DOCSLIB.ORG

List of Compositions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

LIST OF COMPOSITIONS Juvenilia and student works The large collection of Berg's juvenilia and student works may be divided into four categories: (1) Songs There exist in manuscript 86 songs dating from the period c1900-1908, just over half of which have been published. Eight of these songs were published during Berg'S lifetime, the Seven Early Songs (1905-8) and the ftrst version of Schliesse mir die Augen beide (1907); another song, An Leukon (1908), was published in Willi Reich, Alban Berg (Zurich: Atlantis Verlag, 1963); more recently 46 songs have been published as two volumes ofJugendlieder. (2) Choruses and canons 16 canons for accompanied and unaccompanied voices; two-part canon for clarinet and hom with piano accompaniment (1907); four-part chorus. (3) Works for string quartet and quintet Miscellaneous fugues, dances, variations, and other movements. The collection includes one. complete four-movement string quartet and a double fugue for string quintet and piano (1907). (4) Works for piano Miscellaneous scherzos, variations, etc. for piano or piano duet; the drafts of ftve (mainly unfmished) piano sonatas. Of these works only the Twelve Variations on an Original Theme (1908) have been published. 292 THE BERG COMPANION All of the unpublished works should appear in the near future as part of the forthcoming Alb~ Berg Gesamtmugabe. Published works Jugendlieder, vol. 1(1901-4),23 selected songs for voice and piano Schliesse mir die Augen beide [1], for voice and piano (1907) Jugendlieder, vol. 2 (1904-8), 23 selected songs for voice and piano Seven Early Songs, for voice and piano (1905-8); orchestral arrangement (1928) Am Leukon, for voice and piano (1908) Twelve Variations on an Original Theme, for piano (1908) Sonata op. 1, for piano (1907-8) Four Songs op. 2, for voice and piano (1909-10) String Quartet op. 3 (1910) Five Orchestral Songs on Picture-Postcard Texts of Peter Altenberg op. 4, for voice and orchestra (1912) Four Pieces op. 5, for clarinet and piano (1913) Three Orchestral Pieces op. 6 (1914-15) Wo.aeck op. 7, opera in three acts after Georg Buchner (1917-22) Three Fragments from Wo.aeck, for soprano and orchestra (1924) Chamber Concerto, for piano, violin, and 13 wind instruments (1923-5) Adagio, for violin, clarinet, and piano (1925) [arrangement of second movement of Chamber Concerto] Schliesse mir die Augen beide [II], for voice and piano (1925) Lyric Suite, for string quartet (1925-6) Der Wein, concert aria for soprano and orchestra (1929) Four-part Canon 'Alban Berg an das Frankfurter Opemhaus' , for chorus (1930) Lulu, opera in three acts after Frank Wedekind (1929--35) Five Symphonic Pieces fromLrdu [Lrdu Suite), for soprano and orchestra (1935) Concerto for violin and orchestra (1935) NOTES ON THE CONTRIBUTORS Bruce Archibald is Professor of Music Theory at the College of Music, Temple University, Philadelphia. A composer and pianist, he studied with John Kirk­ patrick. His PhD dissertation for Harvard concerned the harmony of the early works of Berg. Friedrich Gerha is a distinguished composer and conductor whose works have been widely performed throughout Europe. He was co-founder of the Die Reihe Ensemble. His definitive realiZation of the unorchestrated portion of Act III of Lulu, which made possible the first complete performances of Berg's masterpiece, has met with universal acclaim. Brenda Dalen is visting assistant Professor of Musicology at the University of Alberta, Edmonton, Canada. She is an editor of the International Alban Berg Society Newsletter and a doctoral candidate at Yale University, where she is currently completing her dissertation 'A Study of Berg's Chamber Concerto Based on the Source Documents'. Mark DeVoto, Professor of Music at Tufts University, is editing Berg's Altenberg Songs for the forthcoming Alban Berg Gesamtausgabe. He is a member of the Board of Directors of the International Alban Berg Society and was the fmt editor of the Society's Newsletter. A student of Walter Piston at Harvard, DeVoto has recently revised and edited the new fifth edition of Piston's Harmony. Martin Esslin has been Professor of Drama at Stanford University since 1977 when he left the BBe after a long and distinguished career that culminated in a 14-year period as Head of Drama, BBC Radio. His many publications include books on Brecht, Becken, Pinter, the Theatre of the Absurd, and German Drama. He was awarded the OBE in 1978. 