DOCSLIB.ORG

Brahms's Elegies Nicole Grimes Index More Information Www

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Cambridge University Press 978-1-108-47449-8 — Brahms's Elegies Nicole Grimes Index More Information Index Abrams, M. H., 7, 38, 39, 40, 81 Badiou, Alain Adam and Eve, 151, 152 on Wagner, 238 Adorno, Theodor W. (1903–1969), 3, 12, 14, Bahr, Erhard, 67, 85, 86, 88, 113 18, 62, 67, 206, 235, 242 Bauer, Amy, 248 ‘Brahms Aktuell’, 12, 207–9, 213–14, 215, Beckett, Samuel, 207 229, 250–3 Beethoven, Ludwig van (1770–1827), 8, 14, 68, ‘On the Problem of Musical Analysis’, 222 90, 210, 212, 235, 238, 245, 252 Aesthetic Theory, 214 ‘Lebewohl’ Sonata, Op. 81a, 95–9, 102, 114, and authenticity, 239 118 and Beethoven’s late style, 212 An die ferne Geliebte, Op. 98, 102, 104–10, and formal functions, 222 118 and inauthenticity, 238 Symphony No. 5, 51 and lateness, 216 Symphony No. 9, 201, 202 and resignation, 238 Behler, Constantin, 4, 33, 85 and Schumann’s subjectivity, 214, 251 Bekker, Paul (1882–1937), 14 and sonata form, 214 Beller-McKenna, Daniel, 135, 164, 181, 200 as exile, 218 Berg, Alban (1885–1935), 208 Beethoven manuscript, 15, 207, 212, 216, Wozzeck, 238 217, 219, 236 Berlioz, Hector (1803–1869), 238 Mahler, A Musical Physiognomy, 208, 216, Bible, The, 145, 148, 152, 179 222 Brahms, Bible notebook. See entry under Minima Moralia, 247 Johannes Brahms on Beethoven and history, 212–13 Luther Bible, 2, 12, 163, 171, 202 on failure, 16, 237–9 Specific passages Philosophie der neuen Musik, 211 1 Kings, 184 Philosophy of New Music, 216 Corinthians, 11, 163, 165, 172, Adorno, Theodor W. and Max Horkheimer 186, 189 Dialectic of Enlightenment,67 Ecclesiastes, 102, 184, 185 Aeschylus, 9, 19, 71, 121, 147 Ecclesiasticus, 184 The Oresteia, 147 Isaiah, 2, 102 Allgemeine musikalische Zeitung,28 Job, 9, 121, 133, 141, 151, 152, 154 Allgeyer, Julius (1829–1900), 68, 74, 75 John, 102 ‘Anselm Feuerbach’,75 Song of Solomon, 186 Anzengruber, Ludwig (1839–1889), 168 Wisdom of Solomon, 183, 187, 189 Der Pfarrer von Kirchfeld, 177 Biblical justice, 133 Aristotle, 102 Bildung, 13, 14–15, 16, 31, 33–4, 63, 123, 174, Aurelius, Marcus (121–180), 6 218, 244, 248 Austrian Constitution (1867), 173 and the rise of fascism, 14 Avins, Styra, 128, 131 Bildungsroman, 30, 38, 47, 52 Billroth, Theodor (1829–1894), 9, 12, 78, 127, Bach, Johann Sebastian, 1, 12, 71 129, 137, 140, 141, 154, 168, 172, 173 Christ lag in Todesbanden, BWV 4, 1 letters to Brahms on religion, 175 Ich hatte viel Bekümmernis, BWV 21, 1 Bismarck, Otto von, 171, 181 271 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-47449-8 — Brahms's Elegies Nicole Grimes Index More Information 272 Index Bloom, Harold ‘Mit vierzig Jahren’ Op. 94 No. 1, 196 Anxiety of Influence, 232 ‘Regenlied’ Op. 59 No. 3, 223 Böcklin, Arnold (1827–1901), 76 ‘Salome’ Op. 69 No. 8, 195 Boym, Svetlana, 92, 241 ‘Therese’ Op. 86 No. 1, 195 Bozarth, George, 200 ‘Todessehnen’ Op. 86 No. 6, 242 Brachmann, Jan, 173, 179 ‘Wie Melodien zieht es mir’ Op. 105 No. 1, Brahms, Christiane