DOCSLIB.ORG

Gretchen Am Spinnrade Aus Faust (Erster Teil, ‘Gretchens Stube’)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gretchen Am Spinnrade Aus Faust (Erster Teil, ‘Gretchens Stube’) Gretchen am Spinnrade Aus Faust (erster Teil, ‘Gretchens Stube’). Wolfgang Goethe (1749-1832) Franz Schubert (1798-1828) Nicht zu geschwind. Singstimme. 6 8 ! 3 ( * * > > :> > > > Mei ne Ruh ist sempre legato 6 3 8 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > Pianoforte. pp V V V V V V V 6 ¥ 8 > * > > * > > * > > * > > * > > * > =: =: =: 3 sempre staccato 4 >: > 3 :> > * > > :> ( > :> > > hin, mein Herz ist schwer; ich fin de, ich 3 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > cresc. V ¥ >: > * > > * > > * > >: > * > > * > > * > > > = > > > > 3 * > : : * > : =: V V 8 >: > 3 2>: > > > >: > > 2> :> ( * fin de sie nim mer und nim mer mehr. > > > > > > > > 3 3> > > > > > > > > > > > > > > > > > > > 3> > > > > > > > > > > > > > > > > > > > f decresc. ¥ 2> * 3>> > * >> > * > > * > 2> * 3>> > * >> > * > > * > 3 > := > > := > > := > > := > 12 ! 3 ( * * > > :> > > > :> ( > Wo ich ihn nicht hab, ist 3 > 3> > > > > >2> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > pp > > ¥ > * > > * > > * > > * > > * > > * > > * > > * > 3 >:> >:> =: =: := Public Domain 2 16 3 2>: > > /> :> ( > :> > /> >: > 2> > mir das Grab, die gan ze Welt ist 3 /> > > > > > >2> > > > > > > > > > > > > > 2> >/> >2> > > > > > > 2> > > > > > > > > mf > > > > > > > ¥ * * * * * * * * 3 > > > > > := > > > 2> > > > 2> > > > =: 2 := =: 20 2> 3 ( > :> > > :> > * > / :> > > > >: mir ver gällt. Mein ar mer Kopf ist 3 /> > > > > > > > > >2> > > > > > > > > 2> > > > > > > > > 2> > >/> > > > > > > > >2> > > > > > > > cresc. ¥ * * * * * * * * 3 2> > > > 2> > > > > > > > > > > > 2 := =: =: =: 24 :> > > > :> > > >: > > > >: > > 3 * * mir ver rückt, mein ar mer Sinn ist 3 > > > > > > > > 2> > > > > > >2> > > > > > > >3> > > > > > cresc.> > > > > > > > > > >/> > > > > > f > > ¥ * * * * * * * * > > > > > > > > 3 > > > > > > > > =: >: > := := 28 3>: > > ! 3 > > * ( * ( * * > > mir zer stückt. Mei ne 3 3> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >/> pp dim. ¥ * * * * * * > > * > > * > > > > > > > > > > > > = 3 := := :> :> : 3 32 >: > 3 :> > > > :> > * > > :> ( > Ruh ist hin, mein Herz ist schwer; ich 3 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ¥ > * > > * > >: > * > > * > > * > >: > * > 3 =: > > >: =: > > >: V V 36 >: > 3 :> > 2>: > > > >: > > 2> > fin de, ich fin de sie nim mer und nim mer > > > > 3 > > > > > > > > > > 3> > > > > > > > > > > > > > > > > > > > 3> > > > > > > > > > cresc. > > > > f V ¥ > * > > * > 2> * 3>> > * >> > * > > * > 2> * 3>> > * >> 3 > := > > := > > := > > := > 40 :> ! 