294 THE BERG COMPANION Christopher Hailey is Assistant Professor of Music at Occidental College, Los Angeles. Co-editor and translator of the Berg-Schoenberg Correspondence, and editor of the Song volume of the Alban Berg Gesamtausgabe, he has also edited the correspondence between Franz Schreker and Paul Bekker and is author of a forthcoming biography of Franz Schreker. Patricia Hall is an Acting Assistant Professor at the University of California at Santa Barbara. In 1983 she was awarded a Fulbright Fellowship to Vienna to study Berg's sketches for Lulu and has published several articles and reviews on the topic. Douglas Jarman is Principal Lecturer in Academic Studies at the Royal Northern College of Music, Manchester. A member of the Board of Directors of the International Alban Berg Society and editor of the forthcoming Concerto volume of the Alban Berg Gesamtausgabe, he is author of The Music of Alban Berg, Kurt Weill; an Illustrated Biography, and a forthcoming monograph on Wozzeck. Stephen Keu, Management Consultant for Bain & Co., received his AM from Harvard University and is working on a thesis on Berg's Four Songs op. 2. Ouring the 1985 centennial year he was co-director of the Harvard University Symposium on Berg's early music. He has for a long time been responsible for the bibliographical material in the Newsletter of the International Berg Society . George Perle is a distinguished composer and a leading authority on the music of Alban Berg. A member of the American Academy and Institute of Arts and Letters and of the National Academy of Arts and Sciences, Professor Perle has recently been awarded the Kinkeldey Award of the American Musicological Society, the Pulitzer Prize for his Fourth Wind Quintet, and a MacArthur Fellowship. His most recent book, The Listening Composer, is shonly to be published by the University of California Press. Derrick Puffeu is a Lecturer in Music at Cambridge University. He is editor of Music Analysis and of two forthcoming Cambridge Opera Handbooks on Richard Strauss's Salome and Elektra. Joan Allen Smith is author of Schoenberg and His Circle and editor of the Newsletter of the Intemational Alban Berg SocieO'. A violin student of Rudolf Kolisch, she received her PhD in music theory from Princeton and currently teaches at the University of California, Santa Barbara. Michael Taylor is lecturer in Music at Trinity College, Dublin and was a member of the Arts Council of Ireland 1984-8. INDEX Adler, Oskar, 182 Beethoven, Ludwig van, 1,22,63, Adorno, Theodor, 146, 182, 191-2, 67,84,96,222,224,236,248 226-8,233 Symphony no. 9, 129 Akademischer Verband fUr Bekker, Paul, 223 Literatur und Musik, 49 Berg, Alban, Albert, Engen d' Altenberg Songs op. 4, 47-52, 53, Tieflmul, 202 54,55.7,58,59,60,61.2,63, Altenberg, Peter [Richard 68,106,108,112,121,124,139 EngIinder), 7-9, 19,26,29,48, An Leukon, 37 182 Chamber Concerto, 22, 68, 96, Askenase, Stefan, 16, 22, 24, 30 141,142,143-7,148-9,150-51, Ayrey, Craig, 81 152-3, 154-61, 162, 163-4, 165, 166,167-73,174-80,181,185, Babbitt, Milton, 269, 284 188 Bach, Johann Sebastian, 67, ioo, Double Fugue, for string quartet 269 and piano, 96 Es ist gmug, 185, 189 Four Pieces op. S, for clarinet and Balazs, Bela, 11 piano, 51,91, 106-8, 109.10, Balzac, Honore de 111-12,139 Seraphita, 111 Four Songs op. 2, 37, 43-4, 45-6, Barish, John, 229 47,67-71,72.3,74,75-80,81-2, ~6k,Bela,II,269,289 83,84,85,86-7,96,111 Bluebeard's Castle, 214 Jugendlieder, 37-40,41, 70-72 String Quartet no. 2,271,275 Lulu, IS, 20,29,63-4,68, 84, 119, String Quartet no. 4, 272, 274-6, 139,147, ISO, 186, 189, 191-2, 279-80, 284-5 200-201,208,212-16,226, String Quartet no. 5,270-72,273, 228-9, 23S-44, 245, 246-8, 249, 279,286,287-8 2S0, 251, 2S2, 253-4, 25S-9, Baudelaire, Charles, 9, 22, 63, 189 261-7,269,270-75,276,277-8, 29S 296 THE BERG COMPANION 278-9, 280-89 Berg, Helene [nee Nahowski], 2, Lulu Suite, 150, 177 7-8, 13, 16-20,22,25-9,31,37-8, Lyric Suite, 63-4, 105, 147, 150, 48,96,105,110,158,182,190, 177,181,185-6,189,191,205, 192,194,211,228,235,257 247,284-5,287 Berg, Herman [brother], 22 Piano Sonata op. 1, 36, 43-4, 47, Berg, Johanna [mother), 1,23,28, 68,71,91-2,93-5,96, 119 223 Piano Variations, 36,91,92,96, Berg, Smaragda [sister), 8, 16,22, 119 96 Schliesu mir die Augen beide Berghof, 17-18,22 (1907),37 Berlin, 11,47, 106,183,212 Schliesu mir die Augen beide Bittner, Julius, 225 (1925),63 Blavatsky, Helena, 181-2 Seven Early Songs, 37, 39,40, 41, Blond, Kasper, 28 42-3,96,176 Boruttau, Alfred, 50 StringQuartetop. 3, 37,43,47-8, BouIez, Pierre, 206, 216 68,71,91,96,97·100,101,102, Brahms, Johannes, 22, 64, 67-8, 84, 103,104-5, 108, 110-11,274, 91,96,222,224 281,282 Brecht, BenoIt, 12, 213 Three Orchestral Pieces op.
Recommended publications
  • Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood

    Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood

    SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S.
  • Preview Notes • Week Four • Persons Auditorium

    Preview Notes • Week Four • Persons Auditorium

    2019 Preview Notes • Week Four • Persons Auditorium Saturday, August 3 at 8:00pm Sieben frühe Lieder (1905-08) Dolce Cantavi (2015) Alban Berg Caroline Shaw Born February 9, 1885 Born August 1, 1982 Died December 24, 1935 Duration: approx. 3 minutes Duration: approx. 15 minutes Marlboro premiere Last Marlboro performance: 1997 Berg’s Sieben frühe Liede, literally “seven early songs,” As she has done in other works such as her piano were written while he was still a student of Arnold concerto for Jonathan Biss, which was inspired by Schoenberg. In fact, three of these songs were premiered Beethoven’s third piano concerto, Shaw looks into music in a concert by Schoenberg’s students in late 1907, history to compose music for the present. This piece in around the time that Berg met the woman whom he particular eschews fixed meter to recall the conventions would marry. In honor of the 10-year anniversary of this of early music and to highlight the natural rhythms of the meeting, he later revisited and corrected a final version of libretto. The text of this short but wonderfully involved the songs. The whole set was not published until 1928, song is taken from a poem by Francesca Turini Bufalini when Berg arranged an orchestrated version. Each song (1553-1641). Not only does the language harken back to features text by a different poet, so there is no through- an artistic period before our own, but the music flits narrative, however the songs all feature similar themes, through references of erstwhile luminaries such as revolving around night, longing, and infatuation.
  • MTO 6.5: Perry, Music, Evolution and the Ladder of Progress

    MTO 6.5: Perry, Music, Evolution and the Ladder of Progress

    Volume 6, Number 5, November 2000 Copyright © 2000 Society for Music Theory Jeffrey Perry KEYWORDS: evolution, genealogy, progress, compositional theory, polemics, Darwin, Goethe, Messing, Gould, Neff, Bloom, Straus, Urpflanze, Wagner, Schoenberg, Webern, Debussy, Boulez, Busoni, Partch, Rochberg, Russolo ABSTRACT: This paper examines the compositional genealogies presented by several composers of the nineteenth and twentieth centuries, notably Wagner, Schoenberg, Webern, and Boulez, and of writings by other composers related dialectically to the genealogical mode of composerly self-perception. It also examines resonances between composers’ genealogical polemics and contemporary notions borrowed from literature and evolutionary theory (e.g., the organicism of Goethe and other Enlightenment thinkers, the “ladder of progress” misreading of Darwinian evolution), and explores issues of centralization, marginalization, and legitimation as they are framed by the genealogical/ladder-of-progress model and as they apply to a wide range of Western composers. [1] Introduction [1.1] The topic of this essay is the stories composers tell about their own work and its place in musical history. It is probable that composers have always pondered this topic, but only since the nineteenth century has finding or making one’s place among the composers of the past (and future) been an urgent, essential undertaking. As Scott Messing asserts in his study of neoclassicism in music, a “homogeneous and uniform [musical] past” was the creation of the nineteenth century;
  • Zemlinsky's Mermaid

