An Intricate Simplicity: Contraries As an Evocation of the Sublime in Mozart's Jupiter Symphony, K

Total Page:16

File Type:pdf, Size:1020Kb

An Intricate Simplicity: Contraries As an Evocation of the Sublime in Mozart's Jupiter Symphony, K University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2011 AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551 Emily Michelle Wuchner [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Wuchner, Emily Michelle, "AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/925 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Emily Michelle Wuchner entitled "AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay, James Fellenbaum Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Emily Michelle Wuchner entitled “An Intricate Simplicity: Contraries as an Evocation of the Sublime in Mozart‟s Jupiter Symphony, K. 551.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Music with a major in Musicology. __________________________________________ Rachel Golden, Major Professor We have read this thesis and recommend its acceptance: _____________________________________ Leslie C. Gay, Jr. _____________________________________ James Fellenbaum Acceptance for the Council: __________________________________________ Carolyn R. Hodges, Vice Provost and Dean of the Graduate School AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551 A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Emily Michelle Wuchner May 2011 ii Copyright © 2011 by Emily Michelle Wuchner All rights reserved. iii ACKNOWLEDGEMENTS I am truly indebted to a number of people, without whom the completion of this thesis would have been impossible (and much more stressful). I am very grateful to Dr. Rachel Golden for all of her guidance, positive attitude, advice, and patience throughout this process. You‟ve inspired me to further pursue my ambitions and I hope to help my future students as much as you have helped me. Thank you to Dr. Leslie Gay, Mr. James Fellenbaum, Mr. Keith McClelland, and Dr. Nasser Al-Taee for your willingness to read my work and brainstorm ideas with me. I appreciate your time and advice. I am also grateful to my parents, Glenn and Jennifer, and sisters, Rachel and Rebekah. Thank you for listening to me discuss my theories, proof-reading pages, and letting me listen to classical music (like the Jupiter) on long car rides. Your guidance, support, and positive attitude was integral to my completion of this project. Additionally, I am thankful for my friends, whose support, advice, and friendship mean the world to me. Finally, thank you to my friends at Mozarthaus Wien and Haus der Musik in Vienna, Austria, for introducing me to Mozart‟s world. iv ABSTRACT This thesis explores the eighteenth-century aesthetic of the sublime in application to Mozart‟s Symphony No. 41 Jupiter, K. 551. Using Immanuel Kant‟s definition of the mathematical sublime and Johan Georg Sulzer‟s idea of the sublime, I argue that Mozart achieves this aesthetic through the synthesis of stylistic opposites: the learned and the galant. The culmination of such is best articulated in the fugue found in the Coda of the fourth movement. In this segment, Mozart combines five galant motives into a learned fugue; this intricate combination of stylistic opposites creates an elevated effect, one in keeping with eighteenth- century philosophies of the sublime. Drawing from my own experiences, I further argue for the subjectivity of the sublime and discuss its occurrence both in composition and as emotion. v TABLE OF CONTENTS LIST OF FIGURES ...................................................................................................................... vii Chapter 1 “In my pocket”: Mozart‟s Jupiter and the sublime .........................................................1 Statement of Problem and Thesis ................................................................................................ 7 Methodology and Scope .............................................................................................................. 8 Rhetoric ..................................................................................................................................... 13 Sublime...................................................................................................................................... 19 Learned ...................................................................................................................................... 26 Review of Literature.................................................................................................................. 32 Overview of Remaining Chapters ............................................................................................. 37 Chapter 2 “What fire & spirit”: The symphony in Mozart‟s Vienna .............................................41 The Viennese Symphony .......................................................................................................... 42 Mozart‟s Symphonic Purpose and the “Trilogy” ...................................................................... 