3 ( * ( * * > > :> > > > mehr. Nach ihm nur 3 > > > > > > > > > > > > > > > > > > >2> > > > > > > > > > > > > > > > > > > > > > > > > > > > > decresc. pp ¥ > * > > * > > * > > * > > * > > * > > * > > * > 3 > := > >:> >:> =: =: 44 3 :> > > 2>: > > /> :> ( > :> > 3> > schau ich zum Fen ster hin aus, nach ihm nur 3 > > /> > > > > > > > > > > > > > > > > > > > > > > >2> > > > > > > > > > > > > > > > > > > > > > ¥ > * > > * > * * * * > > * > > * > 3 > > > > > > > =: := =: := 4 48 3 :> :> 2>: > > /> :> ( > :> > 3> > geh ich aus dem Haus. Sein ho her 3 > > > > > > > > > > > > > > >/> > > > > > > > > > > > > > > > > > > 2> > > > > > > > pp > > > > > > ¥ > * > > * > * * * * : = 3 := > > > > > := > > > := =: := 52 3 :> > * > >: > > > :> * > > :> > > > Gang, sein’ ed le Ge stalt, sei nes Mun des 3 > > > > > > > > > > > > > > /> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ¥ : = 3 := := := =: := := := := 56 3 > > * > > >: > > 3> :> ( > :> > 2> 3> Lä cheln, sei ner Au gen Ge walt, und sei ner 3 > > > > > > > > > > > > 3> > > > > > 2> > > > > > > > > > > > 3>3> > > > > 3> > > > > > >3> > > > > cresc. ¥ : =: 3 := 3 := = 3 =: 3=: 3 := := 60 : >: : > > 2> 3> >: >: 3 > ( * ( * Re de Zau ber fluß, sein > > > > > 3 > > > > > > > > > > > > > > > > > > > > > > > > > > > /> > > > > > > > > > 3> > cresc. > > > > f acceler. ¥ : : : := 3 =: = =: =: := sf 5 64 > =: L:= 3 > >: ( * >: ( * >: ! Hän de druck, und ach, sein Kuß! : L 3 > > > > > > /> > > > > > =: / =: =:> >: ( * > > > > > > > > > > > > := := : >/> > ff sf sf sf pp > > > =L: ¥ := := := 2=::= /=: ( 3 =: =: > :> sf sf =: 70 ! ! ! 3 ( * * > > Mei ne 3 * * * * > > > > > > > > > > > > > > >/> > > > > > >/> > > > > >/> > > > > > > > > > ¥ ( ( ( > > * > 3 > :> > :> := =: =: =: =: 74 >: > 3 :> > > > :> ( > > :> > * > Ruh ist hin, mein Herz ist schwer; ich 3 > > > > > > > > > > > > > > > >> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ¥ > * > > * > >: > * > > * > > * > > * > > * > 3 =: > > >: =: =: V 78 >: > 3 :> > 2>: > > > >: > > 2> > fin de ich fin de sie nim mer und nim mer > > > > > > > > 3 > > > > > > > > > > 3> > > > > > > > > > > > > > > > > > > > 3> > > > > > > > > > f V cresc. ¥ > * > > * > 2> * 3>> > * >> > * > > * > 2> * 3>> > * >> 3 > := > > := > > := > > := > 6 82 ! 3 > * ( * ( * ( > >: > > > mehr. Mein Bu sen 3 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >3> > > > > > > > decresc. p V ¥ > * > > * > > * > > * > > * > > * > ( 3>> >> * >> 3 > := > >:> >:> =: =: 86 3 :> > * >: > 3> > >: ( > 2>: > /> > drängt sich nach ihm hin. Ach, dürft ich 3 > > > > > > > > > > >3> > > > > > > > > >2> > > > > > > 2> > > > > > > > > > > > >/> > > > > > > cresc. ( ( ¥ > > * > ( >> >> * >> > > * > ( >> >> * >> 3 3 := =: =: =: 90 : 3 3> > * * > 2>: > > > >: ( > /> > > /> fas sen und hal ten ihn! und küs sen > > > > /> > 3 > > > > > > > > > > > > 2> > >/> > > > > > > > >2> > > > > > > > > >2> > > > > > > > accelerando f ff ( ( > > > ( > > > ( ¥ =: > > * > > > * > > > * > />> >> * >> 3 2=: =: =: 94 />: > 3 >: > * > > /> >: ( > >: > > /> ihn, so wie ich wollt, an sei nen > > /> > > > 3 2> > >/> > > > > > > > >2> > > > > > > > 2> > >/> > > > > > > 3>/> > >2> > > > > > > > ( > > > ( ( > > > ¥ 2> > * > />> >> * >> 2> > * > ( > > * > 3 =: =: =: =: > > > 7 98 > 3 > > ( > >: > > /> >: ( > >: > > Küs sen ver ge hen sollt, o könnt ich ihn 3 > > > > > > > >/> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ¥ ( > > * > ( > > * > ( > > * > ( * > > > > > > = > > > > > > 3 =: =: : =: sf 102 : : 3 > > * > >: > > > > ( > >: > > > küs sen, so wie ich wollt, an sei nen 3 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ¥ ( * ( * ( * ( * > > > > > > > > > > > > 3 =: =: =: =: sf sf sf sf 106 >: >: > >: > 3 > * > > ( > >: > > Küs sen ver ge hen sollt, an sei nen 3 > > > > > > > > > > > > > > > > > > > > >/> > > > > > > > > > > > > > > > > > > > > > > > > > > ¥ ( * ( > > * > ( > > * > ( * > > > > > > > > > 3 > > > > > > =: > > > =: =: sf =: sf sf sf 110 >: >: > 3 > * > /> >: ( * ! Küs sen ver ge hen sollt! 