DOCSLIB.ORG

Ries-Journal 18 2Ling Iast.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Ausgabe 5 | 2018 RIES JOURNAL Der Wiener Klavierbauer Joseph Franz Ries (1792-1861) Sein Leben, seine Patente und seine Instrumente C. A. Hainholz cpo Biographische Notizen Höchst Originelles und Dramatisches von Ferdinand Ries über Ludwig van Beethoven Ferdinand von Dr. F.G. Wegeler und Ferdinand Ries Neu! Ries Herausgegeben von der Ferdinand Ries Gesellschaft in Zusammenarbeit mit der Julius Wegeler Familienstiftung und dem Landschaftsverband Rheinland Mit einem Vorwort von Michael Ladenburger cpo Leinengebundene Ausgabe in 777 767–2 einer nummerierten Aufl age von »Ferdinand Ries, dieser ungeheuer fleißige 300 Exemplaren. Mann tritt dank einer sehr ernsthaften, inni- gen Auseinandersetzung mit seiner letzten Bibliophile Ausstattung mit Lese- Geigensonate aus dem selbstgeschaffenen bändchen und faksimilierten Brief- Schatten heraus, um sich zeitweilig in gera- und Notenbeispielen Ludwig van Beet- dezu bekenntnishafte Höhen zu erheben.« hovens. 232 Seiten, Bonn 2012 klassik-heute. com 28 € (zzgl. Porto und Versand) Zu erwerben bei: Ferdinand Ries Gesellschaft, Kaufmannstr. 32, D – 53115 Bonn [email protected] ISBN: 978-3-00-039547-5 cpo 777 216–2 cpo 777 609–2 cpo 777 738–2 cpo 777 655–2 4 CDs CD SACD/Hybrid 2 CDs „Das Buch wird viel gelesen werden, wie es dies verdient ... Man kann nicht los davon.“ CD-Bestellung gegen Rechnung unter: jpc.de | jpc-Schallplatten-Versandhandelsgesellschaft mbH | Georgsmarienhütte Robert Schumann Geschäftsführer: Gerhard Georg Ortmann | Amtsgericht Osnabrück HRB 110327 Internationaler Vertrieb: A: Preiser Records, NL: Econa | cpo gibt’s auch im Internet: www.cpo.de 04-2016 Ries-Anzeige.indd 1 22.03.2016 15:37:38 RIES JOURNAL 5 Inhalt Content 2 2 Editorial Editorial 3 3 Vorbemerkung der Redaktion Editor’s Preliminary Remarks 7 7 Sabine K. Klaus Sabine K. Klaus Das Leben ist ein harter Kampf Life is a Hard Struggle Der Wiener Klavierbauer Joseph Franz Ries The Viennese Piano Maker Joseph Franz Ries (1792–1861) (1792–1861) Sein Leben, seine Patente und seine Instrumente Life, Patents, and Instruments Appendix 1: Briefe und Konversationen Appendix 1: Letters and Conversations Appendix 2: Patente und Texte von Appendix 2: Patents and Trades Exhibition Texts Gewerbeausstellungen 39 39 Rita Steblin Rita Steblin Neue biographische Informationen über New Biographical Information about the den Klavier bauer Joseph Franz Ries Piano Manufacturer Joseph Franz Ries 56 56 Klaus Wolfgang Niemöller Klaus Wolfgang Niemöller Instrumentalmusik von Ferdinand Ries Instrumental music by Ferdinand Ries in in neuen Studien junger Musikforscher new studies by young musicologists Vorstellung unveröffentlichter Arbeiten On some unpublished writings 62 62 Neue Ries-CDs New Ries CDs 64 64 Autor/innen, Bildnachweis, Impressum Authors, Photo Credits, Imprint RIES JOURNAL 5 | Editorial Editorial Editorial Liebe Musikfreunde, Dear music friends, die vorliegende Ausgabe ist dem Andenken an Prof. Dr. in the fifth number of the RIES JOURNAL you are Bodo von Dewitz gewidmet, unseren stellvertretenden presen ted with the life and work of Joseph Franz Ries Vorsitzenden, der am 17. November vergangenen Jahres (1792 – 1861), Ferdinand Ries’s third brother, a passion- im Alter von nur 67 Jahren verstorben ist. Er war einer der ate maker of pianofortes. ersten und engagiertesten Förderer unserer Gesellschaft. The US-based German musicologist Sabine K. Seine Kompetenz als Historiker, Autor und Herausgeber Klaus has kindly permitted us to publish here, for the werden wir schmerzlich vermissen. first time in German, her article on Joseph Franz Ries In der fünften Ausgabe des RIES JOURNALS werden which had previously been printed in 2003 in the Early das Leben und die berufliche Tätigkeit von Joseph Franz Keyboard Journal, no. 21. Her study depicts the diffi- Ries (1792 – 1861), des drittältesten Bruders von Ferdinand cult life of a pianoforte manufacturer in mid-19th cen- Ries, eines leidenschaftlichen Klavierbauers, vorgestellt. tury Vienna when there was much demand of pianos, Die in den USA tätige deutsche Musikwissenschaft- but equally large competition amongst piano manu- lerin Sabine K. Klaus hat uns gestattet, ihren bereits 2003 facturers. im Early Keyboard Journal 21 erschienenen englischspra- Viennese music historian Rita Steblin has found chigen Aufsatz zu Joseph Franz Ries hier erstmals in deut- numerous hitherto unknown biographical details on scher Sprache zu veröffentlichen. Ihre Studie zeichnet das Joseph Franz Ries in the local archives complementing entbehrungsreiche Leben eines Klavierbauers in Wien in the portrait drawn by Sabine K. Klaus. As Rita Steblin’s der Mitte des 19. Jahrhunderts nach, als es zwar großen text is written in easily comprehensible English and Bedarf an Pianos, aber