with her brother and two sisters ... 26 Schumann-Heink at seventeen 30 Schumann-Heink as a young woman 34 Schumann-Heink 43 As Azucena in II Trovatore, Schumann-Heink's first role in opera at Dresden in 1878 51 Karl Krebs 58 Schumann-Heink as Azucena in II Trovatore . 63 Schumann-Heink in one of her early roles in Hamburg . 69 Schumann-Heink as a young woman . 74 Hans von Biilow, great conductor and pianist . 78 Schumann-Heink and Pol Plangon, the great French bari- tone 82 Schumann-Heink in Hamburg days 87 Schumann-Heink as Carmen in Hamburg 94 Schumann-Heink in the opera, "Die Fledermaus" ... 97 Schumann-Heink as Fides in Le Prophete 99 Schumann-Heink as Jehan dc Saintre 103 Die Wilde Toni. Schumann-Heink, Hallenstein, Schumann 109 [vii] LIST OF ILLUSTRATIONS PAGE Paul Schumann, Schumann-Heink's second husband 119 Maurice Grau, manager of the Metropolitan Opera Com- pany in the nineties .
    [Show full text]
  • Marie Lipsius Was a Well-Known German Writer on Music and Journalist
    Lipsius, Marie 127) Profile Marie Lipsius was a well-known German writer on music and journalist. Under the pseudonym "La Mara", she wrote biographical portraits of musicians that were extre- mely popular during her lifetime; these appeared in jour- nals and newspapers, and were published in five antholo- gies by Breitkopf & Härtel in Leipzig, amongst other pub- lishers, between 1868 and 1882. Beginning in 1910, they appeared as "Little Musicians' Monographs" in indivi- dual editions in up to 17 printings and were translated in- to many languages, including English, French, Swedish, Italian and Spanish. La Mara was a committed adherent of "music of the future". Franz Liszt and Carolyne von Sayn-Wittgenstein held her in high esteem, encouraged her and counted her amongst their circle of friends. She collected and edited the letters of Franz Liszt, as well as those of other musicians, and wrote the book "Liszt and the Women" in 1911. In 1917 she was awarded the honora- ry title of Royal Saxon Professor. Marie Lipsius/La Mara died in 1927 in Schmölen, Saxony. Cities an countries Marie Lipsius was born in Leipzig and later lived in Wei- mar with Franz Liszt and Carolyne von Sayn-Wittgen- Marie Lipsius stein, as well as in Vienna and Bayreuth for the purposes of research, where she also moved in the circles surroun- Marie Lipsius ding Richard Wagner, amongst others. She died in 1927 in Schmölen, Saxony. * 30 December 1837 in Leipzig, Deutschland † 2 March 1927 in Schmölen, Biography Ida Marie Lipsius was born on 30 December 1837 in Leip- Writer on music, feuilletonist, editor zig.
    [Show full text]
  • Wiener Philharmoniker » : Concerts Including Music of Anton Bruckner (1870-2015)
    « Wiener Philharmoniker » : Concerts including music of Anton Bruckner (1870-2015) (The « repeat » concerts are included in the list.) Original source : http://www.wienerphilharmoniker.at/converts/archive 1873 : 1 1877 : 1 * * Sunday, 16 December 1877 : The « Wiener Philharmoniker » official website does not include the disastrous concert- premiere of the 3rd Symphony conducted by Anton Bruckner himself, in the Great Hall of the « Gesellschaft der Musikfreunde » . However, the 3rd Subscription Sunday Concert (on 9 December 9th, 1877) and the Sunday Concert sponsored by the « Wiener Männergesang-Verein » (on December 23rd , 1877) are clearly listed. 1881 : 1 1883 : 1 1886 : 2 1888 : 1 1889 : 1 1890 : 1 1891 : 1 1892 : 2 1893 : 1 1894 : 2 1895 : 0 1896 : 4 1897 : 1 1898 : 1 1899 : 4 1900 : 2 1901 : 1 1902 : 1 1903 : 0 1904 : 4 1905 : 0 1906 : 3 1907 : 3 1908 : 2 1909 : 1 1910 : 1 1911 : 1 1912 : 3 1913 : 1 1914 : 2 1915 : 1 1916 : 1 1917 : 4 1918 : 2 1919 : 2 1920 : 5 1921 : 4 1922 : 4 1923 : 1 1924 : 10 1925 : 2 1926 : 5 1927 : 6 1928 : 9 1929 : 7 1930 : 10 1931 : 4 1932 : 10 1933 : 8 1934 : 5 1935 : 8 1936 : 7 1937 : 6 1938 : 9 1939 : 5 1940 : 6 1941 : 10 1942 : 10 1943 : 8 1944 : 9 1945 : 6 1946 : 8 1947 : 6 1948 : 4 1949 : 13 1950 : 2 1951 : 17 1952 : 2 1953 : 5 1954 : 6 1955 : 6 1956 : 11 1957 : 6 1958 : 6 1959 : 8 1960 : 9 1961 : 9 1962 : 13 1963 : 3 1964 : 5 1965 : 13 1966 : 13 1967 : 17 1968 : 6 1969 : 11 1970 : 10 1971 : 7 1972 : 11 1973 : 6 1974 : 17 1975 : 2 1976 : 12 1977 : 2 1978 : 6 1979 : 4 1980 : 6 1981 : 6 1982 : 3 1983 : 3 1984 : 9 1985 : 3 1986 : 6 1987 : 2 1988 : 12 1989 : 7 1990 : 13 1991 : 7 1992 : 5 1993 : 12 1994 : 7 1995 : 9 1996 : 24 1997 : 8 1998 : 8 1999 : 18 2000 : 7 2001 : 7 2002 : 10 2003 : 14 2004 : 19 2005 : 20 2006 : 4 2007 : 19 2008 : 16 2009 : 10 2010 : 16 2011 : 11 2012 : 4 2013 : 22 2014 : 26 2015 : 8 1870 Sunday, 18 December 1870 : Vienna, « Musikverein Großer Saal » .
    [Show full text]
  • Eduard Hanslick
    Hanslick, Eduard Eduard Hanslick Cities an countries Birth name: Eduard Hanslik Eduard Hanslick, born in Prague, studied law in Prague * 11 September 1825 in Prag, Königreich Böhmen, and Leipzig and worked as civil servant in various minist- heutige Tschechische Republik ries in Klagenfurt and Vienna until 1861. Beginning in † 6 August 1904 in Baden nahe Wien, Österreich 1861 he taught as professor for musical aesthetics and the history of music at the University of Vienna. He died Music aesthetician, music historian, music critic, in Baden near Vienna in 1904. musicologist, jurist, civil servant, Hofrat (honorary title Biography for senior civil servants) Law student and civil servant “The autobiographer has to combat a powerful temptati- on: he should spare his readers those things that do not Eduard Hanslick was born in Prague on 11 September, interest them even if for him they are valuable and unfor- 1825. His father, the library official and private scholar gettable. To omit painful battles and sad events is less dif- Josef Adolf Hanslik, was of Czech-Catholic descent. His ficult; it is, I would even say, a commandment of good mother’s parents were Jewish, but she was baptized befo- manners, a natural thoughtfulness. However, so much re being married. They spoke German, and because of that is dear, jovial and good which we experience, the ab- the lack of public schools, Eduard and his two brothers, solute best that life has to offer – friendship between and to some extent his two sisters as well, were instruc- men! I had the good fortune of having excellent friends ted by his father himself in all subjects including piano.
    [Show full text]