3 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > /> > decresc. e ritard. ¥ ( * ( > > * > > * > > * > > > > > 3 =: > > > =: > > > > * ( * =: sf sf 8 114 3 ( * * > > >: > > > >: ( > Mei ne Ruh ist hin, mein 3 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > pp ¥ > * > > * > > * > > * > >: > * > 3 =: =: > > >: V 117 >: > ! ! 3 > =: Herz ist schwer! L 3 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > =: dimin. ppp L ¥ > * > > * > >: > * > > * > > * > =: 3 =: > > > * > > * > > * > =: V M ¡¢£¤ ¥¦§¨©© © § © ¥ ¡ ¥ ¥ ¤ ¦ ¢ £ ¢ ¡ ¢ £ ¤ ¥ ¦ ¤ £ ¢ " #$% & "'( ) "&* ! + ¢ ¦ , - ¢ . ¤ ¢ ¦ - / ¤ 0 ¦ / ¥ - ¢ ¤ ¡ , 0 ¥ / £ ¦ ¥ - ,. ¦ ¡ ¥ 1 ¥ £ £ ¦ ¥ 2 3 - ¢¥¢/ £ /¥4 ¦¢¥£- ¦ - / / ¥¢¥, ¡¢¥£- ¥ ¤ ¥ ¢ ¢ / ¦ - / - £¡¦5/6 £ ¤ . ¢ ¥ ¡ ¥ ¦ - / ¦ ¥ ¢ 7.
Load more

Recommended publications
  • THE POETIC MUSE: GOETHE, SCHUBERT and the ART of SONG Lorraine Byrne Bodley Anyone Who Ventures Into the Vast Regions of The
    THE POETIC MUSE: GOETHE, SCHUBERT AND THE ART OF SONG Lorraine Byrne Bodley Anyone who ventures into the vast regions of the 19th-century Lied meets a powerful presence almost immediately. Time and again the text is by Goethe, whose lyric imagination left an indomitable imprint on European music history. Even a cursory glance at Friedlaender’s Das deutsche Lied bears testimony to multiple settings of Goethe’s poems and the range and variety of this abundant repertoire is immediately striking. Ernst Challier’s Grosser Lieder-Katalog gives further evidence of the musicality of Goethe’s language and its location of meaning at the cradle of the Lied. Schubert’s first masterpiece, ‘Gretchen am Spinnrade’, was a setting of a dramatic scene from Goethe’s Faust. The earliest songs of Reichardt, Spohr, Loewe, Brahms and Wagner were to texts by Goethe, which raises the question as to the reasons for the poet’s influence. Yes, Goethe was a supreme lyric poet. The binding force of form and meaning, or rhythm and sense, that characterizes Goethe’s lyric poetry offered composers a wealth of material with which to cut their compositional cloth. Yes, Goethe was an object of admiration, even veneration, throughout the 19th century and the sheer quantity and variety of music his poetry has inspired signals the huge fascination exerted by his writing and his personality. Yet the steadfastness of his occupancy of the Lied goes beyond these explanations. Deeper currents must explain why Goethe’s poetry goes hand in glove in our musical heritage. From the time he burst onto the literary scene with the publication of Die Leiden des jungen Werther in 1774 until long after his death in 1832, Goethe was a catalyst for many composers who wanted to challenge what song could be.