eine ebenso große Konkurrenz un- all available documents are given in the German orig- ter deren Herstellern gab. inal, the editors have followed her suggestion and go Die Wiener Musikhistorikerin Rita Steblin hat in den without a German translation, as the current issue is dortigen Archiven zur Person von Joseph Franz Ries eine already rather voluminous through the publication of Vielzahl von bisher unbekannten biographischen Details the two texts. gefunden, die das von Sabine K. Klaus gezeichnete Porträt Ferdinand Ries’s music is met in recent times vervollständigen. Da der Text von Rita Steblin in einem für with growing interest also by the younger genera- deutsche Leser leicht verständlichen Englisch verfasst ist tion of musicologists both from Germany and abroad. und alle gefundenen Dokumente im deutschen Original Klaus Wolfgang Niemöller gives a cumulative review wiedergegeben werden, ist die Redaktion ihrem Vorschlag of three interesting Master and Bachelor theses of the gefolgt und hat auf eine deutsche Übersetzung verzichtet, past two years. zumal das vorliegende Heft durch den Abdruck beider Bei- träge bereits sehr umfangreich geworden ist. Wishing you an enjoyable read! Die Musik von Ferdinand Ries stößt in jüngster Zeit The Board of Directors of the Ferdinand Ries Gesellschaft auch bei der jungen Generation von Musikwissenschaft- lern im In- und Ausland auf wachsendes Interesse. Klaus Wolfgang Niemöller stellt in seiner Sammelrezension drei interessante Magister- bzw. Bachelorarbeiten vor, die in den letzten zwei Jahren erschienen sind. Viel Freude bei der Lektüre wünscht Ihnen der Vorstand der Ferdinand Ries-Gesellschaft 2 RIES JOURNAL 5 | Vorbemerkung der Redaktion Vorbemerkung der Redaktion Editor’s Preliminary Remarks Joseph Franz Ries (1792 – 1861) Joseph Franz Ries (1792 – 1861) Das vorliegende Heft ist Joseph Franz Ries gewidmet, The present issue is dedicated to Joseph Franz Ries, einem der vier jüngeren Brüder von Ferdinand Ries. Er one of the four younger brothers of Ferdinand Ries. He wurde in Bonn geboren und am 3. März 1792 getauft. was born in Bonn and christened on 3 March 1792. The Sein Name im Taufregister der Bonner Remigiuskirche baptismal register of the Church of St Remigius in Bonn wird mit „Joseph. Claudius Franc.“ angegeben. Als Pa- reads his name as „Joseph. Claudius Franc.“ As godpar- ten werden „D.[ominus] Josephus Claudius Rougemont, ents „D.[ominus] Josephus Claudius Rougemont, Med. Med. Dr. et Professor et Dna.[Domina] Adelheidis Ries. vid. Dr. et Professor et Dna.[Domina] Adelheidis Ries. vid. Eigelmeyer.“ genannt. Eigelmeyer.“ are mentioned. Sein Vater Franz Anton Ries war zu dieser Zeit Di- His father, Franz Anton Ries, was by this time rektor der kurfürstlichen Hofmusik des letzten Kölner director of the court music of last Cologne elector, Max Kurfürsten Max Franz von Österreich in seiner Bonner Franz of Austria, at his Bonn residence. In this capacity Residenz. Er war daher für alle musikalischen Belange, die he was responsible for all musical matters, for church Kirchenmusik, die Konzerte am Hof und in der Godesber- music as well as for concerts both at court and at the ger Redoute und die Bonner Opernaufführungen verant- Godesberg Redoute, as well as for the opera perfor- wortlich. Wenige Jahre zuvor hatte er mit zwölf weiteren mances in Bonn. Few years before he had founded, Bonner Intellektuellen und Anhängern der Aufklärung die together with twelve further intellectuals and Bonni- Bonner Lesegesellschaft gegründet, die vom Kurfürsten an proponents of Enlightenment, the Bonner Lesege- wohlwollend unterstützt wurde. sellschaft which was benevolently supported by the Die Familie war wohlhabend und gehörte zu den elector. führenden Familien des Bonner Hofes. Franz Anton Ries The family was well-to-do and belonged to the hatte gerade den Bau eines Hauses wenige Schritte von leading families at the Bonn court. Franz Anton Ries der Godesberger Redoute entfernt fertiggestellt. Es war had just completed the building of a mansion only a als Logierhaus für die Gäste des „Spa“ geplant, das der few steps afar from the Godesberg Redoute. It was in- Kurfürst mit großem Aufwand in Godesberg errichtet hat- tended as a lodging house for the guests of the „Spa“ te. Als Paten des Neugeborenen fungierten die Schwester recently established by the elector at much expense in von Franz Anton, Adelheid Eigelmeyer, geborene Ries, die Godesberg. The godmother of the new-born child was Witwe von Friedrich Eigelmeyer, die das damals führen- Franz Anton’s sister, Adelheid Eigelmeyer, née Ries, the de Bonner Hotel, den „Englischen Hof“ gegenüber vom widow of Friedrich Eigelmeyer, who had been the own- Schloss besaß. Namensgeber war der Arzt und Professor er of the then leading Bonn hotel, the Englischer
Recommended publications
  • 8.573726 Ries Booklet.Pdf

