DOCSLIB.ORG

Modern Song Writers. I. Robert Franz Author(S): Fr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modern Song Writers. I. Robert Franz Author(S): Fr Modern Song Writers. I. Robert Franz Author(s): Fr. Niecks Source: The Musical Times and Singing Class Circular, Vol. 25, No. 491 (Jan. 1, 1884), pp. 5-10 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3356895 . Accessed: 22/12/2014 07:53 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Mon, 22 Dec 2014 07:53:27 AM All use subject to JSTOR Terms and Conditions THE MUSICAL 5 TIMES.-JANUARY I, 1884. the feelings of others. More than nine-tenthsof our THE MUSICAL TIMES modern music (dramatic and symphonic music in- is All that in dramatic music is AND SINGING-CLASS CIRCULAR. cluded) lyrical. not lyrical is a poor make-shift necessitated by the JANUARY i, 1884. requirements of the verbal language and the limita- tions of the musical language; and all that in sym- phonic music is not lyrical is merely accessory, or MODERN SONG WRITERS. ought to be so-as, for instance, that kind of tone- I.-ROBERT FRANZ. painting which we may distinguish by the epithet FR. NIECKS. "material." What constitutes the superiority of BY S. Bach's over those Fuchs, ROBERT FRANZ J. fugues by Kirnberger, occupies an altogether unique posi- and id omne? and and Albrechtsberger, genus Chiefly tion among composers, not only among com- the element with which he vivified the of his own time. There mainly lyrical posers probably never was formal structure,or rather out of which the formal a musician in the same measure endowed with the structure grew like a tree from a seed-corn, his creative faculty and equipped with the craftsmanship the rich soil which nourished of personality being it. his art who like him confined the exercise of his Unless the artist infuses some of his best blood into to so narrow a of action. powers sphere Excepting his work his assiduities and ingenuities avail him a a for chorus and solo Kyrie cafpella four-part voices, naught or little. Indeed, wherever we findreal great- a of the Psalm a for setting Ii7th cappella eight-part ness of any kind, enduring power, there we findalso double chorus, and twelve vocal quartets (six for a close connection between the artist and the male and six for mixed his voices), original com- man. Hence it cannot but be always profitable to with which the has positions public been made inquire as far as possible into the life-circum- consist of for one acquainted entirely songs voice stances, actions, sayings, and mental experiences with pianoforte accompaniment. But as a song com- of an artist. In the case of Robert Franz this is his fruitfulnesshas been such as to be sur- poser especially interesting, as he gives so much of passed only by Franz Schubert,':-for the number of and subordinates the artist his himself, so entirely published songs exceeds 250. Nor is it quantity to the his and in the alone man, techniquebeing solely which distinguishes his achievements in min- most literal sense a means of to expression. Though strelsy. According the almost unanimous opinions the facts which I have been able to cull of the ablest and the biographical judges noblest of his brother- here and there fromthis and that publication * are he ranks with the artists, indisputably foremost in insufficientfor a finishedportrait, they go far towards this branch of the art-with Franz Schubert and supplying the needful material for an outline Robert whose Christian names sketch Schumann, curiously that may serve as a key to not a few peculiarities of enough coincide respectively with his Christian this mode of and name and I composer's feeling workmanship. surname. shall not attempt to charac- Robert Franz was born at Halle, the of Robert Franz birthplace terise by epigrams and antitheses. Handel, on 28, 1815. He himself relates that and antitheses are June Epigrams false even when true-- his firstmusical impression, of which, as he was then true to those who have a full of only knowledge the only two years of age, he has naturally only a very men and in and view things question them from the faint recollection, coincided with the ter-centenary same standpoint, false to every one else. Moreover, commemoration of the Reformation. " Also in Halle it would hardly be possible to find a subject less fit the festival was observed with and I for great solemnity, epigrammatic and antithetic treatment than our I hear as if in a dream, the sounds of a For imagine yet, composer. though he possesses a distinct in- trombone choir-which, as I of course after- of only dividuality-a style expression and a domain of wards learned, performed Luther's immortal hymn thought and feeling of his own-his excellence mani- ' Ein' feste ist unser fromthe fests itself not in Burg Gott'-descending glaring qualities, but in delicate towers of the principal church of the town." The harmonies and subtle gradations. most important of his early musical impressions work of art Every noteworthy embodies more or Robert Franz owed to his father,who occasionally less the of the artist: it personality is bone of his sang to his little ones his favourite religious hymns, flesh of his brain of his bone, flesh, brain ; the