Concerts from the Library of Congress 2011-2012 CONCERTS FROM
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The String Quartets of George Onslow First Edition
The String Quartets of George Onslow First Edition All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Edition Silvertrust a division of Silvertrust and Company Edition Silvertrust 601 Timber Trail Riverwoods, Illinois 60015 USA Website: www.editionsilvertrust.com For Loren, Skyler and Joyce—Onslow Fans All © 2005 R.H.R. Silvertrust 1 Table of Contents Introduction & Acknowledgements ...................................................................................................................3 The Early Years 1784-1805 ...............................................................................................................................5 String Quartet Nos.1-3 .......................................................................................................................................6 The Years between 1806-1813 ..........................................................................................................................10 String Quartet Nos.4-6 .......................................................................................................................................12 String Quartet Nos. 7-9 ......................................................................................................................................15 String Quartet Nos.10-12 ...................................................................................................................................19 The Years from 1813-1822 ...............................................................................................................................22 -
1785-1998 September 1998
THE EVOLUTION OF THE BROADWOOD GRAND PIANO 1785-1998 by Alastair Laurence DPhil. University of York Department of Music September 1998 Broadwood Grand Piano of 1801 (Finchcocks Collection, Goudhurst, Kent) Abstract: The Evolution of the Broadwood Grand Piano, 1785-1998 This dissertation describes the way in which one company's product - the grand piano - evolved over a period of two hundred and thirteen years. The account begins by tracing the origins of the English grand, then proceeds with a description of the earliest surviving models by Broadwood, dating from the late eighteenth century. Next follows an examination of John Broadwood and Sons' piano production methods in London during the early nineteenth century, and the transition from small-scale workshop to large factory is noted. The dissertation then proceeds to record in detail the many small changes to grand design which took place as the nineteenth century progressed, ranging from the extension of the keyboard compass, to the introduction of novel technical features such as the famous Broadwood barless steel frame. The dissertation concludes by charting the survival of the Broadwood grand piano since 1914, and records the numerous difficulties which have faced the long-established company during the present century. The unique feature of this dissertation is the way in which much of the information it contains has been collected as a result of the writer's own practical involvement in piano making, tuning and restoring over a period of thirty years; he has had the opportunity to examine many different kinds of Broadwood grand from a variety of historical periods. -
Tchaikovsky's Romeo and Juliet
Tchaikovsky’s Romeo and Juliet: A Schleiermacherian Interpretation Emer Nestor This article will discuss the application of Friedrich Daniel Ernst Schleiermacher’s (1768-1834) hermeneutical methods to a general reading of Tchaikovsky’s fantasy-overture, Romeo and Juliet. The German philosopher gave a lecture series on hermeneutics at the University of Berlin in 1819, and from his research on the subject he invariably redefined this field of philosophical thinking. The central elements of his ‘whole and parts’ theory will be discussed as an alternative mode of investigative music analysis. Richard E. Palmer presents six modern definitions of hermeneutics as follows: 1) The theory of biblical exegesis 2) General philological methodology 3) The science of all linguistic understanding 4) The methodological foundation of Geisteswissenschaften 5) Phenomenology of existence and of existential understanding 6) The systems of interpretation, both recollective and iconoclastic used by man to reach the meaning behind myths and symbols.1 The term ‘hermeneutics’ is a word which is prominent in theological, philosophical and literary circles but relatively new to the discipline of musicology.2 Ian Bent asserts that it ‘came to prominence in writing about music implicitly in the nineteenth century and explicitly in the early twentieth century’.3 He remarks that no author in the nineteenth century 1 Richard E. Palmer.: Hermeneutics: Interpretation Theory in Schleiermacher, Dilthey, Heidegger and Gadamer (Evanstown: Northwestern University Press, 1969), 3 3 - Hereafter referred to as Palmer: Hermeneutics. 2 For a more in-depth discussion of hermeneutics see Kurt Mueller-Vollmer: The Hermeneutics Reader: Texts of the German Tradition from the Enlightenment to the Present (Oxford: Basil Blackwell, 1986). -