Johanna (1789–1865) 220 death of, 75, 102 ‘Wiegenlied’ Op. 49 No. 4, 219 Brahms, Johannes (1833–1897) 49 Deutsches Volkslieder, WoO 33, 167 and anti-Catholicism, 181 Academic Festival Overture, Op. 80, 128 and classical antiquity, 2, 18, 69, 78, Acht Lieder und Gesänge, Op. 59, 220 90, 162 Alto Rhapsody, Op. 53, 51, 240 and cultural pessimism, 204 Begräbnisgesang, Op. 13, 1 and cultural Protestantism, 11 Deutsche Volkskinderlieder, WoO 31, 219 and German patriotism, 11, 172 Ein deutsches Requiem, Op. 45, 1, 3, 50, 51, and his German circle in Vienna, 174 102–4, 110, 128, 151, 168, 180, 226 and his liberal Viennese circle, 172–7 Eleven Chorale Preludes, Op. 122, 172 and Italian journeys, 78, 129, 178 Fünf Gesänge, Op. 104, 196 and Italian Renaissance art, 10, 72, 75, 76, 78, Fünf Lieder, Op. 105, 220, 226 90, 121, 129, 137, 148, 154 Gesang der Parzen, Op. 89, 2, 5, 7, 9, 11, 22, and Mahler, Symphony No. 2, 200, 201 69, 74, 119, 140, 155, 163, 206 and melancholy, 130–4, 204 Nänie, Op. 82, 2, 5, 7–9, 11, 97, 102, 104, 106, and musical modernism, 208 111, 117, 120, 163, 206 and the literature of humanity, 63, 244 and plagal harmony, 118 and the Schumanns’ library, 71 Orchestral sketch A121, 201 apartment at Karlsgasse 4, Vienna, 171 Orchestral sketch A122, 195–201, 202 Bible notebook, 164, 183, 184, 189 Parzenlied. See Gesang der Parzen, Op. 89, choice of Biblical texts, 151 Piano Concerto No. 1 in D Minor, Op. 15, Des jungen Kreislers Schatzkästlein,5,20 240 E♭ as a tonality related to bereavement, 49, Piano Concerto No. 2 in B♭ Major, Op. 83, 50, 196 200, 242 Gesellschaft der Musikfreunde, 6, 161 Piano Quartet No. 3 in C Minor, Op. 60, 182, his reading of Nietzsche, 165–72 240 his summer retreats, 128 Piano Trio No. 3 in C Minor, Op. 101, 16, lack of religious faith, 180 177, 217, 219, 220, 221, 229–36, 240 Library, 5, 6, 7, 9, 19, 71, 145 Rinaldo, Op. 50, 74 Lutheran upbringing, 172 Schicksalslied, Op. 54, 2, 5, 7, 11, 25, 43, 46, on immortality, 180–1 48, 64, 69, 74, 122, 163, 206, 243, 244 Study of counterpoint, 71 Serious Songs. See Vier ernste Gesänge, views on organized religion, 172 Op. 121 views on the Bible, 173 Sonata for Cello and Piano No. 2 in F Major, Brahms, Johannes, works Op. 99, 177, 219 ‘Abendregen’ Op. 70 No. 4, 195 Sonata for Violin and Piano No. 1 in ‘Auf dem Kirchhofe’ Op. 105 No. 4, 220, 227 G Major, Op. 78, 16, 50, 200, 217, 220, ‘Dammrung senkte sich von oben’ Op. 59 223–5, 235, 240, 242 No. 1, 246 Sonata for Violin and Piano No. 2 in ‘Fahrwohl’ Op. 93a No. 4, 195 A Major, Op. 100, 16, 177, 200, 217, ‘Geistliches Wiegenlied’ Op. 91 No. 2, 219 219, 220, 225–9, 230, 240, 242 ‘Heimweh’ Lieder,Op. 63 Nos 7–9, 219 Sonata for Violin and Piano No. 3 in ‘Immer leiser wird mein Schlummer’ Op. D Minor, Op. 108, 220 105 No. 2, 220, 226, 242 Song of Destiny. See Schicksalslied, Op. 54 ‘Mir lächelt kein Frühling’, WoO 25, 132, Song of the Fates. See Gesang der Parzen, Op. 137, 159 89 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-47449-8 — Brahms's Elegies Nicole Grimes Index More