46 The Jupiter ................................................................................................................................ 50 The Symphony as an Idea ......................................................................................................... 54 Chapter 3 “Simplicity and sophistication”: Mozart‟s use of learned and galant styles .................59 Topics ........................................................................................................................................ 60 Rhetoric ..................................................................................................................................... 61 The Learned Style ..................................................................................................................... 62 The Galant Style ........................................................................................................................ 66 Juxtaposing the Learned and Galant ......................................................................................... 68 Chapter 4 “It brings us near to the infinite”: Music and the sublime ............................................75 Music as Absolute ..................................................................................................................... 76 The Theoretical Sublime ........................................................................................................... 78 Music as Sublime ...................................................................................................................... 84 The Sublime as Subjective ........................................................................................................ 94 Chapter 5 “Never as simple as they seem”: The Jupiter’s final fugue .......................................101 vi The Cantus............................................................................................................................... 101 Galant Motives ........................................................................................................................ 105 The Fugue ................................................................................................................................ 108 The Jupiter as Sublime ............................................................................................................ 115 Chapter 6 “I know not, nor can I force them”: Sublime subjectivity and experience ................122 LIST OF REFERENCES .............................................................................................................125 VITA ............................................................................................................................................137 vii LIST OF FIGURES Figure 1: Viennese concert program ............................................................................................. 45 Figure 2: Allanbrook‟s metrical chart ........................................................................................... 61 Figure 3: Adagio and Fugue, K. 546, beginning of the fugue ...................................................... 71 Figure 4: Symphony No. 38 Prague, K. 504, strings,
Recommended publications
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • Cantabile Hendrik Waelput
    Cantabile for 4 Violas Hendrik Waelput (1845–1885) AVS Publications 018 Preface The Flemish composer and conductor Hendrik Waelput studied music at the Royal Conservatory in Brussels and was awarded the Prix de Rome for his cantata Het woud in 1867. Waelput was active as a conductor in several European cities before returning to his home town of Ghent in 1875. There, he conducted various orchestras and taught harmony and counterpoint at the Conservatory in Antwerp. Waelput’s compositions include larger forms (operas, symphonies, and choral music) and chamber music, including a string quintet (viola quintet), a Canzonetta for string quartet, and this Cantabile for four violas. While the impetus behind this particular work is unknown, his use of four identical instruments in a composition is not unique: he also wrote an Andante Cantabile for four trombones and featured four solo cellos in the Andante Cantabile movement of his Flute Concerto. This edition is based on an undated manuscript score and set of parts housed in the Library Conservatorium Ghent, BG. David M. Bynog, editor Cantabile for 4 violas Hendrik Waelput Edited by David M. Bynog Andante Cantabile Viola 1 # œ œ. œ œ > œ œ œ 3 œ. œ œ œ œ œ œ œ œ œ. œ œ œ & 4 œ. œ œ œ 3 cresc. p œ Viola 2 œ œ œ œ œ #œ #œ œ > œ B # 3 ˙ œ ˙ œ œ œ# ˙ 4 cresc. p Viola 3 # œ bœ B 43 œ ˙ œ ˙ œ œ œ œ œ #œ #œ œ œ nœ œ œ > cresc.
    [Show full text]
  • Christoph Graupner
