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Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer. -
Federica Marsico a Queer Approach to the Classical Myth of Phaedra in Music
Federica Marsico A Queer Approach to the Classical Myth of Phaedra in Music Kwartalnik Młodych Muzykologów UJ nr 34 (3), 7-28 2017 Federica Marsico UNIVERSITY OF PAVIA A Queer Approach to the Classical Myth of Phaedra in Music The Topic In the second half of the 20th century, the myth of Phaedra, according to which the wife of King Theseus of Athens desperately falls in love with her stepson Hippolytus, was set to music by three homosexual compos- ers in the following works: the dramatic cantata Phaedra for mezzo- soprano and small orchestra (1976) by Benjamin Britten (1913-1976) after a text by the American poet Robert Lowell, the opera Le Racine: pianobar pour Phèdre (1980) by Sylvano Bussotti (1931) after a libretto drafted by the Italian composer himself and consisting of a prologue, three acts, and an intermezzo, and, last but not least, the two-act con- cert opera Phaedra (2007) by Hans Werner Henze (1926-2012) after a libretto by the German poet Christian Lehnert.1 1 In the second half of the century, other musical adaptations of the myth were also composed, namely the one-act opera Phèdre by Marcel Mihalovici (1898–1986) after a text by Yvan Goll and consisting in a prologue and five scenes (1951), the chamber opera Syllabaire pour Phèdre by Maurice Ohana (1913–1992) after a text by Raphaël Cluzel (1968), and the monodrama Phaedra for mezzo-soprano and orchestra by George Rochberg (1918–2005) after a text by Gene Rosenfeld (1976). 7 Kwartalnik Młodych Muzykologów UJ, nr 34 (3/2017) This paper summarizes the results of a three-year research project (2013–2015)2 that has proved that the three above-mentioned homo- sexual composers wilfully chose a myth consistent with an incestu- ous—and thus censored—form of love in order to portray homoerotic desire, which the coeval heteronormative society of course labelled as deviant and hence condemned. -
Hans Werner Henze Und Ingeborg Bachmann: Die Gemeinsamen Werke
Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Christian Bielefeldt, Dr. phil., Studium in Hamburg, Tätigkeit als Theatercellist, 1994 Gründung von TRE MODI, Ensemble für Alte und Neue Musik. 1998-2000 Stipendiat am DFG-Graduiertenkolleg »In- termedialität« (Siegen). Veröffentlichungen zu Neuer Musik und Filmmusik. Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Beobachtungen zur Intermedialität von Musik und Dichtung Der Abdruck von Zitaten aus dem unveröffentlichten Nachlass Inge- borg Bachmanns geschieht mit ausdrücklicher Erlaubnis der Erben, bei denen die Abdruckrechte gleichwohl verbleiben. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. © 2003 transcript Verlag, Bielefeld Umschlaggestaltung: Kordula Röckenhaus, Bielefeld, unter Verwendung einer Partiturseite aus: Hans Werner Henze, Reinschrift der Musik zu Ingeborg Bachmanns Hörspiel »Die Zikaden« (1955/56), S. 1; © Sammlung Hans Werner Henze (Depositum Schott Musik International), Paul Sacher Stiftung, Basel Lektorat & Satz: Christian Bielefeldt Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 3-89942-136-1 INHALT Vorwort 9 Biographisches 14 Zur Forschung 17 I. Konzepte von Intermedialität bei Henze und Bachmann 21 Erster Auftakt: Die Konstruktion der Überschreitung 27 Lacan. Sprache, Musik und das Genießen 31 Der Braunschweiger Vortrag: Henzes „geistige Rede der Musik“ 37 Zweiter Auftakt: Die menschliche Stimme 43 Barthes. Die Stimme und das Genießen 45 Musik und Dichtung: Die Intermedialität der Stimme 49 II. Ballettpantomime: Der Idiot 57 Musik aus der Hand der Trauer: Reihen- und Zitattechnik im Idioten 62 Intrada und Danse Nr. -
Ingeborg Bachmann's Literary Critique of the Journalistic Media