Information Index 273 String Quartet No. 1 in C Minor, Op. 51 Dahlhaus, Carl, 66, 221 No. 1, 240 Dante Alighieri (1265–1321) Symphony No. 1 in C Minor, Op. 68, 51, 166 Divine Comedy,71 Symphony No. 2 in D Major, Op. 73, 127, Danuser, Hermann, 247 130–2 Darcy, Warren, 10, 45, 231 Symphony No. 4 in E Minor, Op. 98, 253 Darwin, Charles (1809–1882), 176 Thirteen Canons for Female Voices, Op. 113, Daumer, Georg Friedrich (1800–1875), 70 196 Daverio, John, 7, 44–5, 46 Tragic Overture, Op. 81, 128 Deutsch-Römer, 8, 69, 76–81, 90 Trio for Piano, Violin, and Horn, Op. 40, Dietrich, Albert (1829–1908), 71 49 Directional tonality, 47 Triumphlied, Op. 55, 201 Disenchantment, 65, 66, 67, 77, 92, 106, 207, Two Motets, Op. 74, 168 217 No. 1, ‘Warum’, 128, 132–41, 159 Divine justice, 9, 121, 141 Variations on a Theme by Robert Schumann, Divine punishment, 9 Op. 23, 49, 51 Domenichino (1581–1641), 72 Vier ernste Gesänge, Op. 121, 2, 6, 12, 120, Dreikaiserjahr (1888), 183, 196 151, 163, 180, 184, 201, 242 Durante, Francesco (1684–1755), 71 Vier Gesänge, Op. 17, 1 Dvořák, Antonin (1841–1904), 164 Zwei Gesänge, Op. 91 Religious faith, 180 No. 1, ‘Gestillte Sehnsucht’, 196 Brahms-Institut, Lübeck, 6, 56, 144 Eisler, Hanns (1898–1962), 62 Breitkopf & Härtel, 97 Eliot, T. S. (1888–1965), 39 Brinkmann, Reinhold, 8, 69, 91, 128, 130, 133, The Four Quartets,55 204, 208 Engelmann (née Vick), Emma Brandes late idyll, 91–5 (1853–1940), 130 Britten, Benjamin (1913–1976), 63 Engelmann, Theodor (1843–1909), 130 Brodbeck, David, 136 Enlightenment, The, 4, 77, 174 Bruckner, Anton (1824–1896), 92, 181, 215, Eternal punishment, 9, 121, 149 252 Euripides, 9, 127 Büchner, Ludwig (1824–1899), 176 Iphigenia at Tauris, 147 Bülow, Hans von (1830–1894), 130 Iphigenia in Aulis, 147 Burckhardt, Jacob (1818–1897), 129 Die Kultur der Renaissance in Italien, 129 Faber (née Porubsky), Bertha (1814–1910), Burckhardt, Sigurd, 127 130, 174 Burgtheater, Vienna, 126 Fates, The, 123, 127 Burnham, Scott, 160 Feuerbach, Anselm (1829–1880), 8, 9, 118, 173 Byrd, William (1538–1632), 71 Arentino,75 Christus im Grab,75 Caplin, William, 46, 154 Dante,75 Carlyle, Thomas (1795–1881) Das Liebespaar,75 Past and Present,38 death of, 80 Cartesius, Renatus (1596–1650), 6 Dem kleinen an der Küste,75 Chopin, Frederic (1810–1849), 214, 251 Hafis,75 Chua, Daniel, 212 Iphigenie, 9, 72, 74, 75, 81, 98, 153 Cicero, Marcus Tullius (106 BCE–43 BCE), 6 Medea, 75, 79, 98 Correggio, Antonio da (1489–1534), 72 Plato’s Symposium, 74, 75 Corsi, Jacopo (1561–1602), 71 Feuerbach, Henriette (1812–1892), 68, 80, 90 Couture, Thomas (1815–1879), 71 Feuerbach, Johann Paul Anselm (1775–1833), Cultural pessimism, 66, 201, 205, 249 70 Cultural Protestantism. See Feuerbach, Josef Anselm (1768–1851), 70 Kulturprotestantismus Feuerbach, Ludwig (1804–1872), 70, 167, 176 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-47449-8 — Brahms's Elegies Nicole Grimes Index More Information 274 Index Floros, Constantin, 67 review of Brahms, Nänie, Op.
Recommended publications
  • Johannes Brahms Symphony No