forms, and did so with a pure intonation and a proper and of the one passions, thoughts being reproduced accentuation of the quaint melodic graces fashionable in the other. Without a noble, without an interesting in his The children took so much pleasure a an youth. personality, noble, interesting work of art is im- in his singing that whenever he was in good humour The of an possible. qualities artist's work may be at they asked him to sing to them. This, however, he variance with those of his social acts-as he need was by no means always, or even frequently. Indeed, not, and indeed rarely does, express his whole self in he seems to have been a somewhat morose and unless art; but, they be mere shams, and conse- hard man; at all events a man devoid of of small sympathy quently value, they must correspond to with art, and shut in by the narrow horizon of the originals in his inward life. Even good formal (not inimical to music and the rest work practical. Though mechanical) requires ethical qualities: purity of the idle, beggarly sisterhood, he was yet the means in the work in the presupposes purity worker; strength of laying in his son's heart the foundation of the presupposes strength; delicacy, delicacy; and so on. love which afterwards produced such fruits. The of exquisite power music is commensurate with its lyrical None of the children listened, of course, to the contents. To be vital and effective the lyrical father's with more attention than little contents must be singing genuine, that is, must spring from Robert, who, now an old man, has some the artist's grown of personality. This, however, does not the tunes, with all the details of the rendering, still mean that he has to always express his individual ringing in his ears. For the furtherdevelopment of his own and woes. feelings, joys Nothing could be the germ thus involuntarily implanted nothing was fartherfrom the truth. Nay, it means that he must to be hoped for fromthe father,who, moreover, took have sensibility, and a capacity for sympathy, as even less pleasure in occupying himself with his otherwise he cannot truly understand and interpret " " * Franz Liszt's Robert Franz "; A. W. Ambros' Robert Franz "; * In making this statement I second and third-rate Dr. H. M. Schuster's " Robert Franz A. Saran's " Robert Franz und ignore song "; " composers, and leave out of account those who, though once considered das deutsche Volks- und Kirchenlied "; R. Franz's OffenerBrief an first-rate,are now no longer in vogue-for instance, J. F. Reichardt. Eduard Hanslick," and "Mitheilungen iiberJ. S. Bach's Magnificat,"&c. This content downloaded from 128.235.251.160 on Mon, 22 Dec 2014 07:53:27 AM All use subject to JSTOR Terms and Conditions 6 THE MUSICAL TIMES.-JANUARY I, 1884. grown-up children than with the little ones. That, himself and some of his fellow-students thought so however, Robert's general education was not ne- likewise, and formed a secret society at the meetings glected is sufficientlyproved by the fact that he was of which they cultivated music according to their sent firstto the Biirgerschuleof the Francke Institute, own fancy. Likely enough, therefore, that Franz and afterwardsattended the Latin school of the same was not a fcrsoiza grata with Schneider. There institute. In the singing lessons of the former he is now, and there has been for the last fifty drew upon himself many punishments by his attempts years, a great deal of nonsense talked about the at adding a second part to the unison performances pedantry of teaching. I say " nonsense " with a full of the class.
Load more

Recommended publications
  • 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]
  • Program Notes
    Program Notes Program Notes by April L. Racana 9 Wed. September 21 The 104th Tokyo Opera City Subscription Concert 21 Fri. September 23 The 884th Suntory Hall Subscription Concert Sun. September 25 The 885th Orchard Hall Subscription Concert 9 23 Ludwig van Beethoven (1770-1827) Piano Concerto No. 5 in E-flat major, op. 73,“Emperor” 9/21 9/23 together with two princes that gave I. Allegro (ca. 20 min) him the financial freedom to remain in II. Adagio un poco mosso (ca. 8 min) Vienna and dedicate himself to his art. III. Rondo: Allegro ma non troppo Unfortunately though, as a result of the (ca. 10 min) occupation, Beethoven along with all citizens of Vienna, were heavily taxed. As with his other works similarly Not only did the occupation result in less dubbed with additional titles, Beethoven financial freedom for the composer, but was not the one to subtitle his final piano limited his movement as well, so that he concerto “Emperor”. It is believed rather, was unable to spend time outside of the that his long time friend and pianist city in the countryside during the summer John Baptist Cramer, who was born in months, to which he had become Germany but based in London, gave the accustomed. name. While Beethoven thought highly of his pianist/publisher friend, he did The Piano Concerto No. 5 is in the not hold in high esteem emperors, so it traditional three-movement form, and is a bit of a puzzle as to why his friend not surprisingly is dedicated to Archduke would attach such a moniker to the work.