“Es ist ein unglaublicher Betrug.” Ingeborg Bachmann’s literary critique of the journalistic media by Gisela Nittel A dissertation submitted in fulfilment of the requirements for admission to the degree of Doctor of Philosophy August 2008 Department of Germanic Studies The University of Sydney Abstract Despite the consistency and regularity of Bachmann’s critique of journalists and journalistic content, there has been to date no dedicated study of her portrayal of the journalistic media in individual works or her work as a whole. This dissertation addresses this gap in Bachmann studies by undertaking a detailed and comprehensive analysis of Bachmann’s literary portrayal of the journalistic media from the time she first came into the literary spotlight in the early 1950s until her 1972 Simultan collection, the last work to be published in her lifetime. The primary focus of this dissertation is a close textual analysis of literary works in which Bachmann makes significant references to journalists and journalism, examining these references closely in the context of existing scholarly analyses. In a systematic analysis of each literary genre that Bachmann tackled—poetry, radio plays, short prose and novels—this study demonstrates that Bachmann’s critique of journalists and journalism recurs with notable frequency and consistency throughout her work from 1952 onwards. The detailed analyses show that Bachmann’s critique of the “fourth estate” ranges from the mildly critical to the vitriolic, and constantly returns to a core set of concerns about the misrepresentations perpetrated by the journalistic media. The negativity of Bachmann’s critique is, however, almost always offset (and even undercut) by evidence that the journalistic media are not always successful in their (according to Bachmann’s portrayal) deceitful and destructive practices. -
160 161 Hans Werner Henze: Distantes Ideales De Belleza
www.elboomeran.com Revista Claves de Razón Práctica nº247 SEMBLANZAS al terreno sinfónico –diez sinfonías cuya escritura se extiende des- de 1946 a 2000– o al mundo del ballet. Hans Werner Henze fue el único compositor que, en un momento en el que la vanguardia oficial de posguerra dictaminaba desde los cursos de Henze: distantes Darmstadt una absoluta ruptura con el pasado, en una suerte de tabula rasa, para imponer un paradigma musical fundado sobre un excluyente rigor constructivo, mantuvo un fértil diálogo con la tra- ideales de belleza dición. Diálogo siempre impelido por la necesidad expresiva que domina toda su producción y que, en ese sentido, tampoco podía, ni quería, renunciar a las nuevas conquistas sonoras surgidas a lo largo del siglo XX y que él mismo exploró desde primera hora. Su La música del compositor se asienta actitud, sin embargo, no tenía nada de autocomplaciente. Podría en un diálogo, tan fértil como polémico, decirse incluso que la figura de Henze resultó, en su recepción entre los lenguajes del siglo XX pública, víctima de perpetuos malentendidos, a pesar de que si- multáneamente fuera uno de los compositores más presentes en y las formas heredadas de la tradición. los principales escenarios del mundo. En las crónicas publicadas a raíz de su fallecimiento era perceptible tal situación. Tachado de DAVID CORTÉS SANTAMARTA retrógrado por los adalides de la vanguardia y de demasiado radi- cal –tanto en términos estéticos como, sobre todo, políticos– entre los conservadores. Para los primeros Henze fue alguien que trai- Asumir la mirada retrospectiva a la que obliga, necesariamente, cionó la causa vanguardista, siendo esto todavía más grave dado la muerte de un creador, resulta en el caso del compositor alemán que había demostrado su completo dominio de las nuevas técnicas: Hans Werner Henze –fallecido en 2012 a los 86 años de edad- ahí está Antifone o, gesto hiriente, la impecable y estricta organiza- una labor abrumadora. -
Hans Werner Henze 1
21ST CENTURY MUSIC DECEMBER 2012 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2012 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal. -
Elegy for Young Lovers Im Vergleich
DIPLOMARBEIT Titel der Diplomarbeit Librettistisches Schreiben für Hans Werner Henze: Ingeborg Bachmanns Der junge Lord und W. H. Audens Elegy for Young Lovers im Vergleich Verfasserin Kathrin Zirbs angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 393 Studienrichtung lt. Studienblatt: Diplomstudium Vergleichende Literaturwissenschaft Betreuerin: Univ. Ass. Mag. Dr. Barbara Agnese Danksagung Ich möchte mich an dieser Stelle bei Frau Univ. Ass. Mag. Dr. Barbara Agnese für die kompetente und unterstützende Betreuung während der Erstellung meiner Diplomarbeit bedanken. Ebenso gilt ihr und den anderen Lehrenden am Institut für Vergleichende Literaturwissenschaft mein Dank für die Lehrveranstaltungen, die ich dort absolvieren und so mein Wissen erweitern durfte. Mein größter Dank gilt meinen Eltern, die mir mein Studium ermöglichten. Inhaltsverzeichnis Danksagung!......................................................................................................................................................!2! Inhaltsverzeichnis!...........................................................................................................................................!3! Anhangsverzeichnis!.......................................................................................................................................!4! 