    Johannes Brahms Symphony No

    PH17085.Booklet.Brahms_Booklet 24.01.18 15:12 Seite 1 Edition Günter Profil Hänssler JOHANNES BRAHMS SYMPHONY NO. 4 ACADEMIC FESTIVAL OVERTURE TRAGIC OVERTURE WDR Sinfonieorchester JUKKA-PEKKA SARASTE PH17085.Booklet.Brahms_Booklet 24.01.18 15:12 Seite 2 JOHANNES BRAHMS JOHANNES BRAHMS DEUTSCH Vierte Sinfonie e-moll op. 98 Johannes Brahms war, obzwar schon als Brahms glaubte anfangs, sich nicht In der Wintersaison kam der inzwischen Zwanzigjähriger von keinem Geringeren von dem übermächtigen Vorbild Beet- berühmt gewordene Wahlwiener seinen Seine letzte Sinfonie komponierte Brahms als Robert Schumann als “Berufener” hovens freimachen zu können, der die zahlreichen Konzertverpflichtungen nach; in zwei Phasen: je zwei Sätze in den Som- gepriesen, ein sehr selbstkritischer Ausdrucksmöglichkeiten der Sinfonie so im Sommer pflegte er sich in landschaft- mern 1884 und 1885 in Mürzzuschlag. Im “Spätentwickler”. Von seiner Vaterstadt vollendet ausgeschöpft hatte. Deshalb lich schön gelegenen Standquartieren September des zweiten Jahres war das Hamburg enttäuscht, wo er gerne Diri- gingen seiner „Ersten“ viele bedeutende zu erholen und in deren idyllischer Werk vollendet. Brahms gab das Manu- gent der Philharmonischen Gesellschaft Werke voraus, das “Deutsche Requiem”, Ruhe seinen schöpferischen Plänen skript des ersten Satzes über das Ehepaar geworden wäre, siedelte er sich im das erste Klavierkonzert, die beiden nachzugehen. Herzogenberg der verehrten Clara Schu- Herbst 1862 endgültig in Wien an. Hier großen Orchester-Serenaden sowie die mann zur Kenntnis. Gleichzeitig korres- konnte er einen lebendigeren Kontakt Haydn-Variationen. Im November 1878 Unmittelbar nach Vollendung der Drit- pondierte er mit Hans von Bülow wegen zur Tradition der großen Klassiker ge- endlich, Johannes Brahms war bereits 43 ten Sinfonie 1883 beschäftigte sich der Uraufführung durch dessen berühmte winnen als anderswo.
  • Brahms Complete Edition

    Brahms Complete Edition

    BRAHMS COMPLETE EDITION CONTENT Page ORCHESTRAL WORKS: CD 1 – 5 . 2 CONCERTOS: CD 6 – 8 . 7 CHAMBER MUSIC: CD 9 – 19 . 9 PIANO AND ORGAN WORKS: CD 20– 28 . 18 LIEDER: CD 29 – 35 . 30 VOCAL ENSEMBLES: CD 36 – 39 . 44 CHORAL WORKS: CD 40 – 43 . .53 WORKS FOR CHORUS AND ORCHESTRA: CD 44 – 46 . 61 ORCHESTRAL WORKS CD 1 [77’51] Symphony no. 1 in C minor, op. 68 [44’19] c-moll · en ut mineur A 1. Un poco sostenuto – Allegro [13’25] B 2. Andante sostenuto [8’26] C 3. Un poco Allegretto e grazioso [4’48] D 4. Adagio – Più Andante – Allegro non troppo, ma con brio [17’38] Symphony no. 3 in F major, op. 90 [33’24] F-dur · en fa majeur E 1. Allegro con brio [9’40] F 2. Andante [8’14] G 3. Poco Allegretto [6’17] H 4. Allegro [9’13] BERLINER PHILHARMONIKER · HERBERT VON KARAJAN CD 2 [74’29] Symphony no. 2 in D major, op. 73 [40’14] D-dur · en ré majeur A 1. Allegro non troppo [15’45] B 2. Adagio non troppo – L’istesso tempo, ma grazioso [9’47] 2 C 3. Allegretto grazioso (Quasi Andantino) – Presto ma non assai – Tempo I [5’22] D 4. Allegro con spirito [9’20] BERLINER PHILHARMONIKER · HERBERT VON KARAJAN Serenade no. 2 in A major, op. 16 [33’55] A-dur · en la majeur E 1. Allegro moderato [9’35] F 2. Scherzo. Vivace – Trio [2’38] G 3. Adagio non troppo [9’41] H 4. Quasi Menuetto – Trio [5’44] I 5.
  • 3982.Pdf (118.1Kb)