    Zemlinsky's Mermaid

    Zemlinsky’s Mermaid: a new critical edition Antony Beaumont One of the most fascinating works from the orchestral repertoire of the 20th century is being reborn. Antony Beaumont is working on a new critical edition and surprises us with an as yet unknown scene. In 1976, the orchestral score of an untitled piece by Zemlinsky came to light in a private Viennese collection. Four musicologists involved at that time in Zemlinsky research (Alfred Clayton, Peter Gülke, Keith Rooke and Horst Weber) independently identified it as Part I of The Mermaid, and confirmed that a folder in the Zemlinsky Collection at The Library of Congress contained the autograph score of the remaining two movements. Once the two manuscripts had been brought together and collated, the work was performed – for the first time in 75 years – by the Austrian Youth Orchestra conducted by Peter Gülke. Like all other early champions of The Mermaid, Gülke was obliged to conduct from a facsimile of the autograph score: a challenging task at the best of times, exacerbated in this instance by Zemlinsky’s diminutive handwriting, numerous erasures, corrections and other blemishes. These problems also affected the performing materials. Newly copied for the occasion, they have since been updated several times. It was announced that Gülke would prepare a new edition of the score, but the project came to nothing. As a stopgap, Universal Edition prepared a handwritten copyist’s score of Parts II and III. With regard to legibility, this score was a distinct improvement, but unfortunately it was marred by numerous errors and omissions.
  • Complete Catalogue 2006 Catalogue Complete

    Complete Catalogue 2006 Catalogue Complete

    COMPLETE CATALOGUE 2006 COMPLETE CATALOGUE Inhalt ORFEO A – Z............................................................................................................................................................................................................................................................. 4 Recital............................................................................................................................................................................................................................................................................82 Anthologie ............................................................................................................................................................................................................................................................89 Weihnachten ....................................................................................................................................................................................................................................................96 ORFEO D’OR Bayerische Staatsoper Live ...................................................................................................................................................................................................99 Bayreuther Festspiele Live ...................................................................................................................................................................................................109
  • Liner Notes, Visit Our Web Site: Recording: March 22, 2012, Philharmonie in Berlin, Germany

    Liner Notes, Visit Our Web Site: Recording: March 22, 2012, Philharmonie in Berlin, Germany

    21802.booklet.16.aas 5/23/18 1:44 PM Page 2 CHRISTIAN WOLFF station Südwestfunk for Donaueschinger Musiktage 1998, and first performed on October 16, 1998 by the SWF Symphony Orchestra, conducted by Jürg Wyttenbach, 2 Orchestra Pieces with Robyn Schulkowsky as solo percussionist. mong the many developments that have transformed the Western Wolff had the idea that the second part could have the character of a sort classical orchestra over the last 100 years or so, two major of percussion concerto for Schulkowsky, a longstanding colleague and friend with tendencies may be identified: whom he had already worked closely, and in whose musicality, breadth of interests, experience, and virtuosity he has found great inspiration. He saw the introduction of 1—the expansion of the orchestra to include a wide range of a solo percussion part as a fitting way of paying tribute to the memory of David instruments and sound sources from outside and beyond the Tudor, whose pre-eminent pianistic skill, inventiveness, and creativity had exercised A19th-century classical tradition, in particular the greatly extended use of pitched such a crucial influence on the development of many of his earlier compositions. and unpitched percussion. The first part of John, David, as Wolff describes it, was composed by 2—the discovery and invention of new groupings and relationships within the combining and juxtaposing a number of “songs,” each of which is made up of a orchestra, through the reordering, realignment, and spatial distribution of its specified number of sounds: originally between 1 and 80 (with reference to traditional instrumental resources.
  • The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014

    The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty.
  • INFORMATION to USERS This Manuscript Has Been Reproduced

    INFORMATION to USERS This Manuscript Has Been Reproduced

    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L.
  • Academiccatalog 2017.Pdf

    Academiccatalog 2017.Pdf

    New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 Fax (617) 262-0500 New England Conservatory is accredited by the New England Association of Schools and Colleges. New England Conservatory does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, genetic make-up, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs or other Conservatory-sponsored activities. For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland, June 2016. #e information herein is subject to change and amendment without notice. Table of Contents 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-57 Academic Regulations and Information 59-61 Health Services and Residence Hall Information 63-69 Financial Information 71-85 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 87 Music-in-Education Concentration 89-105 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate Diploma Professional String Quartet Training Program Professional
  • Die Seejungfrau Zemlinsky

