DOCSLIB.ORG

The Golden Age Danish Partsongs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Golden Age Danish Partsongs The Golden AGe of Danish Partsongs Ars Nova Copenhagen, Paul Hillier The Golden AGe of Danish Partsongs Folk song (arr. Niels W. Gade, 1838) Ars Nova Copenhagen, Paul Hillier 12 Dronning Dagmars død. 2:49 Niels W. Gade From Fünf Gesänge, op. 13 (1846) 13 No. 2, Die Wasserrose. 3:47 carl NielseN (1865-1931) 14 No. 4, Im Herbst. 2:49 1 Min Jesus, lad mit hjerte få (1914). 1:46 15 No. 5, Im Wald ������������������������������������������������������������������������������������������������������������������������� 2:03 2 Jeg bærer med smil min byrde (1915) ��������������������������������������������������������������������������������� 1:16 Thomas laub (1852-1927) 3 Underlige aftenlufte (1915). 3:58 16 Stille, hjerte, sol går ned (1915) ��������������������������������������������������������������������������������������������� 2:34 Friedrich Kuhlau (1786-1832) PeTer heise (1830-1879) 4 Nu løvsalen skygger (1828) ����������������������������������������������������������������������������������������������������� 0:58 17 Natten var mild og kær (c. 1866) . 3:37 5 Majsang (“O, den skønne, skønne maj”) (1824/25) ����������������������������������������������������������� 2:40 sveNd s. schulTz (1913-1998) c.e.F. Weyse (1774-1842) 18 Yndigt dufter Danmark (1970) . 3:16 6 Wandrers Nachtlied: Über allen Gipfeln ist Ruh (1841) ������������������������������������������������� 1:27 7 Barcarole (“Natten er så stille”) (1840). 1:14 ib Nørholm (b. 1931) 8 Lysets engel går med glans (arr. Paul Hillier) (1837). 3:18 Mine danske kilder, op. 128 (1994) Five songs for mixed choir J.P.e. harTmaNN (1805-1900) 19 I De lette skyer ������������������������������������������������������������������������������������������������������������������������� 1:28 From Religious and Popular Poems, op. 86 (1888) 20 II Wi saais nu ��������������������������������������������������������������������������������������������������������������������������� 1:31 9 I våren knoppes en lind så grøn. 1:36 21 III Fugleflokke ������������������������������������������������������������������������������������������������������������������������� 1:08 10 Jeg ved, jeg vorder dig aldrig kær. 2:44 22 IV Innocens den liggende ����������������������������������������������������������������������������������������������������� 2:01 Niels W. Gade (1817-1890) 23 V Fadet fra Hangchou. 2:53 11 Kong Valdemars jagt (“På Sjølunds fagre sletter”) (1838) . 1:49 Total 52:40 Dacapo is supported by the Danish Arts Council Committee for Music The golden age of danish ParTsongs picked out most of the melodies, and his arrangements formed the ideal for how a ‘real’ folk song or ballad should sound. The songs from Elverhøj, including Nu løvsalen skygger (Now bowers offer shadow), became wildly popular and took on the status of the “basic A golden age that continues repertoire” of folk melodies. “The Danish Golden Age” is what we call the period of cultural and intellectual life in In the subsequent wave of enthusiasm about folk songs and ballads, the ballad Dron- Denmark in the first half of the nineteenth century; a period when the national identity ning Dagmar (Queen Dagmar) became one of the most popular. It has a strong melody developed into a foundation that can still be clearly felt today. It was a period with an and a moving text about the wise words of the medieval queen on her death bed. The abundance of artistic expression, and names like the poet Hans Christian Andersen, the melody had been noted down in the Dorian mode, but typically for National Romanti- philosopher Søren Kierkegaard, the painters Købke and Eckersberg, and composers like cism it was adjusted to ordinary minor, an anachronism with its own charm. Gade and Weyse, defined a whole era. The newly-discovered style spread to instrumental music. Niels W. Gade was one of The world-famous choral conductor Paul Hillier, who has been chief conductor of Ars the first composers to capture it: in his First Symphony from 1842 he used the ‘folk tune’ Nova Copenhagen for the last ten years, has performed several Golden Age works, but På Sjølunds fagre sletter (On Sjølund’s plains so pleasing), which he had composed him- believes we can still talk about a continued “Golden Age” for Danish choral music. This self a couple of years earlier. The song is about the ghost of the medieval King Valdemar, collection therefore also includes works from the subsequent generations, right up until protagonist of a favourite national-romantic story (this is the same Valdemar as we meet our own time. And there is plenty to choose from – this is only a first selection from the in Schoenberg’s giant work Gurrelieder). great riches of Danish choral music since its Golden Age began. Gade’s sparring partner and later father-in law was J.P.E. Hartmann. His a cap pella music is mainly for male choir, partly because Hartmann as an academic was