1. Einleitung!.....................................................................................................................................................!5! -
Cultural Narratives and Alternative Topographies in the Works of Etel Adnan, Ingeborg Bachmann and Sevim Burak
Cultural Narratives And Alternative Topographies In The Works Of Etel Adnan, Ingeborg Bachmann And Sevim Burak Gizem Okulu SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ROYAL HOLLOWAY, UNIVERSITY OF LONDON OCTOBER 2020 1 Declaration of Authorship I ………Gizem Okulu……………. hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ____________________Gizem Okulu__ Date: _____________22.10.2020___________ 2 Table of Contents Abstract – 4 Acknowledgements – 5 List of Illustrations - 6 Introduction – 7 Chapter I: ‘Unsettled Dissident Eruptive In Anarchy’: Etel Adnan – 30 Chapter 2: ‘Beneath A Foreign Sky’: Ingeborg Bachmann – 51 Chapter 3: ‘We Are The Dead’: The Work Of Sevim Burak – 80 Conclusion – 112 Manuscript: Master Island - 130 I. Night Poems – 133 II. Exit Point On Earth – 138 III. Master Island – 146 IV. Counter Dance – 165 Bibliography – 189 3 Abstract The thesis explores the use of alternative topographies and cultural narratives in the works of Etel Adnan, Ingeborg Bachmann and Sevim Burak. The term ‘alternative topography’ suggests that these writers do not simply describe existing topographies: rather, they create imaginative spaces, invented countries, which provide spaces from which to challenge the violence present within national boundaries and zones of conflict. ‘Cultural narrative’ suggests the narrative used to define a particular national or ethnic group. While this term has provided useful in reclaiming the identities of marginalized and oppressed groups, it has its limitations. These writers were very aware of the narratives used to describe situations of national and ethnic conflict, witnessing political crises in Lebanon, Turkey, Austria, Germany and America. -
'Secondary Worlds' in Henze's Opera Elegy for Young Lovers
DOI 10.5965/2525530405012020209 Towards the ‘secondary worlds’ in Henze’s opera Elegy for Young Lovers Rumo aos "mundos secundários" na ópera Elegy for Young Lovers de Henze Cinthia Pinheiro Alireti Universidade Estadual de Campinas [email protected] Submetido em 29/04/2020 Aprovado em 27/07/2020 ORFEU, v.5, n.1, setembro de 2020 P. 209 de 638 Towards the ‘secondary worlds’ in Henze’s opera Elegy for Young Lovers Summary Resumo This article attempts to trace the dra- Este artigo tem por objetivo traçar as matic-musical origins of the opera in three origens dramático-musicais da ópera em acts Elegy for Young Lovers (1961), with três atos Elegy for Young Lovers (1961), com music by the German composer Hans Wer- música do compositor alemão Hans Wer- ner Henze and libretto by Auden and Kall- ner Henze e libretto de Auden e Kallman. man. By researching literary and theoreti- Através da pesquisa de fontes literárias e cal sources on this work, with emphasis on teóricas sobre esta obra, com ênfase nos the authors’ own writings, it was examined escritos dos próprios autores, foi examina- the extrinsic resources that contributed to da a existência de recursos extrínsecos que the constitution of the internal dramatic contribuíram para a constituição da estru- structure. These resources are, on the one tura dramática interna. Estes recursos se hand, cultural influences that interacted in tratam, por um lado, de influências cultu- the construction of the artistic identity of rais que interagiram na construção da iden- the work and, on the other -
The Meaning and Purpose of Quotation And