    3982.Pdf (118.1Kb)

    II 3/k·YC)) b,~ 1'1 ,~.>u The next work in Brahms oeuvre, and our symphonic second move­ . PROGRAM ment, is his achingly beautiful Op. 82, Niinie, or "Lament." Again the Ci) I~ /6':; / duality of Brahms vision is evident in the structure of the setting of Schiller's poem. Brahms begins and ends the work in a delicate 6/4 v time, separated by a central majestic Andante in common time. Brahms lD~B~=':~i.~.~~ f~.:..::.?.................... GIU~3-':;') and Schiller describe not only the distance between humanity trapped in ............. our earthly condition and the ideal life of the gods, but also the lament "" that pain also invades the heavens. Not only are we separated from our bliss, but the gods must also endure pain as death separated Venus from Adonis, Orpheus from Euridice, and others. Some consider this music PAUSE among Brahms' most beautiful. r;J ~ ~\.e;Vll> I Boe (5 Traditionally a symphonic third movement is a minuet and trio or a scherzo. For tonight's "choral symphony" the Schicksalslied, or "Song of A "Choral Symphony" -Tragedy to Triumph Fate," fills that role. Continuing the two-fold vision of heaven and earth, Brahms' Op. 54 is set as an other-worldly adagio followed by a fiery ~ TRAGIC OVERTURE Op. 81 .......... L~:.s..:>.................JOHANNES BRAHMS allegro in 3/4 time, thus fulfilling our need for a two-part minuet and trio (1833-1897) movement. A setting of a HOideriein poem, the text again describes the idyllic life of the god's contrasted against the fearful fate of our life on NANIE Op.
  • Shepherd School Chamber Orchestra

    Shepherd School Chamber Orchestra

    RICE CHORALE THOMAS JABER , music director SHEPHERD SCHOOL CHAMBER ORCHESTRA LARRY RACHLEFF, music director THOMAS JABER, conductor Thursday, October 27, 1994 8:00p.m. Stude Concert Hall c~ RICE UNNERSITY SchOol Of Music PROGRAM Schicksalslied (Song of Destiny), Op. 54 Johannes Brahms (1833-1897) You wander on high in light on ground that is soft, blessed spirits! Shining, godly zephyrs brush you as lightly as the player's fingers brush holy strings. Fateless, like sleeping infants, the Celestial breathe. They are chastely preserved in modest bud. In eternal blossom their spirit lives and their blissful eyes gaze in calm clarity. Yet to us is given no place to rest. They vanish, they fall, suffering mortals, blindly from one hour to the next, ,... • J like water flung from cliff to clifffor years down into the unknown. [Friedrich Holder/in] INTERMISSION Requiem, K. 626 Wolfgang Amadeus Mozart (1756-1791) .. edited by Richard Maunder I. Requiem aeternam Eternal rest grant them, 0 Lord; and may perpetual light shine upon them. A hymn, 0 God, becometh Thee in Sion, and a vow shall be paid to Thee in Jerusalem. Hear my prayer; to Thee all flesh shall come. Eternal rest, etc. Michelle Jockers, soprano II. Kyrie Lord, have mercy, Christ, have mercy, Lord, have mercy. III. Dies irae Day of wrath, that day shall dissolve the world into embers, as David prophesied with the Sibyl. How great the trembling will be, when the Judge shall come, the rigorous investigator of all things I IV. Tuba mirum The trumpet, spreading its wondrous sound through the tombs of every land, will summon all before the throne.
  • JOHANNES BRAHMS Born May 7, 1833 in Hamburg; Died April 3, 1897 in Vienna