associated Folk music – genuine and imitated with the Copenhagen University Choir, and partly because it was not until 1851 that a A major theme in the Golden Age was the hunt for the national identity, and people dug concert choir with mixed voices, the Cecilia Society, was formed in Copenhagen. deep to find it in its purest form. In 1814 there appeared for the first time a songbook For the latter choir, in 1888, he wrote his six choral songs op. 86, entitled “Religious with old Danish songs and ballads; it set off reactions similar to those the first time a and Popular Poems”, which aspire to the folk-song universe of love and nature. I våren dinosaur skeleton was exhibited: people were fascinated by the prehistoric specimens knoppes en lind så grøn (In springtime there buds a lime so green) compares a young but were not quite sure what they were. woman with a bud opening in the spring sun. Jeg ved, jeg vorder dig aldrig kær (I know In the course of the nineteenth century scholars and musicians worked their way I’ll never be dear to you) reverses the situation: the young woman is unattainable, and towards an understanding that was to leave its mark on Danish culture well into the the poet’s soul is as dark as night. Even after half a century of fascination with the folk twentieth century. The first great manifestation came in 1828, when the musical drama songs, the now 83-year-old Hartmann could still find new, personal variations. Elverhøj (The Elf-Hill) was written for a royal betrothal feast. The theatre had specified From the next generation the song composer Peter Heise represents a more Europe- that folk-song and ballad melodies were to be used to “suggest the national and local an romanticism. Natten var mild and kær (Mild was the much-loved night) from c. 1866 is character of the play”. By roundabout paths the job ended up in the hands of the Ger- a sensitive, rather erotic evocation of a mood of love in the summer night. man composer Friedrich Kuhlau, who had come to Copenhagen in 1810. He himself 4 5 Neighbour to germany of the super natural. Im Wald (In forest glade) combines the favourite time signature of Until the middle of the nineteenth century Copenhagen had no music academy, no the Danish Golden Age composer, 6/8, with hunting and forest symbolism from German philharmonic centre and no publicly organized concert scene. Scandinavians had to go Romanticism. to Germany to look for musical education, and for the same reasons German musicians were welcome guests in Denmark. The northern German Friedrich Kuhlau worked not Reforms and traditions only with folk songs but also with the first Danish songs for male choir. His Majsang The Romantic style in Danish vocal music faded at the beginning of the twentieth (May song) from 1824/25 was given texts in German, Danish and Swedish. In Sweden it century, and Carl Nielsen and the composer of sacred music Thomas Laub led the way is now the official harbinger of spring (O hur härligt Majsol ler – Oh, the lovely month of in the change in taste. Laub’s hymns and songs, when they are best, are strong and unos- May) and since 1831 it has been sung on Walpurgis Night (May Eve). Not many Swedes tentatious – for example Stille, hjerte, sol går ned (Still, my heart, now sets the sun) from associate the song with anything Danish – or German. 1915 to a poem by the Danish rural poet Jeppe Aakjær. An image of the quiet moment From Germany too came C.E.F. Weyse, a versatile and virtuosic major figure in when nature retires for the night. Despite Laub’s simplified expression the emotions are Danish cultural life at the time, whose fame today is based on his very smallest compo- still the same as in Weyse’s romantic jewel Natten er så stille from 1840. sitions: hymns and songs for children. The evening song Natten er så stille (Calm Another example of a ‘Romantic anti-Romantic’ is Yndigt dufter Danmark (Sweet is the night, unstirring) from 1840 combines a minimal format with cosmic ideas. The Denmark’s fragrance), a modern classic from 1970 by Svend S. Schultz. As a choral com- children’s hymn Lysets engel går with glans (Gleaming bright, light’s angel see) comes poser and choir director he was responsible for the modern Nordic vocal style – “bright, from Weyse’s Morning Songs from 1837, but here Paul Hillier has set it in an expanded thin and dry”, as he put it. The succinct nature lyricism in Yndigt dufter Danmark touches four-part arrangement. on all the emotions evoked by the fragile Danish midsummer, in which love is almost Weyse had come from Altona to Copenhagen as a teenager and learned to work with conjured out of the blue. the Danish language with great creativity and subtlety. It is touching that shortly before Ib Nørholm (b. 1931), who has been one of Denmark’s most versatile and pro- his death in 1842 he returned to his native German and put music to Goethe’s famous duc tive modernists since the 1950s, also likes to acknowledge the tradition, and poem Wandrers Nachtlied (Wayfarer’s night song).