    [Show full text]
  • Doktor Faust Doctor Faust Page 1 of 2 Opera Assn
    San Francisco War Memorial 2003-2004 Doktor Faust Doctor Faust Page 1 of 2 Opera Assn. Opera House Doktor Faust (in German) Opera in two acts by Ferruccio Busoni Libretto by Ferruccio Busoni Conductor CAST Donald Runnicles Faust Rodney Gilfry Stage Direction and dramaturgy Wagner Friedemann Röhlig Jossi Wieler A Student from Krakow Dennis Petersen Sergio Morabito Joshua Bloom Production designer Ricardo Herrera Anna Viebrock Gravis/Jurist Gregory Stapp Lighting Designer Levis/Theologian William Pickersgill David Finn Asmodus/Natural Philosopher Jere Torkelsen Sound Designer Belzebuth/A Student Daniel Harper Roger Gans Magäros/A Platonist Richard Walker Chorus Director Mephistopheles/Night Watchman Chris Merritt Ian Robertson A Voice Dvora Djoraev Musical Preparation Virginia Pluth Paul Harris Sally Mouzon William Hobbs John Parr Gretchen's Brother (A Soldier) Johannes Martin Kränzle Sara Jobin Lieutenant Todd Geer Ernest Fredric Knell Master of Ceremonies Oren Gradus Organ Duke of Parma Jay Hunter Morris James Welch Duchess of Parma Hope Briggs Supertitles The Shy One Michael Rogers Philip Kuttner A Student from Wittenberg Todd Geer Assistant Stage Director John Ames Roy Rallo Thomas Glenn Costume supervisor Lucas Meachem Keena Golden Chris Dickerson Stage Manager Brett Finley *Role debut †U.S. opera debut PLACE AND TIME: The room where Faust works, lives and dies; a place of memory, daydreaming and obsession. Tuesday, June 15 2004, at 7:30 PM Sunday, June 20 2004, at 2:00 PM Tuesday, June 22 2004, at 7:30 PM Friday, June 25 2004, at 8:00 PM Wednesday, June 30 2004, at 7:30 PM Saturday, July 3 2004, at 8:00 PM San Francisco War Memorial 2003-2004 Doktor Faust Doctor Faust Page 2 of 2 Opera Assn.
    [Show full text]
  • Industrialism, Androids, and the Virtuoso Instrumentalist
    UNIVERSITY OF CALIFORNIA Los Angeles Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Leila Mintaha Nassar-Fredell 2013 © Copyright by Leila Mintaha Nassar-Fredell 2013 ABSTRACT OF THE DISSERTATION Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist by Leila Nassar-Fredell Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert S. Winter, Chair Transactions between musical androids and actual virtuosos occupied a prominent place in the music of the eighteenth and nineteenth centuries. Instrumentalists and composers of instrumental music appropriated the craze for clockwork soloists, placing music in a position of increased social power in a society undergoing rapid technological transformation. The history of musical automata stretches back to antiquity. Androids and automata, vested by audiences with spiritual and magical qualities, populated the churches of the broader populations and the Renaissance grottos of the aristocracy. As ii the Industrial Revolution began, automata increasingly resembled the machines changing the structure of labor; consequently, androids lost their enchanted status. Contemporary writers problematized these humanoid machines while at the same time popularizing their role as representatives of the uncanny at the boundaries of human identity. Both instrumental performers and androids explored the liminal area between human and machine. As androids lost their magic, musical virtuosos assumed the qualities of spectacle and spirituality long embodied by their machine counterparts. In this process virtuosi explored the liminal space of human machines: a human playing a musical instrument (a machine) weds the body to a machine, creating a half-human, half-fabricated voice.