University of South Carolina Scholar Commons Theses and Dissertations 1-1-2013 The eM aning and Purpose of Quotation and Stylistic Reference In Hans Werner Henze's Requiem: Nine Sacred Concertos For Piano Solo, Trumpet Concertante, and Large Chamber Orchestra (1990-92) Daniel C. Pappas University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Composition Commons Recommended Citation Pappas, D. C.(2013). The Meaning and Purpose of Quotation and Stylistic Reference In Hans Werner Henze's Requiem: Nine Sacred Concertos For Piano Solo, Trumpet Concertante, and Large Chamber Orchestra (1990-92). (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/1629 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE MEANING AND PURPOSE OF QUOTATION AND STYLISTIC REFERENCE IN HANS WERNER HENZE ’S REQUIEM : NINE SACRED CONCERTOS FOR PIANO SOLO , TRUMPET CONCERTANTE , AND LARGE CHAMBER ORCHESTRA (1990-92) by Daniel Pappas Bachelor of Arts Grace College, 2003 Master of Music University of North Carolina at Greensboro, 2006 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Composition School of Music University of South Carolina 2013 Accepted by: Reginald Bain, Major Professor Chairman, Examining Committee Samuel Douglas, Committee Member John Fitz Rogers, Committee Member Gregory Stuart, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Daniel Pappas, 2013 All Rights Reserved ii DEDICATION To my wife Elizabeth for her continued support and patience and to my parents John and Becky for teaching me to always finish what you start. -
Bernstein a MESSAGE from the MILKEN ARCHIVE FOUNDER
Bernstein A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. My personal interest in music and deep abiding commitment to synagogue life and the Jewish people united as I developed an increasing appreciation for the quality and tremendous diversity of music written for or inspired by the American Jewish experience. Through discussions with contemporary Jewish composers and performers during the 1980s, I realized that while much of this music had become a vital force in American and world culture, even more music of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve, and transmit the collective memory contained within this music, the Milken Archive of American Jewish Music was founded in 1990. This project would unite the Jewish people’s eternal love of music with their commitment to education, a commitment shared by the Milken Family Foundation since our founding in 1982. The passionate collaboration of many distinguished artists, ensembles, and recording producers has created a vast repository of musical resources to educate, entertain, and inspire people of all faiths and cultures. -
Nr 34 (3/2017) ISSN: 2353-7094 Advisory Board Dr Vaclav Kapsa (Akademie Věd České Republiky) Dr Hab
nr 34 (3/2017) ISSN: 2353-7094 advisory board dr Vaclav Kapsa (Akademie věd České republiky) dr hab. Aleksandra Patalas (Uniwersytet Jagielloński w Krakowie) prof. Matthias Theodor Vogt (Institut für kulturelle Infrastruktur Sachsen) dr hab. Piotr Wilk (Uniwersytet Jagielloński w Krakowie) editorial staff Katarzyna Babulewicz Jolanta Bujas Marek Dolewka (Editor-in-Chief) Agnieszka Lakner Martyna Rodzeń Hubert Szczęśniak Justyna Szombara cover design and typesetting Agnieszka Bień proofreading Jolanta Bujas KMM UJ Editorial Staff abstracts’ translation Jolanta Bujas address Koło Naukowe Studentów Muzykologii UJ ul. Westerplatte 10 31–033 Kraków [email protected] This publication is supported by the Council of Scientific Students’ Organisations of the Jagiellonian University (Rada Kół Naukowych UJ). The participation of foreign reviewers in the evaluation of the publication was financed under the agreement No. 613/P-DUN/2017 from the funds of the Minister of Science and Higher Education for popularisation of science. Table of Contents Introduction 5 Federica Marsico 7 A Queer Approach to the Classical Myth of Phaedra in Music Marta Beszterda 29 At the Intersection of Musical Culture and Historical Legacy: Feminist Musicology in Poland Barbora Kubečková 51 Zdeněk Fibich (1850–1900) and his Songs to Goethe: Forgotten Settings? Clare Wilson 75 From the Inside Out: An Analytical Perspective of André Caplet’s Harmonic Evolution Through Selected Mélodies, 1915-1925 Nana Katsia 97 The Modification of the Genre of Mystery Play in the Wagner’s, Schoenberg’s and Messiaen’s Compositions Michał Jaczyński 115 The Presence of Jewish Music in the Musical Life of Interwar Prague Sylwia Jakubczyk-Ślęczka 135 Musical Life of the Jewish Community in Interwar Galicia.