Load more

Recommended publications
  • “Marvin's Room:” Sound Design
    2020-2021 MUSIC IN SPACES. VIRTUALLY ODE TO JOY SERIES ~ EPISODE 3 Carla Copeland-Burns - flute Michael Burns - bassoon Jacqueline Nappi - piano Saturday, September 26, 2020 @ 7:30 pm PREMIERE Recorded at Baldwin Auditorium, Durham Rick Nelson, Recording engineer (Video On Demand through Oct 3 for single tickets purchasers) Mallarmemusic.org Welcome Mallarmé Friends Members Become a member or purchase a single ticket (pay what you wish) 1 PROGRAM Friedrich Kuhlau (1786 - 1832) Grand Trio in G Major for Flute, Bassoon and Piano, Op. 119 I. Allegro II. Adagio patetico III. Rondo Ludwig van Beethoven (1770 - 1827) Trio in G Major for Flute, Bassoon and Piano, WoO. 37 I. Allegro II. Adagio III. Tema Andante con Variazioni Thank you! Duke University Music and Rick Nelson Florence Nash St Paul’s Lutheran Church, Durham Mission Statement The mission of Mallarmé Chamber Players is to perform music among friends that serves to honor the artists and the art of chamber music, to expand cultural awareness, and to build bridges in the community through education and performance. 2 About Mallarmé The Mallarmé Chamber Players, founded in 1984, are a flexible ensemble of professional musicians based in Durham, North Carolina, whose mission is to enrich the lives of the community through outstanding chamber music performance. The ensemble distinguishes itself in the community by its innovative educational programs, its commitment to creative collaboration with other organizations, its creation of significant new work and its dedication to serve a diverse population. PROGRAM NOTES by Florence Nash Kuhlau: Grand Trio in G Major for Flute, Bassoon, and Piano, Op.
    [Show full text]
  • Beethoven Room - 706 | August 30, 2020
    Beethoven Room - 706 | August 30, 2020 Welcome to the listing for Honors 2020. This is just a supplemental reference. All participating students have received their log on information via email. 2PM Recital Tyrus Chuang Aram Khachaturian - Sonatina 1 Piano Ryan Cheng Bach - Allemande from Violin Partita in D minor BWV 1004 Violin Shreya Nabar Mozart- Allegro Flute Vienna Parnell Mozart - Sonata in c minor, K. 457 Piano Petr Tupitsyn Rachmaninov - Vocalise Flute Jessica Li Frederic Chopin - Nocturne in B major, Op. 32, No. 1 Piano Fanya Xu Enrique Granados, Playera Piano Emily Harn Serge Prokofiev - Prelude in C Major Piano Lazypotato Ying Edvard Grieg - Bells Ringing Piano Kayla Tan Zez Confrey - Coaxing the Piano Piano Amber Kuo Gabriel Fauré - Sicilienne, Op. 78 Flute James Tsaggaris Frédéric Chopin - Fantaisie-Impromptu in C♯ minor Op. 66 Piano 3PM Recital Max Tan Haydn - Sonata in E Flat Major Hob XVI:52 No. 62, 3. Presto Piano Sean Daly G. Lange - Blumenlied Piano Satina Guo Fazil Say - Jazz Fantasy on Mozart Piano Claire Law Gershwin - Prelude No. 1 Piano Calvin Park Bach - Invention No. 13 Piano Phuong-Nghi Nguyen Albert Ginastera-Trieste from Twelve American Preludes, Op.12 Piano Rithika Ramesh Gretchaninoff - Chant d'Automne Piano Maggie Cong Ludwig van Beethoven - Sonata Op. 79 Piano Eric Lee Max Bruch - Violin Concerto No. 1 in G minor, I. Vorspiel Violin Jocelyn Gou Friedrich Kuhlau - Sonatina in C, Op. 55, No.1, Rondo: Vivace Piano Abigail Yuan Beethoven - Sonata in C Minor Op. 10 No. 1 Piano Alex Liu Fritz Kreisler - Miniature Viennese Waltz Violin Cady Chen Chen Peixun – Autumn Moon Over the Calm Lake Piano 4PM Recital Jaylyn Chong Chopin-Nocturne No.20 in C sharp Minor Piano Allison Prakalapakorn Kabalevsky - Toccata, Op.60, No.4 from Four Rondos Piano Lahari Yallapragada Fritz Kreisler - Rondino on a Theme of Beethoven Violin Ethan Lee Debussy - La Plus Que Lente Piano Gareth Lee Franz Liszt - Liebestraum Nocturne No.