    8.573726 Ries Booklet.Pdf

    573726 bk Ries EU.qxp_573726 bk Ries EU 28/03/2018 11:31 Page 2 Ferdinand Ries (1784–1838) Stefan Stroissnig Cello Sonatas The Austrian pianist Stefan Stroissnig (b. 1985), studied in Vienna and at Ferdinand Ries was baptised in Bonn on 28 November cello concerto. Ries’s dedication of these two works to the Royal College of Music in London. His concert activity as a soloist 1784. Today his name is rarely mentioned without a Bernhard Romberg, from whom he also received cello has taken him around the world and to the most important concert reference to Ludwig van Beethoven (1770–1827), even if lessons, might have been an attempt to use the famous houses in Europe. He is recognised for his interpretations of works by it is likely that it was only after his arrival in Vienna on 29 name to gain attention. Ries had done the same in the Schubert and for 20th- and 21st-century repertoire. He has performed December 1802 that Ries had significant contact with dedication of his Piano Sonatas, Op. 1 to Beethoven, where works by Olivier Messiaen, Friedrich Cerha, Claude Vivier, Morton Beethoven. Ries’ father, Franz Anton Ries (1755–1846) he claimed to be Beethoven’s ‘sole student’ and ‘friend’. Feldman, Ernst Krenek as well as piano concertos by John Cage and was the archbishopric concertmaster and one of However, Ries and Romberg ended up performing Pascal Dusapin. He is a regular guest at many prominent festivals, and Beethoven’s teachers, before Beethoven left for Vienna in the Cello Sonatas, Op. 20 and Op.
  • Schubert: the Nonsense Society Revisited