Religion in the Works of Heinrich Heine
University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 1946 Religion in the works of Heinrich Heine Ellen Frances DeRuchie University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Religion Commons Recommended Citation DeRuchie, Ellen Frances. (1946). Religion in the works of Heinrich Heine. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/1040 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. RELIGION IN THE WORKS OF R- ---- II .,; - --- stoclcton ~·- 1946 =------- :-;---- A Thesis submitted to the Department of Modern Lanugages Col~ege of ·the Pacific :~ - In partial fulfillment of the Requirements for the Degree ot Master of Arts DEPOSITED IN THE C01.LEGE LIBRARY: DA'l'ED: Librarian CONTENTS co---- Chapter Page Introduction ••••••••••••• ·• ........... ., .......... • !v I Heine 1 a Jewish Background •••••••••• , ••• , •• l II Some Aspects of Judaism in Heine •••••••••• 12 III Heine t s Baptism ~ ........ * •- .................. , "' 21 IV Some Reflections on Christianity ••••·••••• 26 V Some Re:Clec t:l.ons on Protestantism ••••••••• 31 VI State Religion • •• •- •• • .... • •••••.• ._ •• •-• .•• -•• 38 VII Some Reflections on Catholicism ••••••.••••• 42 VIII Catholicism and Art •••••••••••••••••••••••• 54 IX A Pantheistic Interlude •••••••••••••••••••·61 X Sa~nt Simonism -• • .... •• .••• • • •- .·-· ............. 67 XI The .Religion of Freedom .................... '72 XII Heine's Last Days ••••••••••••••••••••••••• 7S Bib 11 ogr aphy ••• _•.••• ·• ••••••• -• .- • -·· • .., ••• -• • -• • • • 85 lv INTRODUCTION A Word about Heinrich Heine The life of Heinrich Heine presents many eontradictl.ons. -
Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution. -
THROUGH LIFE and LOVE Richard Strauss
THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose. -
NOVEMBER 2020 COMPLIMENTARY GUIDE Catskillregionguide.Com
Catskill Mountain Region NOVEMBER 2020 COMPLIMENTARY GUIDE catskillregionguide.com WELCOME HOME TO THE CATSKILL MOUNTAINS! With a Special Section: Visit Woodstock November 2020 • GUIDE 1 2 • www.catskillregionguide.com IN THIS ISSUE www.catskillregionguide.com VOLUME 35, NUMBER 11 November 2020 PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Barbara Cobb Steve Friedman CONTRIBUTING WRITERS & ARTISTS Benedetta Barbaro, Darla Bjork, Rita Gentile, Liz Innvar, Joan Oldknow, Jeff Senterman, Sarah Taft, Margaret Donsbach Tomlinson & Robert Tomlinson ADMINISTRATION & FINANCE Candy McKee On the cover: The Ashokan Reservoir. Photo by Fran Driscoll, francisxdriscoll.com Justin McGowan & Emily Morse PRINTING Catskill Mountain Printing Services 4 A CATSKILLS WELCOME TO THE GRAF PIANO DISTRIBUTION By Joan Oldknow & Sarah Taft Catskill Mountain Foundation 12 ART & POETRY BY RITA GENTILE EDITORIAL DEADLINE FOR NEXT ISSUE: November 10 The Catskill Mountain Region Guide is published 12 times a year 13 TODAY BUILDS TOMORROW: by the Catskill Mountain Foundation, Inc., Main Street, PO Box How to Build the Future We Want: The Fear Factor 924, Hunter, NY 12442. If you have events or programs that you would like to have covered, please send them by e-mail to tafts@ By Robert Tomlinson catskillmtn.org. Please be sure to furnish a contact name and in- clude your address, telephone, fax, and e-mail information on all correspondence. For editorial and photo submission guidelines 14 VISIT WOODSTOCK send a request via e-mail to [email protected]. The liability of the publisher for any error for which it may be held legally responsible will not exceed the cost of space ordered WELCOME HOME TO THE CATSKILL MOUNTAINS! or occupied by the error. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism. -
Symphony and Symphonic Thinking in Polish Music After 1956 Beata
Symphony and symphonic thinking in Polish music after 1956 Beata Boleslawska-Lewandowska UMI Number: U584419 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584419 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signedf.............................................................................. (candidate) fa u e 2 o o f Date: Statement 1 This thesis is the result of my own investigations, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed:.*............................................................................. (candidate) 23> Date: Statement 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed: ............................................................................. (candidate) J S liiwc Date:................................................................................. ABSTRACT This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century. -
History of Music