    QUANTZ COLLEGIUM ~ CHRISTOPH GRAUPNER · VIOLA CONCERTO IN D MAJOR, GWV 314 CHRISTOPH GRAUPNER (1683-1760) CONCERTO IN D-DUR, GWV 314 FÜR VIOLA, ZWEI VIOLINEN, VIOLA UND BASSO CONTINUO SOLISTIN: AGATA ZIEBA (VIOLA) I. VIVACE ~ II. ADAGIO ~ III. VIVACE Das Schloss Favorite bei Rastatt ist das älteste und einzige nahezu unverändert erhalten gebliebene „Porzel- lanschloss“ Deutschlands. Seine Ausstattung und seine reichhaltigen Sammlungen machen es zu einem Ge- samtkunstwerk von europäischer Bedeutung. Vor über 300 Jahren erbaut unter Markgräfin Sibylla Augusta von Baden-Baden (1675-1733) nach Plänen des Hofbaumeisters Michael Ludwig Rohrer, beherbergen die prächtig ausgestatteten Räume wie einst zu Zeiten der Markgräfin deren kostbare Porzellan-, Fayence- und Glassamm- lung. Das Schloss mit seinem idyllischen Landschaftsgarten war ein Ort der Feste und der Jagd. Markgräfin Sibylla Augusta und ihr Sohn Ludwig Georg fanden hier Erholung abseits des strengeren höfischen Zeremoni- ells in der Rastatter Residenz. Die Ausstattung birgt eine verschwenderische Fülle spätbarocker Dekorationen und viele ungewöhnliche Details. Zentrum des „Lustschlosses“ ist, wie in fast jedem barocken Schloss, die „Sala Terrena“, der Gartensaal, der für Feierlichkeiten diente und in dem auch dieses Konzert stattfand. In Schloss Favorite Rastatt fand man da- für eine ungewöhnliche Form. Der achteckige Saal im Erdgeschoss mit seinen vier Wasserbecken und Brun- nenfiguren, die die vier Jahreszeiten darstellen, öffnet sich nach oben bis zur Kuppel. Seine Wände sind mit blau-weißen Fayence-Fliesen belegt, die sich im ganzen Gebäude wiederfinden. Das Schloss und sein Garten sind eines von 60 historischen Monumenten im deutschen Südwesten. Die Staatli- chen Schlösser und Gärten Baden-Württemberg öffnen, vermitteln, entwickeln und bewahren diese landeseige- nen historischen Monumente mit dem Anspruch, das kulturelle Erbe in seiner Authentizität zu bewahren, es mit Leben zu fül- len und es für zukünftige Generationen zu erhalten.
    [Show full text]
  • Performance Practice Bibliography (1995-1996)
    Performance Practice Review Volume 9 Article 11 Number 2 Fall Performance Practice Bibliography (1995-1996) Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons (1996) "Performance Practice Bibliography (1995-1996)," Performance Practice Review: Vol. 9: No. 2, Article 11. DOI: 10.5642/ perfpr.199609.02.11 Available at: http://scholarship.claremont.edu/ppr/vol9/iss2/11 This Bibliography is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. PERFORMANCE PRACTICE BIBLIOGRAPHY (1995-1996)* Contents Surveys 212 The Ninth to Thirteenth Century 215 The Sixteenth Century 215 The Seventeenth Century 219 The Early Eighteenth Century 225 The Late Eighteenth Century 229 The Nineteenth Century 232 The Twentieth Century 235 Reflections on Performance Practice 238 SURVEYS Voices 1. Giles, Peter. The History and Technique of the Coun- ter-Tenor: a Study of the Male High Voice Family. Hants (England): Scolar Press, 1994, xxiv-459p. (ISBN 85967 931 4). Considers all high male voice types: falsetto, castrato, countertenor, male alto, male soprano. For Giles the true countertenor is a falsetto male alto who has developed a bright, clear tone. The countertenor head-voice uses the full length of folds and has developed "pharyngeal" singing between the basic and falsetto mechanisms. That "upper falsetto" (to which Caccini and others were averse) is the true falsetto is a misconception. As Rene Jacobs has indicated head- Containing as well a number of earlier citations.
    [Show full text]
  • THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
    THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize.
    [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]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • 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.
    [Show full text]
  • Sacred Music, 136.4, Winter 2009
    SACRED MUSIC Winter 2009 Volume 136, Number 4 EDITORIAL Viennese Classical Masses? | William Mahrt 3 ARTICLES Between Tradition and Innovation: Sacred Intersections and the Symphonic Impulse in Haydn’s Late Masses | Eftychia Papanikolaou 6 “Requiem per me”: Antonio Salieri’s Plans for His Funeral | Jane Schatkin Hettrick 17 Haydn’s “Nelson” Mass in Recorded Performance: Text and Context | Nancy November 26 Sunday Vespers in the Parish Church | Fr. Eric M. Andersen 33 REPERTORY The Masses of William Byrd | William Mahrt 42 COMMENTARY Seeking the Living: Why Composers Have a Responsibility to be Accessible to the World | Mark Nowakowski 49 The Role of Beauty in the Liturgy | Fr. Franklyn M. McAfee, D.D. 51 Singing in Unison? Selling Chant to the Reluctant Choir | Mary Jane Ballou 54 ARCHIVE The Lost Collection of Chant Cylinders | Fr. Jerome F. Weber 57 The Ageless Story | Jennifer Gregory Miller 62 REVIEWS A Gift to Priests | Rosalind Mohnsen 66 A Collection of Wisdom and Delight | William Tortolano 68 The Fire Burned Hot | Jeffrey Tucker 70 NEWS The Chant Pilgrimage: A Report 74 THE LAST WORD Musical Instruments and the Mass | Kurt Poterack 76 POSTSCRIPT Gregorian Chant: Invention or Restoration? | William Mahrt SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gre- gory of America since 1915. Published quarterly by the Church Music Associ- ation of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistance: Janet Gorbitz and David Sullivan.