    Schubert: the Nonsense Society Revisited

    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Schubert: The Nonsense Society Revisited RITA STEBLIN Twenty years have now passed since I discovered materials belonging to the Unsinnsgesellschaft (Nonsense Society).1 This informal club, active in Vienna from April 1817 to December 1818, consisted mainly of young painters and poets with Schubert as one of its central members. In this essay I will review this discovery, my ensuing interpretations, and provide some new observations. In January 1994, at the start of a research project on Schubert ico- nography, I studied some illustrated documents at the Historisches Museum der Stadt Wien (now the Wienmuseum am Karlsplatz), titled “Unsinniaden.”2 The documents comprise forty-four watercolor pictures and thirty-seven pages of text recording two festive events celebrated by the Nonsense Society: the New Year’s Eve party at the end of 1817 and the group’s first birthday party on 18 April 1818.3 The pictures depict various club members, identified by their code names and dressed in fan- ciful costumes, as well as four group scenes for the first event, including Vivat es lebe Blasius Leks (Long live Blasius Leks; Figure 1), and two group scenes for the second event, including Feuergeister-Scene (Fire Spirit Scene; Figure 6 below).4 Because of the use of code names—and the misidentifi- cations written on the pictures by some previous owner of the
  • BEETHOVEN Explored Volume 6

    BEETHOVEN Explored Volume 6

    BEETHOVEN Explored volume 6 Ludwig van Beethoven (1770-1827): Symphony No. 3 (“Eroica”) in E flat major, Op 55 (1803) Version for piano quartet, published Vienna, 1807 1 I Allegro con brio 18:18 2 II Marcia Funebre: Adagio assai 13:22 3 III Scherzo: Allegro vivace 6:13 4 IV Allegro molto 11:08 total CD duration 49:01 Peter Sheppard Skærved violin Dov Scheindlin viola Neil Heyde cello Aaron Shorr piano msvcd 2008 0809730008825 On the piano Quartet version of the Eroica Symphony - a player’s perspective Playing music written in the ‘pre-recording age’, I try to remember that, the predominant experience of orchestral and operatic music was in arrangement. Even with regular concert-going, people only had limited opportunities to hear any work. At the beginning of the 1800s, there was an enormous market of arrangements for home use, ranging from solo- violin transcriptions of melodies from operas, through works for chamber ensemble, ‘enlargements’ of piano works, re- instrumentations of other works, and reductions of orchestral pieces. An important ‘point of sale’ for much of this type of chamber music, was that it should function in a number of configurations. Duo transcriptions of opera arias were written so that they could be played by flutes or violins, and transcriptions involving piano usually functioned acceptably with all the ‘accompanying’ melody instruments missed out. It was in these versions that most people learnt the popular repertoire, playing or listening in the home or salon. It would be three decades into the 1800s before ‘full scores’ of orchestral pieces became available for study; Robert Schumann, writing in his 1841 ‘Marriage Diary’ with his new wife, Clara, spoke of his wish for a library of these for the two of them to work at together, playing the orchestra scores at the piano.
  • The Beliefs and Reality Behind Beethoven's Behavior

    The Beliefs and Reality Behind Beethoven's Behavior

    Augustana College Augustana Digital Commons Festschrift: Beethoven's Symphony No. 3, Op. 55 Festschriften 2017 Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior Olivia M. Weismann Augustana College, Rock Island Illinois Abigail L. Smith Augustana College, Rock Island Illinois Moira R. Dunn Augustana College, Rock Island Illinois Kathryn E. Krajewski Augustana College, Rock Island Illinois Follow this and additional works at: http://digitalcommons.augustana.edu/muscbeethoven Part of the Musicology Commons Augustana Digital Commons Citation Weismann, Olivia M.; Smith, Abigail L.; Dunn, Moira R.; and Krajewski, Kathryn E.. "Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior" (2017). Festschrift: Beethoven's Symphony No. 3, Op. 55. http://digitalcommons.augustana.edu/muscbeethoven/4 This Student Paper is brought to you for free and open access by the Festschriften at Augustana Digital Commons. It has been accepted for inclusion in Festschrift: Beethoven's Symphony No. 3, Op. 55 by an authorized administrator of Augustana Digital Commons. For more information, please contact [email protected]. Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior Moira Dunn Kathryn Krajewski Abigail Smith Olivia Weismann Augustana College MUSC 313—Styles and Literature of Music II February 10, 2017 1 Abstract: This paper will explore the relationships which Beethoven had during the years he composed and premiered his Eroica Symphony. Some of the individuals who will be discussed in this paper include Prince ​ ​ Lobkowitz, Ferdinand Ries, and Franz Wegeler. After learning about the nature of these relationships, the reader should begin to realize that Beethoven’s notoriously irrational or ill-tempered behavior was only one facet of his life.
  • A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata

    A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata

    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ...................................................
  • Rehearing Beethoven Festival Program, Complete, November-December 2020

    Rehearing Beethoven Festival Program, Complete, November-December 2020

    CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time.
  • Franz Schubert: Inside, out (Mus 7903)

    Franz Schubert: Inside, out (Mus 7903)

    FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E.
  • Connected by Music Dear Friends of the School of Music

    Connected by Music Dear Friends of the School of Music

    sonorities 2021 The News Magazine of the University of Illinois School of Music Connected by Music Dear Friends of the School of Music, Published for the alumni and friends of the ast year was my first as director of the school and as a member School of Music at the University of Illinois at of the faculty. It was a year full of surprises. Most of these Urbana-Champaign. surprises were wonderful, as I was introduced to tremendously The School of Music is a unit of the College of Lcreative students and faculty, attended world-class performances Fine + Applied Arts and has been an accredited on campus, and got to meet many of you for the first time. institutional member of the National Association Nothing, however, could have prepared any of us for the of Schools of Music since 1933. changes we had to make beginning in March 2020 with the onset of COVID-19. Kevin Hamilton, Dean of the College of Fine + These involved switching our spring and summer programs to an online format Applied Arts with very little notice and preparing for a fall semester in which some of our activi- Jeffrey Sposato, Director of the School of Music ties took place on campus and some stayed online. While I certainly would never Michael Siletti (PhD ’18), Editor have wished for a year with so many challenges, I have been deeply impressed by Design and layout by Studio 2D the determination, dedication, and generosity of our students, faculty, alumni, and On the cover: Members of the Varsity Men’s Glee friends.
  • Copyright by Denise Parr-Scanlin 2005

    Copyright by Denise Parr-Scanlin 2005

    Copyright by Denise Parr-Scanlin 2005 The Treatise Committee for Denise Parr-Scanlin Certifies that this is the approved version of the following treatise: Beethoven as Pianist: A View Through the Early Chamber Music Committee: K.M. Knittel, Supervisor Anton Nel, Co-Supervisor Nancy Garrett Robert Mollenauer David Neumeyer David Renner Beethoven as Pianist: A View Through the Early Chamber Music by Denise Parr-Scanlin, B.M., M.F.A. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December, 2005 Dedication To my mother and first piano teacher, Daisy Elizabeth Liles Parr Acknowledgements I wish to acknowledge the kind assistance of my treatise committee, Dr. Kay Knittel, Dr. Anton Nel, Professor Nancy Garrett, Dr. Robert Mollenauer, Dr. David Neumeyer, and Professor David Renner. I especially thank Dr. Kay Knittel for her expert guidance throughout the project. I also thank Janet Lanier for her assistance with the music examples and my husband, Paul Scanlin, for his constant support and encouragement v Beethoven as Pianist: A View Through the Early Chamber Music Publication No._____________ Denise Parr-Scanlin, D.M.A. The University of Texas at Austin, 2005 Supervisors: K.M. Knittel, Anton Nel Our inability to reconstruct what Ludwig van Beethoven must have sounded like as a pianist is one of the more vexing questions of music history. Unreliable sources and his short performing career, in addition to a lack of virtuoso public pieces, have contributed to this situation.
  • Simply Beethoven

    Simply Beethoven

    Simply Beethoven Simply Beethoven LEON PLANTINGA SIMPLY CHARLY NEW YORK Copyright © 2020 by Leon Plantinga Cover Illustration by José Ramos Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-64-3 Brought to you by http://simplycharly.com Contents Praise for Simply Beethoven vii Other Great Lives ix Series Editor's Foreword x Preface xi Introduction 1 1. The Beginning 5 2. Beethoven in Vienna: The First Years, 1792-1800 20 3. Into the New Century, 1800-05 38 4. Scaling the Heights, 1806-1809 58 5. Difficult Times, 1809-11 73 6. Distraction and Coping: 1812-15 91 7. 1816–1820: More Difficulties 109 8. Adversity and Triumph, 1821-24 124 9. Struggle and Culmination, 1825-1827 149 10. Beethoven’s Legacy 173 Sources 179 Suggested Reading 180 About the Author 182 A Word from the Publisher 183 Praise for Simply Beethoven “Simply Beethoven is a brief and eminently readable introduction to the life and works of the revered composer.Plantinga offers the lay- man reliable information based on his many years as a renowned scholar of the musical world of late-eighteenth and nineteenth- century Europe.
  • Ferdinand RIES Three Sonatas for Violin and Piano Eric Grossman, Violin • Susan Kagan, Piano Ferdinand Ries (1784-1838) Three Sonatas for Violin and Piano