    [Show full text]
  • L'age D'or De La Musique Danoise
    ResMusica.com 1 La série des Danois V : LES MUSICIENS DANOIS DE L’AGE D’OR - un aperçu - * Jean-Luc CARON * La série des Danois : I : Victor Bendix. Le Danois injustement oublié ; II : Hans Christian Lumbye. Un roi du divertissement au Danemark ; III ; Louis Glass. « Le » post-romantique danois par excellence ; IV : Lange-Müller. Le Danois migraineux ; V : Les Musiciens Danois de L’Age d’Or. Un aperçu. VI ; Fini Henriques. Le sourire du Danemark. VII. Launy Grøndahl. Un grand de la baguette danoise. VIII. Ludolf Nielsen. Le dernier des romantiques danois (en préparation) * La vie culturelle danoise connaît un authentique Age d’Or marqué par un formidable élan littéraire, musical, chorégraphique, pictural, au cours duquel la noblesse et l’élite bourgeoise en pleine expansion économique accèdent à un niveau de pratique intellectuel et artistique jamais atteint au Danemark. En ce qui concerne le domaine musical, cet Age d’Or se situe approximativement entre 1800 et 1850. Les acteurs de cette période, qui en fait n’est pas un mouvement organisé en soi, regroupent de grandes et très diverses personnalités.. La réputation et la renommée de certaines dépassent largement les frontières du petit territoire danois. Le littérateur Hans Christian Andersen (Odense, 1865 – Copenhague, 1875) avec ses contes populaires connus dans le monde entier en est vraiment la figure de proue. Nombre de ses textes ont inspiré des compositeurs notamment nationaux. Mais on aurait tendance à oublier ou minimiser la gloire du chorégraphe Auguste Bournonville (Copenhague, 1805 – Copenhague, 1879), exact contemporain du précédent, dont les réalisations ont charmé ses compatriotes mais aussi de larges audiences étrangères.
    [Show full text]
  • Kuhlau2 US:570034Bk Hasse 15/4/08 11:47 AM Page 4
    570710bk Kuhlau2 US:570034bk Hasse 15/4/08 11:47 AM Page 4 The Sonatina in G major, Op. 88, No. 2, in the opening recapitulation of the material. An expressive F major Allegro assai offers a principal theme based on the Andantino leads to the final Allegro burlesco, with its ascending tonic arpeggio, with a left-hand accompaniment. quirky main theme, sequential writing and chromatic scales. The short central development finds room for harmonic The Sonatina in F major, Op. 88, No. 4, starts with a adventures, before the return of the main theme in the 6/8 Allegro molto in clear traditional form. The second original key. There is a C major Andante cantabile and movement, Andante con moto, is in A major with melodic the sonatina ends with a rondo bringing a varied display of interest, as so often, in the right hand. The final Rondo scale passages. alla Polacca opens with a theme that at once declares the The third of the group, the Sonatina in A minor, Op. 88, rhythm of the Polish dance, its main theme providing the No. 3, is the only one in a minor key. The first section of framework for the briefest of contrasting episodes. KUHLAU the opening Allegro con affetto leads duly to the relative major. The antiphonal element of the main theme is Keith Anderson explored in the second part of the movement, with its varied Piano Sonatinas, Jeno˝ Jandó The Hungarian pianist Jeno˝ Jandó has won a number of piano competitions in Hungary and abroad, including first prize in the Opp.