    JOHANNES BRAHMS Born May 7, 1833 in Hamburg; Died April 3, 1897 in Vienna

    JOHANNES BRAHMS Born May 7, 1833 in Hamburg; died April 3, 1897 in Vienna. Tragic Overture, Opus 81 (1880) PREMIERE OF WORK: Vienna, December 20, 1880 Vienna Philharmonic Hans Richter, conductor APPROXIMATE DURATION: 13 minutes INSTRUMENTATION: piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings Many of Brahms’ works were produced in pairs: Piano Sonatas, Opus 1 and Opus 2; Piano Quartets, Opus 25 and Opus 26; String Quartets, Opus 51; Clarinet Sonatas, Opus 120; even the first two Symphonies, the sets of Liebeslieder Waltzes and the Serenades. These twin pieces seem to have been the result of a surfeit of material — as Brahms was working out his ideas for a composition in a particular genre, he produced enough material to spin off a second work of similar type. Though the two orchestral overtures of 1880, Academic Festival and Tragic, were also written in tandem, they have about them more the quality of complementary balance than of continuity. Academic Festival is bright in mood and lighthearted in its musical treatment of some favorite German student drinking songs. The Tragic Overture, on the other hand, is somber and darkly heroic. Of them, Brahms wrote to his biographer Max Kalbeck, “One overture laughs, the other weeps.” And further, to his friend and publisher, Fritz Simrock, “Having composed this jolly Academic Festival Overture, I could not refuse my melancholy nature the satisfaction of composing an overture for a tragedy.” Brahms never gave any additional clues to the nature of the Tragic Overture. The Tragic Overture is comparable in form and expression to the first movement of a symphony.
  • The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors

    The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors

    The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito.
  • 1 CURRICULUM VITAE for MARGARET NOTLEY Business

    1 CURRICULUM VITAE for MARGARET NOTLEY Business

    1 CURRICULUM VITAE FOR MARGARET NOTLEY Business Contact Information: Personal Contact Information: College of Music 1904 Hollyhill Lane University of North Texas Denton, TX 76205 (940) 565–3751 (940) 390–1980 [email protected] [email protected] EDUCATION Yale University: M.Phil., PhD in music (1985–1992) Mannes College of Music: piano major (Fall 1972–Winter 1973) Barnard College of Columbia University: A.B. magna cum laude; English major (1967–71) Full-time piano studies with Edith Oppens (1972–76) and Sophia Rosoff (1976–80) EMPLOYMENT Professor of Music at University of North Texas (Fall 2011–) Associate Professor of Musicology at University of North Texas (Fall 2006–Spring 2011) Assistant Professor of Musicology at University of North Texas (Fall 2000–Spring 2006) Full-time Lecturer in Musicology at University of North Texas (1999–2000) Part-time Lecturer at University of Connecticut, Storrs (Fall 1997) Full-time Lecturer at Yale University (1992–93) Part-time Instructor at Yale University (Spring 1990) Part-time research assistant (1971–83) for The Poetical Works of Oliver Wendell Holmes, revised and with a new introduction by Eleanor M. Tilton (Boston: Houghton Mifflin Company, 1975); and volumes 7–9 of The Letters of Ralph Waldo Emerson, edited by Eleanor M. Tilton (New York, Columbia University Press, 1990, 1991, 1994). GRANTS AND FELLOWSHIPS External October 2015: Franklin Research Grant, American Philosophical Society ($6,000) Mid-May through June 2011: Franklin Research Grant, American Philosophical Society ($6,000) 2 Mid-May through mid-July 2001: Fulbright Scholar Grant, Austrian-American Educational Commission and J. William Fulbright Foreign Scholarship Board (70,000 Schillings) January-December 1996: Fellowship for College Teachers and Independent Scholars, National Endowment for the Humanities ($22,750) 1996–97: I was offered a fellowship by the American Council of Learned Societies but had to decline it because I accepted the NEH Fellowship instead.
  • Tragic Overture Johannes Brahms (1833 – 1897)

    Tragic Overture Johannes Brahms (1833 – 1897)