    [Show full text]
  • 31- Selected Works of Louis Spohr, Volume 1: Faust (Edltion And
    -31- MUSIC REVIEW Selected Works of Louis Spohr, Volume 1: Faust (edltion and editorial matters by Jonathan Stracey; Introduction by Clive Brown). Garland Publishing, 136 Madison Avenue, New York, NY 10016, March 1990. Price $155 in preliminary announcement in 1986. We have not been inforned of the present price. The final volume to be published in Garlandis ten-voLume selection of Spohrrs works is the one scheduled as VoLume One. This new edition of _ Faust goes much further than other volumes in the series which lrere either facsimiles of the composerrs autographs, reproductions of - early printed editions or j-n a few cases facsj-miLes of nodern scores nade from early seEs of parts. Ilere we have a genuinel-y critical edition which presents both SpohrIs original texr of 1813 and his revlsed version wilh recitatives of 1852 in such a clear way that it would be possible to perform either version from this score. In fact, the phrase rttwo versionstt rather begs the question as, quite early on in Faustrs stage 1ife, aLterations were nade which it becane commonplace to use. For the Frankfurt performance of 1818 Spohr added the well-known aria "Liebe ist die zarte Blllthe" as r,re11 as 1if ti-ng the scena and aria "Ich bin alLeinrr f rorn his earl j-er opera, Der Zweikanpf mit der Geliebten. Spohr gave later authority to them by uti.lising then for his 1852 Grand Opera version. The volume also incLudes facsimiLes of the printed German Libretti of both the 18L3 and 1852 versions although the point is made that the spoken dialogue was aLnost al"ways nodified from production to production.
    [Show full text]
  • Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
    Listen to Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of Discoveries every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, April 5th, 2008, 5:00-6:00 p.m. • Louis Spohr (1784-1859). Symphony No. 4 in F, Op 86 “The Consecration of Sound” (1832). Budapest Symphony Orchestra, Alfred Walter. Marco Polo 8.223122. 38:49 • Spohr. Overture to Faust, Op. 60 (1813/23). Budapest Symphony Orchestra, Alfred Walter. Marco Polo 8.223122. 7:35 An experimental composer, the first conductor to use a baton, and the inventor of the violin chin-rest (someone had to invent it!) was Louis Spohr. His program music was considered avant-garde in the 1830s, and many considered him the most important German composer between Beethoven and Brahms. The New York Philharmonic, at its founding in 1843, stated that its mission was to be an American orchestra that could play the music of Mozart, Beethoven, Haydn, and Spohr. He was the leading conductor of his day, an unparalleled orchestrator, and one of the top violin soloists on the continent. His legacy includes 15 violin concertos, 35 string quartets, 10 symphonies, four clarinet concertos, 90 lieder, dozens of operas, and a school of violin performance reaching well into the 20th century. We don’t hear his music today with nearly the same frequency that mid-19th-century audiences did, but it’s worth considering what the attraction might have been. He titled his fourth symphony—the most popular of his symphonies during his lifetime—Die Weihe der Töne (“The Consecration of Sound”).
    [Show full text]
  • Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne
    Program ONE huNdrEd TwENTy-FirST SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PhilliP huSChEr ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life.