    Die Seejungfrau Zemlinsky

    Zemlinsky Die Seejungfrau NETHERLANDS PHILHARMONIC ORCHESTRA MARC ALBRECHT Cover image: derived from Salted Earth (2017), cling to them. Has Zemlinsky’s time come? photo series by Sophie Gabrielle and Coby Baker Little mermaid in a fin-de-siècle https://www.sophiegabriellephoto.com garment Or is the question now beside the point? http://www.cobybaker.com In that Romantic vein, the Lyric Symphony ‘I have always thought and still believe remains Zemlinsky’s ‘masterpiece’: frequently that he was a great composer. Maybe performed, recorded, and esteemed. His his time will come earlier than we think.’ operas are now staged more often, at least Arnold Schoenberg was far from given to in Germany. In that same 1949 sketch, Alexander von Zemlinsky (1871-1942) exaggerated claims for ‘greatness’, yet he Schoenberg praised Zemlinsky the opera could hardly have been more emphatic in composer extravagantly, saying he knew the case of his friend, brother-in-law, mentor, not one ‘composer after Wagner who could Die Seejungfrau (Antony Beaumont edition 2013) advocate, interpreter, and, of course, fellow satisfy the demands of the theatre with Fantasy in three movements for large orchestra, after a fairy-tale by Andersen composer, Alexander Zemlinsky. Ten years better musical substance than he. His ideas, later, in 1959, another, still more exacting his forms, his sonorities, and every turn of the 1 I. Sehr mäßig bewegt 15. 56 modernist critic, Theodor W. Adorno, wrote music sprang directly from the action, from 2 II. Sehr bewegt, rauschend 17. 06 in surprisingly glowing terms. Zemlinsky the scenery, and from the singers’ voices with 3 III.
  • COMPOSITIONAL PRACTICES (C. 1925-55) Music Composition 212, 412 (2018, Fall Term) Instructor, Robert Morris Time: Tuesday

    COMPOSITIONAL PRACTICES (C. 1925-55) Music Composition 212, 412 (2018, Fall Term) Instructor, Robert Morris Time: Tuesday

    COMPOSITIONAL PRACTICES (c. 1925-55) Music Composition 212, 412 (2018, Fall Term) Instructor, Robert Morris Time: Tuesday, Thursday; 10:00-11:15 am Schedule The following lists the topics and pieces we will cover during the term. Other pieces and composers may be added if necessary. I will try to keep to the following schedule, but I have found I get behind by mid-October. Please note that wherever we are in the schedule, the dates for the three projects and listening quizzes will remain inviolable. There are two kinds of activities in this class: lectures and analysis. In lectures, I will hold forth; in analysis I may assign passages to members of the class to present. I will expect students to be prepared for the analysis no matter who is presenting. There will be short homework assignments from time to time. I have copies of some of the pieces to pass out to the class; to obtain scores of other pieces, please buy them or use the Sibley library. Note: we will not hold class on the following days: Thur. 9/27 (I'm away) Tues. 10/16 (Fall Break) Thur. 10/18 (I'm away) Tues. Nov. 24 (Thanksgiving) Class content and deadlines date day topic Special Theory deadlines topic 8/30 H Introduction: trends in new Pitch and pitch-class music; bibliographic (pc) space. Integer sources; thoughts on the notation; function relations between concept and notation creativity and knowledge. 9/4 T Analysis: Bartók, Music Tn, I, and intervals in for Strings, Percussion and pitch space Celesta.
  • Dissertation Body

    Dissertation Body

    Summary of Three Dissertation Recitals by Leo R. Singer A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2020 Doctoral Committee: Professor Richard Aaron, Chair Professor Colleen Conway Assistant Professor Joseph Gascho Professor Andrew Jennings Professor James Joyce Leo R. Singer [email protected] ORCID iD: 0000-0002-2741-1104 © Leo R. Singer 2020 ACKNOWLEDGMENTS This dissertation was made possible by the incredible faculty at the University of Michigan. Each course presented new information and ways of thinking, which in turn inspired the programming and performing choices for these three dissertation recitals. I would like to thank all the collaborators who worked tirelessly to make these performances special. I also must express my sincere and utmost gratitude to Professor Richard Aaron for his years of guidance, mentorship and inspiration. Lastly, I would like to thank my parents, Scott and Rochelle, my sister, Julie, the rest of my family, and all of my friends for their unwavering support throughout the many ups and downs during my years of education. !ii TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT iv RECITALS I. MUSIC FROM FRANCE 1 RECITAL 1 PROGRAM 1 RECITAL 1 PROGRAM NOTES 2 BIBLIOGRAPHY 8 II. MUSIC FROM GERMANY AND AUSTRIA 10 RECITAL 2 PROGRAM 10 RECITAL 2 PROGRAM NOTES 12 BIBLIOGRAPHY 26 III. MUSIC FROM AMERICA 28 RECITAL 3 PROGRAM 28 RECITAL 3 PROGRAM NOTES 29 BIBLIOGRAPHY 37 !iii ABSTRACT In each of the three dissertation cello recitals, music from a different nation is featured. The first is music from France, the second from Germany and Austria, and the third from America.