    ASO Program Notes Tragic Overture Johannes Brahms (1833 – 1897) During the summer of 1880 Brahms composed two of his most famous works, reminiscent of the two faces of the thespian mask. The first of these was the Academic Festival Overture , a playful, rousing medley of student songs, and the other the Tragic Overture . In a letter to a friend, Brahms stated that “one laughs and the other cries.” One biographer suggests that Brahms was fascinated by the Faust legend and that the Tragic Overture was written as the opening for a production of Goethe’s Faust in Vienna. Brahms himself insisted, however, that he had no particular tragedy in mind when he composed the piece. His intention as a composer was not to tell a story but to elicit emotion on the part of his audience. It appears that his other goal was to balance the mood of his earlier piece. Since it appears that he intended the pieces to complement each other, it is strange that the two pieces almost never appear on the same program. In the original sketches which Brahms worked out in a notebook, notations at the end of the work suggest that it was intended as the first movement of a symphony. There is no known Brahms Symphony in D minor, although Brahms reportedly had attempted to write one earlier. That particular creative process was apparently interrupted by the tragic death of Brahms’ friend and mentor, Schumann. The work comprises three main sections, all in the key of D minor, as the opening bare theme expands into three main subjects.
  • Alphabetical List of Composers and Their Works

    Alphabetical List of Composers and Their Works

    CATALOGUECATALOGUE 20022002 Alphabetical list of Composers and their Works LAST UPDATED 17 -June -2002 SearchingSearching thethe NaxosNaxos CatalogueCatalogue You can search for any word, like the name of a composer, a particular work or an artist’s name, by either clicking the icon on the top right-hand corner of the menu bar, or by pressing Ctrl–F, and then entering the word to start searching. To continue the search for more entries under the same keyword, press the icon again or Ctrl-G (Command+G in Mac). CONTENTS Foreword by Klaus Heymann . 4 Alphabetical List of Works by Composer . 6 Collections . 116 American Classics 116 Flute 130 Organ 138 Ballet 116 Funeral Music 130 Piano 139 Baroque 116 Glassharmonica 130 Russian 140 Bassoon 117 Guitar 130 Samplers 141 Best of series 117 Gypsy 132 Saxophone 142 Cello 120 Harp 132 Trombone 142 Chamber Music 120 Horn 132 Trumpet 142 Christmas 120 Light Classics 132 Viennese 142 Cinema Classics 122 Oboe 132 Violin 142–143 Clarinet 124 Operatic 133 Vocal and Choral 143 Early Music 124 Operetta 134 Wedding 145 Easy Listening 127 Orchestral 135 Wind 145 Naxos Jazz . 146 Naxos World . 146 Naxos Historical . 147 Naxos Nostalgia . 152 Naxos Jazz Legends . 153 Naxos Instrumental . 153 Naxos International . 154 Naxos Audiobooks . 155 Naxos Educational . 158 Naxos DVD . 159 Arthaus DVD . 159 Key Classical Collection . 162 Classical Music Used in Films . 169 List of Naxos Distributors . 180 Cover Painting: Lady seated at a virginal by Jan Vermeer (1632-1675) Naxos Website: www.naxos.com Symbols used in this catalogue # New release not listed in 2001 Catalogue $ Recording scheduled to be released before 31 December, 2001 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world.
  • Edo De Waart 80 Jaar

    Edo De Waart 80 Jaar

    vrijdag 30 april 2021, 20.15 uur TivoliVredenburg, Utrecht EDO DE WAART 80 JAAR Radio Filharmonisch Orkest Groot Omroepkoor Edo de Waart, dirigent Benjamin Goodson, koordirigent Johannes Brahms 1833-1897 Gesang der Parzen opus 89 1882 voor gemengd koor en orkest Nänie opus 82 1880 voor gemengd koor en orkest Symfonie nr. 2 in D opus 73 1877 Allegro non troppo Adagio non troppo Allegretto grazioso (quasi andantino) Finale. Allegro con spirito Dit concert wordt vanuit TivoliVredenburg in Utrecht vanaf 20.00 uur rechtstreeks uitgezonden op NPO Radio 4 en is ook te volgen via de webcast op www.nporadio4.nl en op Facebook via o.a. de pagina van het AVROTROS Vrijdag- concert. Het concert wordt tevens uitgezonden op NPO2 Extra op 1 juni (de verjaar- dag van Edo de Waart) vanaf 20.00 uur. Presentatie: Leonard Evers. EDO DE WAART DIRIGEERT JOHANNES BRAHMS Ter ere van de tachtigste verjaardag maken. Naar Berlijn, Leipzig, Frankfurt, Keulen van Edo de Waart, ere-dirigent van of Wenen. Want het was daar dat vanaf 1810 het Radio Filharmonisch Orkest, zangclubs en koor verenigingen als paddenstoelen klinkt hier onder zijn leiding een uit de grond schoten. Men kon zich aanmelden volle avond muziek van een van bij een Lieder tafel, Liederkranz of Männer­ zijn grote favorieten, Johannes gesangverein. Het was de leraar van Mendels­ Brahms. Sterker nog: op het sohn, Carl Friedrich Zelter, die als leider van de programma staan drie werken die Berliner Singverein in 1808 het begrip Lieder­ Edo de Waart de voorbije decennia tafel in het leven riep. Dat was een ongedwongen vaker dirigeerde in het Vrijdag- bijeenkomst van dichters, componisten en concert.
  • Ein Deutsches Requiem