    [Show full text]
  • University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 76-3360 FAIRBANKS, Ann Itozuch, 1942* MUSIC for TW3, THREE
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce diis document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Georg Gerson
    1 Georg Gerson - komponist og borger Komponisterne Christoph Ernst Friedrich Weyse (1774-1842) og Friedrich Kuhlau (1786-1832) havde deres virke i Danmark begyndelsen af 1800-tallet. Deres musik lever stadig, Weyses sange hører til kernen af det danske fællessangsrepertoire, og Kuhlaus sonatiner bliver indøvet af håbefulde klaverelever. Til forskel fra dem er Georg Gersons (1790-1825) musik kun lidet kendt i dag1. I denne artikel vil jeg forsøge at råde bod herpå ved at løfte hans liv og værk ud af en efter min mening ufortjent upåagtethed. Min igangværende nyudgivelse af Georg Gersons overleverede kompositioner (se side 16) tjener samme formål. Gerson levede i det tidlige 1800-tal i enevældens Danmark. Men både her og i det øvrige Europa gjorde andre tankesæt om frihed og lighed sig gældende. Enevælden og de nye tanker dannede rammen om hans deltagelse i tidens musikliv og hans involvering i den danske finansverden gennem bankierfirmaet J. Hambro og Søn. Hans 'dobbeltliv' kan være en del af forklaringen på nutidens ringe kendskab til hans musikalske værker, og i sam- og eftertiden er han ofte betegnet som begavet dilettant (Hammerich, 1886, side 15). Set fra mit nutidige perspektiv bestræbte Gerson sig på at udfylde sin plads i samfundet som fremtrædende borger med de forventninger og begrænsninger, der knyttede sig dertil, og samtidig udfolde sig som frittænkende kunstner. For mange forblev det et enten eller. Da kunstneren Weyse og borgerdatteren Julie Tutein forelskede sig, blev Weyse således afvist af Julies far, den rige grosserer Peter Tutein. Prolog - barndom Georg Gersons far Chajim Kenigsberg blev født 1765 i en jødisk familie i Königsberg og døde 1839 i København2.
    [Show full text]
  • Friedrich Kuhlau's Operas and Theatre Music and Their
    Friedrich Kuhlau's Operas Friedrich Kuhlau's Operas and Theatre Music and their Performances at the Royal Theatre in Copenhagen (1814-1830) A mirror of European music drama and a glimpse of the Danish opera tradition. By Gorm Busk At the beginning af the nineteenth century Copenhagen was a city with a European reputation for musical culture. At the centre of this was the Royal Theatre, the city's most important and only true cultural institution, the meeting­ place for Danish cultural life and beside the music soci­ eties (e.g. Det Harmoniske Selskab and Dpt Musikalske Akademi) also a forum for concert appearances by visiting artists. The primary aim of this article is to present the operas (all of the Singspiel type) and theatre music af the composer Friedrich Kuhlau - German-born but active in Copenhagen from 1810 until his death - and to give an account of his method of composing them. But it also Lithograph portralt of Kuhlau by ai ms to give an impression of the reception his dramatic Ludwig Fehr, senior. Royal Library. works had from the Copenhagen public at the Royal Theatre, where he and the other great Danish composer of the period, C.E.F. Weyse, completely dominated the repertoire of Danish operas. And finally, since Kuhlau was a very internationally oriented artist, the article will serve to demon­ strate the strong dependence of his works on the opera music of his age. Friedrich Kuhlau's Operas Friedrich Daniel Rudolph Kuhlau was born in the North German town of Uelzen (between Hamburg and Hanover) on 11th September 1786, and belonged to a family of military musicians (oboists).