    [Show full text]
  • In Goethe's Faust, Unlike the Earlier Versions of the Story, the Faithless
    1 In G​ oethe’s Faust,​ unlike the earlier versions of the story, the faithless sinner that is Faust receives grace and goes to Heaven, rather than being thrown to the fires of Hell. Faust’s redemption is contrary to every other redemption in every other story we have read up till now. Faust wasn’t asking forgiveness from God, unlike his beloved Margaret, and so many others before him. Faust doesn’t seem even to believe in the all mighty, even when directly talking to the Devil himself. Yet, in the end, Mephisto’s plot is foiled, Faust’s soul is not cast into the inferno, but raised to paradise. Goethe has Faust receive a secular salvation, through Faust’s actions rather than through his belief. Goethe shows both the importance of action versus words, and Faust’s familiarity with the Bible, with Faust’s translation of Logos, “It says: ‘In the beginning was the W​ ord… I​ write: In the beginning was the A​ct.” (​G​ oethe's Faust,​ line 1224, 1237) Here, Faust demonstrates a clear understanding of a theological problem, the importance of a single word within the Bible. Having Logos translated as “the Word” has many more different implications than if it means “the Act”. The Act would imply the creation of everything was a direct application of Gods will. He did not need to say for something happen, God did something to put the universe in motion by action alone. Goethe includes this translation of Logos, as the Act instead of the Word, for several reasons.
    [Show full text]
  • Gunter E. Grimm
    GUNTER E. GRIMM Faust-Opern Eine Skizze Vorblatt Publikation Erstpublikation Autor Prof. Dr. Gunter E. Grimm Universität Duisburg-Essen Fachbereich Geisteswissenschaften, Germanistik Lotharstr. 65 47057 Duisburg Emailadresse: [email protected] Homepage: <http://www.uni-duisburg-essen.de/germanistik/mitarbeiterdaten.php?pid=799> Empfohlene Zitierweise Beim Zitieren empfehlen wir hinter den Titel das Datum der Einstellung oder des letzten Updates und nach der URL-Angabe das Datum Ihres letzten Besuchs die- ser Online-Adresse anzugeben: Gunter E. Grimm: Faust Opern. Eine Skizze. In: Goethezeitportal. URL: http://www.goethezeitportal.de/fileadmin/PDF/db/wiss/goethe/faust-musikalisch_grimm.pdf GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 2 von 20 Gunter E. Grimm Faust-Opern Eine Skizze Das Faust-Thema stellt ein hervorragendes Beispiel dar, wie ein Stoff, der den dominanten Normen seines Entstehungszeitalters entspricht, bei seiner Wande- rung durch verschiedene Epochen sich den jeweils herrschenden mentalen Para- digmen anpasst. Dabei verändert der ursprüngliche Stoff sowohl seinen Charakter als auch seine Aussage. Schaubild der Faust-Opern Die „Historia von Dr. Faust“ von 1587 entspricht ganz dem christlichen Geist der Epoche. Doktor Faust gilt als Inbegriff eines hybriden Gelehrten, der über das dem Menschen zugestandene Maß an Gelehrsamkeit und Erkenntnis hinausstrebt und zu diesem Zweck einen Pakt mit dem Teufel abschließt. Er wollte, wie es im Volksbuch heißt, „alle Gründ am Himmel vnd Erden erforschen / dann sein Für- GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 3 von 20 witz / Freyheit vnd Leichtfertigkeit stache vnnd reitzte jhn also / daß er auff eine zeit etliche zäuberische vocabula / figuras / characteres vnd coniurationes / damit er den Teufel vor sich möchte fordern / ins Werck zusetzen / vnd zu probiern jm fürname.”1 Die „Historia“ mit ihrem schrecklichen Ende stellte eine dezidierte Warnung an diejenigen dar, die sich frevelhaft über die Religion erhoben.
    [Show full text]
  • Franz Schubert Written and Narrated by Jeremy Siepmann with Tom George As Schubert
    LIFE AND WORKS Franz Schubert Written and narrated by Jeremy Siepmann with Tom George as Schubert 8.558135–38 Life and Works: Franz Schubert Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear very substantial chunks, and in several cases whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works. Dismemberment of these for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann 8.558135–38 3 Life and Works: Franz Schubert © AKG Portrait of Franz Schubert, watercolour, by Wilhelm August Rieder 8.558135–38 Life and Works: Franz Schubert Franz Schubert(1797-1828) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Nineteenth Century 16 2 Schubert in His Time 26 3 The Major Works and Their Significance 41 4 A Graded Listening Plan 68 5 Recommended Reading 76 6 Personalities 82 7 A Calendar of Schubert’s Life 98 8 Glossary 132 The full spoken text can be found on the CD-ROM part of the discs and at: www.naxos.com/lifeandworks/schubert/spokentext 8.558135–38 5 Life and Works: Franz Schubert 1 Piano Quintet in A major (‘Trout’), D.