    Ein Deutsches Requiem

    San Francisco Lyric Chorus Robert Gurney, Music Director Johannes Brahms EIN DEUTscHes REQUIem Jennifer Brody, Soprano Boyd Jarrell, Bass David Hatt, Organ Allen Biggs, Timpani Novello Quartet Saturday, August 27, 8 pm & Sunday, August 28, 5 pm Trinity Episcopal Church Bush & Gough Streets San Francisco, California San Francisco Lyric Chorus Board of Directors Helene Whitson, President Anne Brenneis, Secretary Bill Whitson, Treasurer Anna Barr, Director Sophie Henry, Director Catherine Lewis, Director Wylie Sheldon, Director Welcome to the Summer 005 Concert of the San Francisco Lyric Chorus. Since its formation in 1995, the Chorus has offered diverse and innovative music to the community through a gathering of singers who believe in a commonality of spirit and sharing. The début concert featured music by Gabriel Fauré and Louis Vierne. The Chorus has been involved in several premieres, including Bay Area composer Brad Osness’ Lamentations, Ohio composer Robert Witt’s Four Motets to the Blessed Virgin Mary (West Coast premiere), New York composer William Hawley’s The Snow That Never Drifts (San Francisco premiere), and San Francisco composer Kirke Mechem’s Christmas the Morn, Blessed Are They, and To Music (San Francisco premieres). Our 004-005 musical year has been very exciting. In Fall 004, we took a wonderful journey through French choral history from the 15th century to the 0th century, presenting Choral Music of France and featuring choral jewels by Guillaume Dufay, Josquin des Pres, Marc-Antoine Charpentier, Gabriel Fauré, César Franck, Francis Poulenc, Camille Saint-Saëns, Hector Berlioz and Arthur Honegger. For our Spring 005 program, we explored the music of two Austrian master composers, presenting Joseph Haydn’s joyous Harmoniemesse, the last major composition of this graceful and ebullient composer, and Anton Bruckner’s rarely performed Mass No.
  • Brahms Handbuch

    Brahms Handbuch

    Brahms Handbuch BRAHMS HANDBUCH Herausgegeben von Wolfgang Sandberger Metzler Bärenreiter Abbildung auf dem Einband: Fotographie, Berlin 1889 © Brahms-Institut an der Musikhochschule Lübeck (Inv.-Nr. 10300) Bibliografische Information Der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://dnb.d-nb.de> abrufbar. ISBN 978-3-476-02233-2 (Metzler) ISBN 978-3-476-05220-9 (eBook) DOI 10.1007/978-3-476-05220-9 Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. © 2009 Springer-Verlag GmbH Deutschland Ursprünglich erschienen bei J.B. Metzler’sche Verlagsbuchhandlung und Carl Ernst Poeschel Verlag GmbH in Stuttgart 2009 www.metzlerverlag.de www.baerenreiter.com Inhalt Vorwort . XI Siglenverzeichnis . XIII Zeittafel . XVI EINLEITUNG 1 Bilder, Denkmäler, Konstruktionen – Johannes Brahms als Figur des kollektiven Gedächtnisses (Wolfgang Sandberger) . 2 Einleitung 2 ♦ Brahms-Bilder 6 ♦ Denkmäler 9 ♦ Brahms, der Antipode 13 ♦ Kontinuität – Diskonti- nuität 16 ♦ »Dauerhafte Musik« 18 ♦ Literatur 20 LEBENSWELT Brahms – eine bürgerliche Biographie? (Laurenz Lütteken) . 24 Bürgertum und Bürgerlichkeit 24 ♦ Musikkultur