Roads to Solace
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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 -
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. -
Franz Schubert Written and Narrated by Jeremy Siepmann with Tom George As Schubert
LIFE AND WORKS Franz Schubert Written and narrated by Jeremy Siepmann with Tom George as Schubert 8.558135–38 Life and Works: Franz Schubert Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear very substantial chunks, and in several cases whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works. Dismemberment of these for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann 8.558135–38 3 Life and Works: Franz Schubert © AKG Portrait of Franz Schubert, watercolour, by Wilhelm August Rieder 8.558135–38 Life and Works: Franz Schubert Franz Schubert(1797-1828) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Nineteenth Century 16 2 Schubert in His Time 26 3 The Major Works and Their Significance 41 4 A Graded Listening Plan 68 5 Recommended Reading 76 6 Personalities 82 7 A Calendar of Schubert’s Life 98 8 Glossary 132 The full spoken text can be found on the CD-ROM part of the discs and at: www.naxos.com/lifeandworks/schubert/spokentext 8.558135–38 5 Life and Works: Franz Schubert 1 Piano Quintet in A major (‘Trout’), D. -
Songfest 2008 Book of Words
A Book of Words Created and edited by David TriPPett SongFest 2008 A Book of Words The SongFest Book of Words , a visionary Project of Graham Johnson, will be inaugurated by SongFest in 2008. The Book will be both a handy resource for all those attending the master classes as well as a handsome memento of the summer's work. The texts of the songs Performed in classes and concerts, including those in English, will be Printed in the Book . Translations will be Provided for those not in English. Thumbnail sketches of Poets and translations for the Echoes of Musto in Lieder, Mélodie and English Song classes, comPiled and written by David TriPPett will enhance the Book . With this anthology of Poems, ParticiPants can gain so much more in listening to their colleagues and sharing mutually in the insights and interPretative ideas of the grouP. There will be no need for either ParticiPating singers or members of the audience to remain uninformed concerning what the songs are about. All attendees of the classes and concerts will have a significantly greater educational and musical exPerience by having word-by-word details of the texts at their fingertiPs. It is an exciting Project to begin building a comPrehensive database of SongFest song texts. SPecific rePertoire to be included will be chosen by Graham Johnson together with other faculty, and with regard to choices by the Performing fellows of SongFest 2008. All 2008 Performers’ names will be included in the Book . SongFest Book of Words devised by Graham Johnson Poet biograPhies by David TriPPett Programs researched and edited by John Steele Ritter SongFest 2008 Table of Contents Songfest 2008 Concerts . -
Ilker Arcayürek Ilker Arcayürek
FRANZ SCHUBERT : DER EINSAME ILKER ARCAYÜREK ILKER ARCAYÜREK tenor SIMON LEPPER piano FOREWORD TRACK LISTING FRANZ SCHUBERT (1797 –1828) Schubert and the feeling of solitude have been my companions for many years. We can 1 Frühlingsglaube D686 03’13 find ourselves alone as the result of many different circumstances in life – unhappiness 2 Nachtstück D672 05’51 in love, a bereavement, or simply moving to another country. For me, however, being 3 Sehnsucht D879 02’46 alone has never meant being ‘lonely’. 4 Schäfers Klagelied D121 03’36 As in Schubert’s song Der Einsame , I try to enjoy the small things in life, and, 5 Der Musensohn D764 02’14 especially in those times when I am alone, to consciously take time out of 6 Romanze zum Drama ‘Rosamunde’ D797/3b 03’49 everyday life and reflect on my own experiences. I find that making music is 7 Der Schiffer D536 02’00 a particularly good way of occupying myself in moments of solitude. 8 Der Jüngling an der Quelle D300 01’45 9 Über Wildemann D884 02:19 A running brook, a broken heart, the bitter-sweet release of death – few 10 Abendstern D806 02’29 composers have succeeded in setting these varied images to music as Drei Gesänge des Harfners D478 transparently as Schubert did. His diverse emotional and musical world had 11 i Wer sich der Einsamkeit ergibt 04’03 me under its spell from an early age. This developed into such a thirst for 12 ii Wer nie sein Brot mit Tränen a ß 04’46 more that now I can hardly wait to sing works by Schubert that are new to 13 iii An die Türen will ich schleichen 02’21 me. -
The Life of Schubert