    [Show full text]
  • A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University
    Sordili: Nothingness on the Move Sordili 1 Nothingness on the Move: A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University (Editor's note: Rafael Sordili's paper was selected for publication in the 2013 Agora because it was one of the best three presented at the ACTC Student Conference at Shimer College in Chicago in March 2013.) In the world inhabited by Faust, movement is a metaphysical fact: it is an expression of divine will over creation. There are, however, negative consequences to an existence governed by motion. The most prevalent of them is a feeling of nothingness and nihilism. This essay will discuss the relations between movement and such feelings in Goethe's Faust.1 It is my thesis that the assertion of his will to life, the acceptance of his own limitations, and the creation of new personal values are the tools that will ultimately enable Faust to escape nihilism. Metaphysics of Motion Faust lives in a world in which motion is the main force behind existence. During the Prologue in Heaven, three archangels give speeches in praise of the Creator, emphasizing how the world is in a constant state of movement. Raphael states that the movement of the Sun is a form of worship: "The sun proclaims its old devotion / [. .] / and still completes in thunderous motion / the circuits of its destined years" (246-248). For Gabriel, the rotation of the earth brings movement to all the elements upon its surface: "High cliffs stand deep in ocean weather, / wide foaming waves flood out and in, / and cliffs and seas rush on together / caught in the globe's unceasing spin" (251-258).
    [Show full text]
  • 110273-74 Bk Boito EC 02/06/2003 09:04 Page 12
    110273-74 bk Boito EC 02/06/2003 09:04 Page 12 Great Opera Recordings ADD 8.110273-74 Also available: 2 CDs BOITO Mefistofele Nazzareno de Angelis Mafalda Favero Antonio Melandri Giannina Arangi-Lombardi Chorus and Orchestra of La Scala, Milan 8.110117-18 Lorenzo Molajoli Recorded in 1931 8.110273-74 12 110273-74 bk Boito EC 02/06/2003 09:04 Page 2 Ward Marston Great Opera Recordings In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Arrigo ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also BOITO served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov (1842-1918) recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Mefistofele In the past, Ward Marston has produced records for a number of major and specialist record companies.
    [Show full text]
  • On the Occasion of His Fifth Solo Exhibition at Galerie Buchholz, Artist Julian Göthe Presents a New Group of Sculptures and Works on Paper
    Finding the radical illusion or “la chasse magique” On the occasion of his fifth solo exhibition at Galerie Buchholz, artist Julian Göthe presents a new group of sculptures and works on paper. The currents that must have inspired these works are as hard to intercept as they are impossible to list. “A lion made of assimilated sheep”, this is perhaps how Paul Valéry would call Göthe's oevre, having delicately fed on and digested so many inspirational references. Only clue that the artist provides is in the exhibition's title, which is also the title of a song by British musician Colin Newman – Their Terrain is track number one on the album Commercial Suicide, 1986. The last verse reads: After this, what next could be a question? Build the megalith again As for history we may be on a winner Or the chorus, it's a shame The parodic charge of Göthe's work finds here another fortunate momentum, a distinctly sardonic laughter permeates the rooms: objects become strange, undefinable “attractors.” It is with them that Göthe touches the limit of his aesthetic adventure – which is also the end of the adventure of representation. Göthe's megaliths actually resemble a Saint Laurent bow-tie; the twin sculptures could almost be a tart refraction of a Giorgio De Chirico sketch for the Faust (I'm thinking in particular of a drawing where Mephistopheles is portrayed as wearing a blond wig, and an explosive set of ostrich feathers seems to have set his hat on fire). The practice of the DeChirichian transvestment can be related to Göthe's also for its dissimulatingly serious aspect.
    [Show full text]