    [Show full text]
  • Friedrich Kuhlau Piano Quartet No. 3 Otto Malling Piano Quartet
    FRIEDRICH KUHLAU Piano Quartet No. 3 OTTO MALLING Piano Quartet Copenhagen Piano Quartet FRIEDRICH KUHLAU (1786-1832) Piano Quartet No. 3 FRIEDRICH KUHLAU Piano Quartet No. 3 in G minor, op. 108 (1829) 36:51 OTTO MALLING (1848-1915) Piano Quartet I Allegro con molto fuoco �������������������������������������������������������������������������������������������������������������������������14:19 II Allegro assai ����������������������������������������������������������������������������������������������������������������������������������������������� 6:08 III Adagio 9:29 IV Allegro poco agitato ������������������������������������������������������������������������������������������������������������������������������� 6:55 Benedikte Damgaard, violin Kristina Fialova, viola Adam Stadnicki, cello Neel Bramsnæs Teilmann, piano OTTO MALLING Piano Quartet in C minor, op. 80 (1903) ���������������������������������������������������������������������������������������27:29 I Allegro – Presto – Largo 8:26 II Allegro – Trio 5:45 III Andante – Poco più animato – Tempo I – Poco più animato – Tempo I 6:35 IV Finale Allegro con fuoco ����������������������������������������������������������������������������������������������������������������������� 6:43 Total 64:22 Dacapo is supported
    [Show full text]
  • Friedrich Kuhlau Kühl, Nicht Lau
    Ludwig van Beethoven Friedrich Kuhlau Kühl, nicht lau Tami Krausz eight-keyed flute Shuann Chai fortepiano BLACK SERIES Programme Ensemble English text German text French text Imprint ^menu Kühl, nicht lau LUDWIG VAN BEETHOVEN (1770–1827) Serenade in D Major for Piano and Flute op. 41 1 Entrata. Allegro 4:05 2 Tempo ordinario d'un menuetto 5:09 3 Allegro molto 2:26 4 Andante con variazioni 6:36 5 Allegro scherzando e vivace 2:17 6 Adagio – Allegro vivace e disinvolto – Presto 5:55 FRIEDRICH KUHLAU (1786–1832) 7 Capriccio in D Minor for Flute op. 10b no. 9 3:02 FRIEDRICH KUHLAU Grande Sonate Concertante in A Minor for Piano and Flute op. 85 8 Allegro con passione 14:03 9 Scherzo. Allegro assai 5:08 10 Adagio 8:18 11 Rondo. Allegro poco agitato 8:08 LUDWIG VAN BEETHOVEN 12 Canon Kühl, nicht lau WoO 191 1:46 Realisation for three voices, fl ute and piano by Joris Weimar (2019) TOTAL 67:14 ^menu TAMI KRAUSZ eight-keyed fl ute Rudolf Tutz, Innsbruck 2000 aft er Heinrich Grenser, Dresden c.1810 SHUANN CHAI fortepiano (1–6, 12) Johann Zahler, Brünn (Brno) c.1805 restored by Gijs Wilderom (Collection Gijs Wilderom) fortepiano (8–11) Michael Rosenberger, Vienna c.1820 restored by Edwin Beunk (National Musical Instruments Foundation of the Netherlands) JOÃO MOREIRA tenor (12) MATTIJS VAN DE WOERD baritone (12) MARC PANTUS bass-baritone (12) ^menu Shuann Chai & Tami Krausz Flautist TAMI KRAUSZ performs worldwide as a renowned specialist in Baroque, Classical and Romantic music on historical fl utes.
    [Show full text]
  • Friedrich Kuhlau – a Mini Biography in 12 Chapters Based on My Book: Friedrich Kuhlau – Ein Deutscher Musiker in Kopenhagen
    Jørgen Erichsen Friedrich Kuhlau – a Mini Biography in 12 Chapters Based on my book: Friedrich Kuhlau – ein deutscher Musiker in Kopenhagen. Eine Biographie nach zeit- genössischen Dokumenten (Friedrich Kuhlau – a German Musician in Copenhagen. A Biography based on Contemporary Documents), Georg Olms Verlag, 2011 (416 Seiten) page 1 Childhood and Apprenticeship . 1 2 Kuhlau settles in Copenhagen . 2 3 Examples of Reviews in the "Allgemeine musikalische Zeitung" . 4 4 Kuhlau as a Teacher and an Innovator . 5 5 Kuhlau's Travels . 6 6 Kuhlau at Home . 7 7 Busy Years of Ups and Downs . 7 8 Kuhlau's second Trip to Vienna and his Meeting with Beethoven . 8 9 Kuhlau in Lyngby – "The Elve's Hill" and the Trip to Sweden 1828 . 9 10 The Travel to Berlin and Leipzig 1827 – the Connection with Farrenc . 10 11 "Das Schicksal hört noch nicht auf mich zu verfolgen!" . 11 12 Kuhlau's Death and Legacy . 12 1. Childhood and Apprenticeship In the history of music there are many examples of musicality being an inherited trait, and of fami- lies whose gift for music has produced artists and composers branching out over several genera- tions. One of these examples is the Kuhlau family. No fewer than 17 military musicians, town mu- sicians, organists, church musicians and composers of this name can be traced in Germany, Den- mark and Sweden. The following family tree is based on Kuhlau's paternal grandparents: a print from the website www.josebamus.dk/english/Kuhlau 1 Both his grandfather and his father were military musicians, whereas his uncle Johann Daniel was trained as an organist.