The life of Schubert C HRISTOPHER H. GIBBS published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011Ð4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United Kingdom at the University Press, Cambridge Typeset in FF Quadraat 9.75/14 pt, in QuarkXPressª [se] A catalogue record for this book is available from the British Library Library of Congress cataloguing in publication data Gibbs, Christopher Howard. The life of Schubert / Christopher H. Gibbs. p. cm. Ð (Musical lives) Includes bibliographical references and index. isbn 0 521 59426 x 1. Schubert, Franz, 1797Ð1828. 2. Composers Ð Austria Biography. 1. Title. 11. Series. ml410.s3g53 2000 7809.92 Ð dc21 [b] 99-32936 cip isbn 0 521 59426 x hardback isbn 0 521 59512 6 paperback Contents List of illustrations viii Acknowledgments x Note on the text xii List of abbreviations xiii Prologue: Schubert yesterday 1 1 Representing Schubert: “A life devoted to art” 5 2 Young Schubert: “The master in the boy” 22 3 Ingenious Schubert: “The prince of song” 41 4 Popular -
A Guide to Franz Schubert's Religious Songs
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks A GUIDE TO FRANZ SCHUBERT’S RELIGIOUS SONGS by Jason Jye-Sung Moon Submitted to the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice December 2013 Accepted by the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice. __________________________________ Mary Ann Hart, Chair & Research Director __________________________________ William Jon Gray __________________________________ Robert Harrison __________________________________ Brian Horne ii Copyright © 2013 by Jason Jye-Sung Moon All rights reserved iii Acknowledgements I would like to express my deepest gratitude to my committee chair and research director, Professor Mary Ann Hart, for the excellent guidance, caring, patience, and encouragement I needed to finish this long journey. I would also like to thank Dr. Brian Horne, who supported me with prayers and encouragement. He patiently corrected my writing even at the last moment. I would like to thank my good friend, Barbara Kirschner, who was with me throughout the writing process to help me by proofreading my entire document and constantly cheering me on. My family was always there for me. I thank my daughters, Christine and Joanne, my parents, and my mother-in-law for supporting me with their best wishes. My wife, Yoon Nam, deserves special thanks for standing by me with continuous prayers and care. I thank God for bring all these good people into my life. -
Schubert Ins Stille Land Signum Quartett
Schubert Ins stille Land Signum Quartett Franz Schubert (1797-1828) 1 Ins stille Land, D 403 * 1. 09 Im Andenken an / in memoriam 2 Frühlingsglaube, D 686 * 2. 51 Otto-Erich Walther String Quartet No. 6 in D Major, D 74 3 I. Allegro ma non troppo 7. 43 4 II. Andante 4. 41 5 III. Menuetto. Allegro 4. 15 6 IV. Allegro 5. 33 7 “Vorüber, ach vorüber ...” from Der Tod und das Mädchen, D 531 * 0. 34 8 Abendstern, D 806 * 2. 33 9 Auf dem Wasser zu singen, D 774 * 2. 40 10 Das Grab, D 330 * 1. 01 String Quartet No. 14 in D Minor, D 810, “Der Tod und das Mädchen” 11 I. Allegro 16. 49 11 II. Andante con moto 13. 16 12 III. Scherzo. Allegro molto 3. 51 Signum Quartett 14 IV. Presto 9. 21 Florian Donderer, violin 15 Schwanengesang, D 744 * 2. 55 Annette Walther, violin Total playing time: 79. 20 Xandi van Dijk, viola * arrangements for string quartet by Xandi van Dijk Thomas Schmitz, cello Songs and quartets of alienation harrowing ordeal Schubert had recently published. In both the ‘Trout’ Quintet and In the song Der Wanderer, and perhaps and death undergone. During much of 1823, he the Death and the Maiden Quartet, the even in the fantasy it inspired, the had been suffering from the symptoms mood of the incorporated song — gently protagonist feels so alienated that he By 1816, the still teenaged Schubert of secondary syphilis, and isolated for but buoyantly animated in the former, can only dream of a homeland. -
570764Bk Schubert US 18/9/09 11:02 Page 8
570764bk Schubert US 18/9/09 11:02 Page 8 Morten Schuldt-Jensen A graduate of the Royal Danish Academy of Music, Morten Schuldt- SCHUBERT Jensen holds a Master’s degree in musicology from the University of Copenhagen. Post-graduate courses include study with, among others, Sergiù Celibidache and Eric Ericson. He forged an early career in successful performances with internationally acclaimed Danish choirs and orchestras, culminating in his appointment as Representative Mass in C major • Mass in G major Conductor for Denmark (Nordic-Baltic Choral Festival). He is also a regular guest conductor for various distinguished German orchestras and choirs including the RIAS-Kammerchor, Berlin; the MDR Deutsche Messe Rundfunk-Chor, Leipzig; the NDR-Chor, Hamburg; the Akademie für Alte Musik, Berlin; the Gewandhausorchester, Leipzig and the Helsingborgs Symfoniorkester. He has also worked frequently with the Immortal Bach Ensemble • Leipziger Kammerorchester Danish National Radio Choir and the Philharmonic Orchestra of Copenhagen. As a chorus master he has worked with conductors Morten Schuldt-Jensen including Sir Simon Rattle, Herbert Blomstedt, Philippe Herreweghe, Vladimir Ashkenazy, Lothar Zagrosek and many others. From 1999 to 2006 he was director of choirs at the Gewandhaus in Leipzig, where he founded the Gewandhaus Chamber Choir in 2001, an ensemble known now as the Immortal Bach Ensemble. In 2000 he was appointed principal conductor and artistic director of the Leipzig Chamber Orchestra. Wide ranging and unusual repertoire, accurate sense of style and a broad variety of interpretation characterise his work with both ensembles, documented in a number or recordings and broadcasts. In his home country of Denmark he founded and conducts the chamber choir Sokkelund Sangkor, with which he has won several international awards. -