HISTORY OF MUSIC THE ROMANTIC ERA Created by J. Rogers (2015) 2 GOWER COLLEGE SWANSEA MUSIC Table of Contents Romantic Era Introduction (1830 – 1910) ............................................. 4 Programme Music ........................................................................................ 5 Concert Overture .............................................................................................. 5 Programme Symphony ....................................................................................... 6 Symphonic Poem ................................................................................................. 9 Romantic Piano Music ............................................................................... 11 Lieder and Song-cycles .............................................................................. 12 Opera and Music Dramas ......................................................................... 15 Italian Opera ..................................................................................................... 15 Music Dramas ................................................................................................... 16 Leitmotifs in The Ring ..................................................................................... 17 GOWER COLLEGE SWANSEA 3 MUSIC History of Music The History of Music can be broadly divided into separate periods of time, each with its own characteristics or musical styles. Musical style does not, of course, change overnight. It can often be a gradual process -
A Civic Profession of Faith: Rousseau's and Nationalism
4 A civic profession of faith: Rousseau’s and nationalism When Heinrich Heine, the German poet, visited Italy in 1828 he noted in his diary: It is as if World History is seeking to become spiritual … she has a great task. What it is? It is emancipation. Not just the emancipation of the Irish, the Greeks, the Jews and the Blacks of the West Indies. No, the emancipation of the whole world, especially in Europe, where the peoples have reached maturity. (Heine quoted in Gell 1998: 13) In seeking national self-determination Heine was preaching a new doctrine, one which had been unknown a couple of centuries before. Elie Kedouri observed – perhaps not entirely accurately – that ‘Nationalism is a political doctrine invented in Europe at the beginning of the Nineteenth Century’ (Kedouri 1960: 1). This might have been an exaggeration but Kedouri had a point. Nationalism is not only regarded as a relatively recently established ideology, it is also regarded as a fatherless doctrine, without the illustrious intellectual ancestry which characterises socialism, liberalism, and even conservatism. Nationalism, it is asserted, lacks a coherent philosophical basis and does not have an intellectual founding father. In Benedict Anderson’s words: ‘unlike most other isms, nationalism has never produced its great thinkers; no Hobbeses, Tocquevilles, Marxes or Webers’ (Anderson 1981: 5).1 This view seemingly ignores the theory of nationalism developed by Rousseau before the nineteenth century.2 Rousseau is rarely given full credit for his contribution to the development of the doctrine of nationalism. Unmentioned by Gellner (1983; 1996) and Miller (1995), Rousseau is only mentioned in passing by Anderson (1983) and Hobsbawm (1991). -
MLP Increasing Conflicts on National Identities
Increasing conflicts on national identities in Culture The Louvre’s exhibition ‘De l’Allemagne 1800 à 939 - de Friedrich à Beckmann’ fromApril to July 2013 Speech and debate held by Dr. Marie-Louise von Plessen on behalf of the ECP’s annual meeting in Edinburgh, 27.9.2013 In European affairs, morality has become a political concern. Especially in France of the Fifth Republic, the priority is on transparency within all government branches. Yet, French extremist parties both left and right tend to mobilize their voters’ against international cooperation. Thus, the idea of Europe is treated as an external enemy coming from within to inflict and destroy identity based on national values. Already, the effect of this political climate overshadows cultural activities. An example is the international media debate on last summer’s Parisian cultural event, co-financed on equal terms by France and Germany, to celebrate the 50th anniversary of the Elysée Treaty. Signed by President De Gaulle and Chancellor Adenauer, the French-German alliance affirmed reconciliation between two former arch enemies who had made war against each other for centuries. Flanking the highest ranking French and German Ministers, the magnificent ceremony smoothed the way for Europe’s postwar integration. So much for the noble intentions. The ‘Cultural Scandal” concerned the finalized concept of the exhibition ‘De l’Allemagne’ held in the Louvre from April to June 2013. The highest ranking French and German ministers attended the grand opening. The show was named both after Germaine de Stael’s famous book ‘De l’Allemagne’, initially banned by Napoleon’s censors in 1810 and published in 1813, and after Heinrich Heine’s reply to Mme de Stael from his Paris exile in 1833.