    [Show full text]
  • Song Settings of Heinrich Heine: a Comparative Analysis of Song Settings from the Poetry Perspective
    SONG SETTINGS OF HEINRICH HEINE: A COMPARATIVE ANALYSIS OF SONG SETTINGS FROM THE POETRY PERSPECTIVE BY ELISABETH MARSHALL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Johannes Türk, Research Director __________________________________ Carol Vaness, Chairperson __________________________________ Timothy Noble __________________________________ Patricia Stiles ii ACKNOWLEDGMENTS The author wishes to express her sincere gratitude to Johannes Türk, research director, for his long-suffering, generous, and careful guidance; to chairperson Carol Vaness for her consistent encouragement and unfailing support; to committee members Timothy Noble and Patricia Stiles for their faithful contributions of time and support, without which completion of this project would have been impossible. I also wish to thank Oscar Strasnoy, for his time and interviews via e-mail, and especially my friend and colleague, James Kallembach, for his invaluable assistance in the editing process. iii PREFACE Today there is an almost obsessive concern with the question of what is the “most accurate” historical performance of a given piece of music. In many performances and ensembles this leads to an investigation into the types of instruments or techniques of singing used in a given period, the number of performers employed, and other ensemble and technical concerns. Related to this concern for historical performance, but perhaps not as often considered, is the issue of the relationship between the original poem and a musical setting.
    [Show full text]
  • Junior Recital: Timothy Marshall, Bass-Baritone
    Kennesaw State University College of the Arts School of Music presents Junior Recital Timothy Marshall, bass baritone Brenda Brent, piano Saturday, October 25, 2014 5:00 p.m. Music Building Recital Hall Twenty-fifth Concert of the 2014-15 Concert Season program I. GEORGE FRIDERIC HANDEL (1685-1759) Leave Me, Loathsome Light from Semele HENRY PURCELL (1659-1695) Arise, Ye Subterranean Winds from The Tempest II. ROBERT FRANZ (1815-1892) Widmung FRANZ SCHUBERT (1797-1828) Schäfers Klagelied Die Forelle III. GABRIEL FAURE (1845-1924) Le Secret REYNALDO HAHN (1874-1947) Quand je fus pris au Pavillon IV. F. PAOLO TOSTI (1846-1916) La Serenata V. CELIUS DOUGHERTY (1902-1982) Shenandoah BRUNO HUHN (1871-1950) Invictus This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Marshall studies voice with Oral Moses. program notes I. Leave Me, Loathsome Light from Semele GEORGE FREDRIC HANDEL (1685-1759) A German born English composer, Handel, is said to be one of the greatest composers of the Baroque period. He was born in Halle, Germany, on February 23rd, 1685, and died in London, England, on April 14th, 1759. He was buried in Westminster Abbey. He is best known for his orchestral works and English Oratorios, a musical form he was the first to use. The Messiah is one of his most famous. Semele was composed in 1743 and tells of a beautiful mortal, Semele, whose short but spectacular love affair with Jupiter, King of the Gods, comes to a terrifying end in consequence of both her own vanity and the scheming of Jupiter’s insanely jealous wife, Juno.