    Ferdinand RIES Three Sonatas for Violin and Piano Eric Grossman, Violin • Susan Kagan, Piano Ferdinand Ries (1784-1838) Three Sonatas for Violin and Piano

    Ferdinand RIES Three Sonatas for Violin and Piano Eric Grossman, Violin • Susan Kagan, Piano Ferdinand Ries (1784-1838) Three Sonatas for Violin and Piano Ferdinand Ries is known mainly through his connection Beethoven), a valuable collection of reminiscences and Beethoven’s great piano sonata, the Appassionata, Op. 57, The finale, in Ries’s usual rondo form, reverts to the with Beethoven, as his family friend, piano student, and anecdotes about the composer. from 1805. The first movement opens with a brief, mood of the first movement, with a feeling of early biographer. Fourteen years Beethoven’s junior, Ries Ries composed eighteen violin sonatas, many of poignant Largo espressivo, followed by an Allegro agitato breathlessness in its fast tempo and rushing figuration; was born into a prominent musical family in Bonn; his them during his two-year stay in Paris from 1807 to 1809. whose feverish piano accompaniment expresses a mood but at the same time, it conveys a playful feeling rather father, Franz, principal violinist in the Electoral Court The opera-obsessed French public showed little interest of foreboding. The second theme turns to a major tonality, than a dramatic one. The rondo theme, in the tonic key, is orchestra, taught Beethoven violin and viola, and in Ries’s instrumental music, and in 1809 Ries departed but the mood of urgency embodied in the rapid figuration a quirky, disjointed little staccato figure in the piano, befriended his family during Beethoven’s youth. Largely on his European tour. The Violin Sonatas were brought of the piano writing does not change throughout the followed by a lyrical legato melody in F major in the violin.
  • Beethoven-Serie 03

    Beethoven-Serie 03

    Dr. Stephan Eisel An der Vogelweide 11 53229 Bonn [email protected] (17. Januar 2020) Stephan Eisel Die Musikstadt Bonn Die Musikliebhaberey nimmt unter den Einwohnern sehr zu“ – so charakterisierte das renommierte Magazin für Musik am 8. April 1787 Beethovens Heimatstadt, und ohne Zweifel wuchs der Komponist in einer ausgesprochenen Musikstadt auf. Das Zentrum bildeten die Hofkapelle und das Hoftheater, in dem die aktuellsten Opern der Zeit gespielt wurden. Darum herum hatte sich zugleich eine außerordentlich vielfältige Szene begabter Laienmusiker gebildet, zu denen auch der Kurfürst selbst gehörte. Als jüngster Sohn der Kaiserin Maria Theresia hatte Max Franz eine solide Musikausbildung erhalten, musizierte selbst vor allem an der Bratsche und nannte eine außergewöhnliche Notensammlung sein Eigen. Mit Wolfgang Amadeus Mozart war er persönlich bekannt und hatte auch die Möglichkeit ventiliert, diesen zum Bonner Hofkapellmeister zu berufen. Das Rückgrat der Musikstadt Bonn waren die örtlichen Musikerfamilien. Dass bei den Beethovens ab 1733 mit dem Bassisten und späteren Hofkapellmeister Ludwig van Beethoven d.Ä., seinem Sohn Johann (Tenor) und dem Enkel Ludwig drei Generationen aus einer Familie der Hofkapelle angehörten, war dabei keineswegs ungewöhnlich. Eine besonders einflussreiche Bonner Musiker-Dynastie war die Familie Ries. Johann Ries, gleichsam der „Urvater“ der Familie, war schon 1747 als Trompeter und ab 1754 als Geiger Mitglied in der Hofkapelle. Zwei seiner vier Kinder wurden ebenfalls Mitglieder des Orchesters: Johanns älteste Tochter Anna Maria (verheiratete Drewer) war 1764-1794 eine viel gelobte Sängerin, sein Sohn Franz Anton galt als Wunderkind und wurde 1774 offiziell als Geiger in die Hofkapelle aufgenommen, der er – in den 90er Jahren als Konzertmeister bzw.