    [Show full text]
  • Gioachino Rossini the Journey to Rheims Ottavio Dantone
    _____________________________________________________________ GIOACHINO ROSSINI THE JOURNEY TO RHEIMS OTTAVIO DANTONE TEATRO ALLA SCALA www.musicom.it THE JOURNEY TO RHEIMS ________________________________________________________________________________ LISTENING GUIDE Philip Gossett We know practically nothing about the events that led to the composition of Il viaggio a Reims, the first and only Italian opera Rossini wrote for Paris. It was a celebratory work, first performed on 19 June 1825, honoring the coronation of Charles X, who had been crowned King of France at the Cathedral of Rheims on 29 May 1825. After the King returned to Paris, his coronation was celebrated in many Parisian theaters, among them the Théâtre Italien. The event offered Rossini a splendid occasion to present himself to the Paris that mattered, especially the political establishment. He had served as the director of the Théatre Italien from November 1824, but thus far he had only reproduced operas originally written for Italian stages, often with new music composed for Paris. For the coronation opera, however, it proved important that the Théâtre Italien had been annexed by the Académie Royale de Musique already in 1818. Rossini therefore had at his disposition the finest instrumentalists in Paris. He took advantage of this opportunity and wrote his opera with those musicians in mind. He also drew on the entire company of the Théâtre Italien, so that he could produce an opera with a large number of remarkable solo parts (ten major roles and another eight minor ones). Plans for multitudinous celebrations for the coronation of Charles X were established by the municipal council of Paris in a decree of 7 February 1825.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Mark Evan Bonds
    MARK EVAN BONDS Department of Music 1064 Sweetflag Lane University of North Carolina Hillsborough, NC 27278 Chapel Hill, NC 27599-3320 [email protected] ACADEMIC POSITIONS 1992- University of North Carolina at Chapel Hill, Department of Music, Cary C. Boshamer Distinguished Professor (2007- ); Professor (1997-2007); Associate Professor (1992-97) 1991 Harvard University, Department of Music, Visiting Assistant Professor (Fall Semester) 1988-92 Boston University, School of Music, Assistant Professor EDUCATION 1984-88 Harvard University, Ph.D. in Musicology (Dissertation: “Haydn’s False Recapitulations and the Perception of Sonata Form in the Eighteenth Century”) 1977-78 University of North Carolina at Chapel Hill, M.S. in Library Science 1975-77 Christian-Albrechts-Universität Kiel (W. Germany), M.A. in Musicology, with Distinction; Minor in German Literature (Thesis: “Das Cantus-firmus-Prinzip bei Haydn und Mozart”) 1971-75 Duke University, B.A. magna cum laude, with Distinction in Music PUBLICATIONS SCHOLARLY MONOGRAPHS Absolute Music: The History of an Idea. New York: Oxford University Press, 2014. Paperback ed. 2017. Russian translation (Moscow: Delo) under contract for publication in early 2019. Music as Thought: Listening to the Symphony in the Age of Beethoven. Princeton: Princeton University Press, 2006. Paperback ed. 2014. Spanish translation: Barcelona: Acantilado, 2014. Japanese translation: Tokyo: Artes, 2015. After Beethoven: Imperatives of Originality in the Symphony. Cambridge, MA: Harvard University Press, 1996. Reprint ed. 2013. Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge, MA: Harvard University Press, 1991. Reprint ed. 2013. Japanese translation: Tokyo: Ongaku No Tomo Sha, 2018. TEXTBOOKS Listen to This. 4th ed. Hoboken, NJ: Pearson, 2017.
    [Show full text]