    [Show full text]
  • Repertoire Report 2012-13 Season Group 5 & 6 Orchestras
    REPERTOIRE REPORT 2012-13 SEASON GROUP 5 & 6 ORCHESTRAS Composer Work First Perf. Conductor Orchestra Soloist(s) Adams, John COMMON TONES IN SIMPLE TIME Feb. 9, 2013 Brett Mitchell Saginaw Bay Symphony Orchestra Auerbach, Lera 24 PRELUDES FOR VIOLONCELLO & Jan. 26, 2013 Delta David Gier South Dakota Symphony Alessio Bax, piano PIANO Ramiro Alvarez, cello Bach, J. S. BRANDENBURG CONCERTO NO. 1 IN F Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 2 IN F Nov. 17, 2012 unknown unknown South Dakota Symphony unknown unknown, trumpet MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 3 IN G Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 4 IN G Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 5 IN D Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 6 IN B- Nov. 17, 2012 unknown unknown South Dakota Symphony FLAT MAJOR Bach, J. S. PIANO CONCERTO NO. 1 IN D MINOR Mar. 22, 2013 Daniel Hege Boise Philharmonic Association, Roberto Plano, piano Inc. Bach, J. S. SUITE NO. 3 IN D MAJOR, BWV 1068 Nov. 3, 2012 Brian Groner Fox Valley Symphony Baker, Claude CANTI GUERRIERI ED AMOROSI (SONGS Mar. 23, 2013 Gerhardt Zimmermann Canton Symphony Orchestra OF WAR AND LOVE) Ballard, Louis INCIDENT AT WOUNDED KNEE Jan. 12, 2013 Delta David Gier South Dakota Symphony Barber, Samuel ADAGIO FOR STRINGS Jun. 28, 2013 Martin Majkut Rogue Valley Symphony Barber, Samuel CONCERTO, PIANO AND ORCHESTRA, Oct.
    [Show full text]
  • Antonín Dvořák Und Das Liedschaffen Seiner Zeit
    Vom Zauber der menschlichen Stimme: Antonín Dvořák und das Liedschaffen seiner Zeit Ein Essay von Jens Malte Fischer aus dem Programmbuch Antonín Dvorák und Seine Zeit Salzburger Festivalspiele 2004 Programmbuch: http://hampsongfoundation.org/antonin‐dvorak‐and‐his‐time/ Das Kunstlied, speziell das Klavierlied der zweiten Hälfte des 19. Jahrhunderts steht unter dem Einfluss, man könnte zugespitzt sagen, im Schatten der unüberbietbaren Leistung von Franz Schubert und Robert Schumann. Es ist eigentlich erst dem Orchesterlied um die Jahrhundertwende gelungen (Chausson in Frankreich und Mahler in Österreich als Beispiele), die Ausdrucksspektren auszuweiten, die von Schubert und Schumann mit ihrer Beschränkung auf den Klang des Klaviers umrissen worden waren, eine Ausweitung, keine Überbietung wohlgemerkt. Der Respekt vor den großen Vorbildern, ja die Einschüchterung durch sie ist gerade jenen Komponisten anzumerken, die Schuberts Liedschaffen besonders gut kannten, das zu jener Zeit beim interessierten Musikpublikum keineswegs die Geltung hatte, die es im 20. Jahrhundert erlangt hat. Brahms etwa, mit seiner umfassenden literarischen und musikalischen Bildung, war als Liedkomponist nicht eingeschüchtert, wusste aber sehr genau, wer Schubert war. Manche seiner Äußerungen lassen erkennen, dass er die damals gängige Einschätzung Schuberts als purem Melodiker überhaupt nicht teilte, sondern ganz im Sinne seines eigenen kompositorischen Verfahrens enthusiastisch darauf hinwies, wie entscheidend es sei, was dieser Komponist aus seinen melodischen Einfällen gemacht habe. Antonín Dvořák hat sich in seinen amerikanischen Jahren einmal in einem größeren Aufsatz über Schubert geäußert. Seine Sicht auf Schubert, dessen Musik er, wie seine Freunde und Schüler bezeugt haben, liebte und dessen Lieder oft auf seinem Flügel lagen, ist bemerkenswert, weil sie erheblich über das am Ende des 19.