    [Show full text]
  • Friedrich Kuhlau – Eine Kurzbiografi in 12 Abschnitte Basiert Auf Meinem Buch: Friedrich Kuhlau – Ein Deutscher Musiker in Kopenhagen
    Jørgen Erichsen Friedrich Kuhlau – eine Kurzbiografi in 12 Abschnitte basiert auf meinem Buch: Friedrich Kuhlau – ein deutscher Musiker in Kopenhagen. Eine Biogra- phie nach zeitgenössischen Dokumenten. Georg Olms Verlag, 2011 (416 Seiten) 1. Kindheit und Lehrzeit In der Musikgeschichte gibt es zahlreiche Beispiele dafür, daß Musikalität erblich ist, und daß eine Familie mehrere Generationen hindurch und in verschiedenen Verzweigungen auf die eine oder andere Art im Dienste der Musik gestanden hat. Eines dieser Beispiele ist die Familie Kuhlau. Nicht weniger als siebzehn Militärmusiker, Stadtmusiker, Organisten, Kapellmusiker und Komponisten dieses Namens kann man in Deutschland, Dänemark und Schweden finden. Die folgende Stammta- fel hat ihren Ausgangspunkt in Kuhlaus Großeltern väterlicherseits: Sowohl der Großvater als auch der Vater waren Militärmusiker, aber der Onkel Johann Daniel war Organist. Er zog als Erster der Familie 1784 nach Dänemark und wurde bald als Organist in der Buldofi Kirche in Aalborg angestellt zu werden. Zwei Jahre später, genauer am 11. September 1786, wurde der Hauptperson dieser Biographie in der kleinen norddeutschen Stadt Uelzen geboren, wohin der Vater um diese Zeit versetzt worden war. Er wurde auf den Namen Friedrich Daniel Ru- dolph Kuhlau getauft. Die Berufstätigkeit des Vaters führte zu häufigen Versetzungen, und das nächste Mal, wo wir von Fritz hören, wie er in der Familie genannt wurde, ist diese nach Lüneburg gezogen. 1 Hier geschah 1796 das Unglück, das Kuhlau doch selbst später als Glück bezeichnet, weil es we- sentlich dazu beitrug, seine Lebensbahn zu bestimmen. Eines Abends, als er in die Stadt geschickt worden war, um etwas in einer Flasche zu besorgen, fiel er so unglücklich, daß die Flasche zerbrach und die Scherben sich in sein rechtes Auge bohrten.
    [Show full text]
  • Unit 6 Practice Test Classical Era
    Name________________ Date _________ Unit 6 Practice Test Classical Era 1. The classical style in music flourished during the period A. 1600-1750 B. 1730-1770 C. 1750-1820 D. 1820-1900 2. Which of the following composers is not considered a master of the classical period? A. Wolfgang A. Mozart B. Ludwig van Beethoven C. Joseph Haydn D. Johann Christian Bach 3. Which of the following statements is not true of the music of the classical period? A. Classical melodies are among the most tuneful and easy to remember. B. The basso continuo was the nucleus of the instrumental ensemble. C. Classical composers stressed balance and clarity of structure. D. The standard orchestra comprised of four sections evolved during the classical period. 4. The typical orchestra of the classical period consisted of A. strings, pairs of woodwinds, horns, trumpets, and timpani B. strings with harpsichord continuo C. a loose ensemble of available instruments D. woodwinds, trombones, drums, and strings 5. Which of the following instruments were not normally included in the classical orchestra? A. timpani B. saxophones C. trumpets D. horns 6. Social mobility during the classical period was A. not common B. promoted and encouraged by the church C. an important factor in the rise of the middle class D. ruthlessly stamped out by the aristocracy 7. Political and economic power shifted from the church and the aristocracy to the A. colonial powers B. military-industrial complex C. middle class D. military 8. In the classical period, serious composition was flavored by A. folk and popular music B. heroic and mythological plots C.
    [Show full text]