Late Style and the Paradoxical Poetics of the Schubert–Berio Renderings Lorraine Byrne Bodley
Chapter 14 Late style and the paradoxical poetics of the Schubert–Berio Renderings Lorraine Byrne Bodley The artistic career of Franz Schubert still presents a strange paradox. Some scholars have regarded him almost as an empyrean figure who has written the best Lieder in vocal literature.1 But even that is sometimes held against him. In a discussion of the “Unfinished” Symphony Carl Dahlhaus criticizes the static lyricism of Schubert’s themes, which he considers self-contained and incapable of development—an opinion contradicted by Gustav Mahler when he declared: “You could easily take up a theme by Schubert and develop it for the first time. You wouldn’t even do any harm to the themes: they are so undeveloped.”2 Meanwhile questions about Schubert’s sexuality have been raised because of his entanglements with Vogl as well as epistolary relations with members of the reading circle.3 And then there was his bachelor life with Franz Schober.4 And his alleged devotion to Therese Grob, the soprano who was “the first and most ardent love of his life,” as Brian Newbould writes in his richly informative biography.5 An artistic figure who practices concealment attracts all the more interest, as many artists know. In contrast to the voluminous correspondence, diaries, and recorded conversations with Goethe, less than a hundred Schubert letters survive. So we have unanswered questions about Schubert’s life: his journeyman years; his romantic relationships; his preoccupation with death; the counter-images of the 1 For an example of such clichéd portraits, see such older biographies as Hans Gál, Franz Schubert and the Essence of Melody (London: Victor Gollancz Ltd, 1974), p. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: May 26, 2004 I, Amanda Marie Roggero _____________________________________________________, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano Performance It is entitled: “RETRACING THE JOURNEY OF FRANZ SCHUBERT’S WANDERER: MUSICAL FINGERPRINTS IN THE B-FLAT PIANO SONATA, D. 960” This work and its defense approved by: Chair: Mr. Frank Weinstock Dr. Stephanie Schlagel Dr. Edward Nowacki RETRACING THE JOURNEY OF FRANZ SCHUBERT’S WANDERER: MUSICAL FINGERPRINTS IN THE B-FLAT PIANO SONATA, D. 960 A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Division of Piano Performance of the College-Conservatory of Music 2004 by Amanda Roggero B.M. Rice University, 1998 M.M. University of Cincinnati, 2000 Committee Chair: Frank Weinstock ABSTRACT Franz Schubert’s last piano Sonata in B-flat, major, D. 960, has always remained an intriguing piece of music for me ever since hearing it for the first time when I was an undergraduate at Rice University. Even though the technique required within the B-flat Sonata is not as difficult as other Schubert piano works, a performance of this piece cannot be approached lightly considering the emotional concentration that the music demands. This document is dedicated to exploring the source of the Sonata in B-flat’s emotional content, which will involve Schubert’s failing health, his depression, and his preoccupation with a popular character in German Romanticism, the Wanderer. -
Franz Schubert's Chamber Music with Guitar: a Study of the Guitar's Role in Biedermeier Vienna Stephen Mattingly
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Franz Schubert's Chamber Music with Guitar: A Study of the Guitar's Role in Biedermeier Vienna Stephen Mattingly Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FRANZ SCHUBERT’S CHAMBER MUSIC WITH GUITAR: A Study of the Guitar’s Role in Biedermeier Vienna By STEPHEN MATTINGLY A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 Copyright © 2007 Stephen Mattingly All Rights Reserved The members of the Committee approve the treatise of Stephen Mattingly defended on March 26, 2007. ______________________________ Michael Buchler Professor Directing Treatise ______________________________ Nancy Rogers Outside Committee Member ______________________________ Bruce Holzman Committee Member ______________________________ Melanie Punter Committee Member ______________________________ Larry Gerber Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS The following organizations deserve special thanks for their material support of this project: the Presser Foundation for their generous grant to fund the recording and research of “Schubert’s Complete Chamber Music with Guitar”, the Vienna Schubertbund and the Schubert Institute of the United Kingdom for their