    [Show full text]
  • Full Conference Schedule Wednesday, February 8, 2017
    Full Conference Schedule Wednesday, February 8, 2017 Wednesday, February 8, 2017 3:00 PM KMEA Conference Registration 3:00 PM - 7:30 PM 11:30 AM GHST 2 Meeting Reg. Kentucky Junior High Chorus 11:30 AM - 1:00 PM Counter (B, C, COLL, K–5, 6–12, J, O) Registration GHST 2 Ballroom B (C, 6–12) 3:30 PM Coordinator: Lynn Pryzgoda, Leestown MS, Lexington Band Council Meeting 3:30 PM - 4:30 PM All-State Symphony Orchestra 11:30 AM - 2:00 PM GHST 1 Laffoon Strings Registration GHRT 3 Coat Check (B) (O) Band Chair: Brian Froedge, North Hardin HS, Cecelia Orchestra Chair: Patrick O’Rourke, Bowling Green HS, Bowling Green 5:00 PM 1:00 PM Performance Assessment 5:00 PM - 6:30 PM Managers Meeting GHST 1 Wilkinson Jazz Committee Meeting 1:00 PM - 2:00 PM (B, C, J, O) GHST 1 Sampson Commission for Performance Assessment Chair: David (J) Graham, Warren Central HS, Bowling Green Jazz Coordinator: Matt Yarborough, St. Xavier, Louisville 6:30 PM Kentucky Children’s Chorus 1:00 PM - 2:45 PM Concert: Louisville 6:30 PM - 7:30 PM Registration GHST 3 Stopher Orchestra/Louisville Youth KC Whitney Hall (C, K–5) Orchestra Side-by-Side Coordinator: John Hall, retired, Scottsville (B, O) Conductor: Jason Seber All-State Chorus Registration 1:00 PM - 3:00 PM Program HR 2 Regency Foyer (C) La Forza del Destino........................................Guiseppe Verdi Choral Chair: Megan Puckett, Allen Co.-Scottsville HS, Overture Scottsville Scottish Fantasy in E-flat major, Op. 46..................Max Bruch 2:00 PM Melissa White, violin, Harlem String Quartet, Gheens Artist
    [Show full text]
  • Mendelssohn's DIE ERSTE WALPURGISNACHT Beethoven's CHORAL FANTASY and OPFERLIED
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon tile quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1 The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)" If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity 2 When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame If copynghted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3 When a map, drawing or chart, etc , is part of the material being photographed, a definite method of "sectioning" the material has been followed It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps If necessary, sectioning is continued again—beginning below the first row and continuing on until complete 4.
    [Show full text]
  • Introduction
    XLIV Introduction Felix Mendelssohn Bartholdy lived during the golden age of written for the theater,6 and those festival pieces for male voices male choral singing. After an early introduction to the genre and orchestra that are the subject of the present volume. All by Carl Friedrich Zelter, his teacher and founder of the Berlin of the latter are works he was commissioned to write for vari- Liedertafel (1809), the composer later came to independently ous prestigious events that took place in the 1820s and 1840s. form his own connection with the Leipzig Liedertafel societies Two of them, the so-called “Gutenberg Cantata” (1840) and the as a young adult,1 as well as to maintain contact with numerous Festgesang an die Künstler / To the Sons of Art (1846), were pub- other male choral societies over the course of his lifetime. A lished during his lifetime, while the other two did not appear comprehensive illumination of Mendelssohn’s relationship with in print until the 20th century. The first of these, Begrüßung male choral singing, one defined in equal measure by affection (“Humboldt Cantata”), was conceived of and performed for the and critical distance, can be found in the introduction to the opening gala of a scientific conference in 1828, and the second, volume “Songs for Male Voices.”2 “Gott segne Sachsenland” / “God Bless Saxony” for the ceremo- The 19th century’s growing middle class grouped itself into both nial unveiling of a statue in 1843. mixed choral societies (for example, Singakademien, oratorio choirs, etc.) and Liedertafeln, Liederkränze, and Gesang vereine, common designations at the time for various all-male choral MWV D 2 formations.3 In the 1830s, the initially exclusive circles of the Begrüßung (“Humboldt Cantata”) Liedertafel societies, which were comprised of small numbers of select members, gave rise to a veritable mass movement of en- Just a few months after Mendelssohn’s Festmusik MWV D 1 sembles with large membership rosters.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 12, 1892-1893, Trip
    MUSIC HALL, BUFFALO CONCERT BY THE BOSTON SYMPHONY ORCHESTRA. FRANZ KNEISEL, Conductor. Twelfth Season, 1892-93. With Historical and Descriptive Notes prepared by William F. Apthorp, PUBLISHED BY C. A. ELLIS, Manager. TH E ASON & HAMLIN PIANOS represent that same Highest Standard of excellence which has achieved a repu- tation for their Organs as the Standard of the World. F. KNOLL, Local Representative. (2) Boston Music Hall, Symphony ^ Buffalo. Orchestra Season of 1892-93. Mr. FRANZ KNEISEL, Conductor. Thursday Evening, May 4, 1893, at 8 o'clock. PROGRAMME. Robert Schumann - Symphony No. 2, in C major, Op. 61 I. Sostenuto assai (C major) - - - - - 6-4 Allegro ma non troppo (C major) - 3-4 u - II. Scherzo : Allegro vivace (C major) 2-4 Trio 1°: The same tempo (G major) - 2-4 Trio 11°: The same tempo (C major) - 2-4 III. Adagio espressivo (C minor) - 2-4 IV. Allegro molto vivace (C major) - 2-2 Weber - Agathe's Scene and Aria, from "Freischuetz " t Camille Saint-Saens - Concerto for Violin, No. 1, in A major, Op. 20 I. Allegro (A major) _____ e-4 II. Andante espressivo (D major) - - - - 2-4 III. Tempo primo (A major) - - _ _ _ q_4 / Bach - - Praeludium, Adagio, and Gavotte, for String Orchestra j/ Arranged by Bachrich. Moritz Moszkowski Two Movements from Suite No. 1, in F major, Op. 39 - III. Tema con variazioni : Andante (A major) 2-4 V. Perpetuum mobile : Vivace (P major) - - 4-4 , Wagner - Introduction to Act III., Dance of Apprentices and Proces- " sion of the Mastersingers, from " Die Meistersinger SOLOISTS: Miss FELICIA KASCHOSKA.
    [Show full text]
  • The Three Organists: All Souls' Remembrance
    “AMERICA’S PARISH CHURCH” THE THREE ORGANISTS: ALL SOULS’ REMEMBRANCE THURSDAY, NOVEMBER 5, 2020 7:00 P.M. St. Patrick’s Cathedral “AMERICA’S PARISH CHURCH” New York City Presents the Virtual Concert THE THREE ORGANISTS: ALL SOULS’ REMEMBRANCE In remembrance of all of those who have died due to COVID-19 and Social Injustice and Unrest Please consider supporting the Friends of Music for the season. Contributions can be made online at: 2020-2021 SEASON 2020-2021 engage.saintpatrickscathedral.org/fom PROGRAM Jennifer Pascual, D.M.A. Director of Music Allerseelen (All Souls’ Day) Richard Strauss (1864-1949) In Paradisum Henri Mulet (1878-1967) In Paradisum Jean-Yves Daniel-Lesur (1908-2002) Pavane pour une infante défunte Maurice Ravel (1875-1937) Daniel Brondel, M.M. Associate Director of Music from Symphony No. 3 (“Organ Symphony”) Camille Saint-Saëns (1835-1921) in C Minor, Op. 78 (1886) arr. Virgil Fox (1912-1980) I. Poco adagio Pièce d’Orgue (“Fantasia in G Major”), BWV 572 (ca. 1720) Johann Sebastian Bach (1685-1750) Michael Hey, M.M. Associate Director of Music Solitude (2020) Nahre Sol (b. 1991) Prelude and Fugue in E-flat major (“St. Anne”), BWV 552 Johann Sebastian Bach (1685-1750) 1 BIOGRAPHIES Dr. Jennifer Pascual was appointed Director of Music at St. Patrick’s Cathedral in New York City in 2003, the first woman to hold this prestigious liturgical music position. Jennifer earned a Doctor of Musical Arts Degree in Organ Performance from the Eastman School of Music in Rochester, NY where she studied with David Higgs. She holds a Master of Music Degree in Piano Performance from the Mannes College of Music and received the Bachelor of Music Degrees in Piano and Organ Performance and Music Education from Jacksonville University in Florida.
    [Show full text]
  • Robert Schumann and the Gesangverein: the Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2011 Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Pellegrino, Gina, "Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850)" (2011). All Theses and Dissertations (ETDs). 276. https://openscholarship.wustl.edu/etd/276 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Hugh Macdonald, Chair Garland Allen Todd Decker Martin Kennedy Michael Lützeler Craig Monson John Stewart ROBERT SCHUMANN AND THE GESANGVEREIN: THE DRESDEN YEARS (1844–1850) by Gina Marie Pellegrino A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri ABSTRACT Nineteenth-century Germany saw an expansion of choral music in a secular context, bringing about changes not only in the nature of the organizations but also in the character of the music. Often depicted in history books as the age of the Lied, the early nineteenth century was also the age of the Chorgesang, creating a demand for music for social gatherings. Amateur choruses and partsinging reached their peak of popularity in nineteenth-century Germany.
    [Show full text]