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Elaine Fitz Gibbon
Elaine Fitz Gibbon »Beethoven und Goethe blieben die Embleme des kunstliebenden Deutschlands, für jede politische Richtung unantastbar und ebenso als Chiffren manipulierbar« (Klüppelholz 2001, 25-26). “Beethoven and Goethe remained the emblems of art-loving Germany: untouchable for every political persuasion, and likewise, as ciphers, just as easily manipulated.”1 The year 2020 brought with it much more than collective attempts to process what we thought were the uniquely tumultuous 2010s. In addition to causing the deaths of over two million people worldwide, the Covid-19 pandemic has further exposed the extraordinary inequities of U.S.-American society, forcing a long- overdue reckoning with the entrenched racism that suffuses every aspect of American life. Within the realm of classical music, institutions have begun conversations about the ways in which BIPOC, and in particular Black Americans, have been systematically excluded as performers, audience members, administrators and composers: a stark contrast with the manner in which 2020 was anticipated by those same institutions before the pandemic began. Prior to the outbreak of the novel coronavirus, they looked to 2020 with eager anticipation, provoking a flurry of activity around a singular individual: Ludwig van Beethoven. For on December 16th of that year, Beethoven turned 250. The banners went up early. In 2019 on Instagram, Beethoven accounts like @bthvn_2020, the “official account of the Beethoven Anniversary Year,” sprang up. The Twitter hashtags #beethoven2020 and #beethoven250 were (more or less) trending. Prior to the spread of the virus, passengers flying in and out of Chicago’s O’Hare airport found themselves confronted with a huge banner that featured an iconic image of Beethoven’s brooding face, an advertisement for the Chicago Symphony Orchestra’s upcoming complete cycle Current Musicology 107 (Fall 2020) ©2020 Fitz Gibbon. -
8002-Cedille-On-The-Move-Booklet.Pdf
INTRODUCTION 1 JOHN ADAMS (b. 1946) I. Relaxed Groove from Road Movies (4:37) Cedille Records is devoted to promoting the finest musicians in and from Chicago by re- Jennifer Koh, violin leasing their efforts on high quality recordings. Our recording ideas come from the artists themselves, which is why we have such a widely varied catalog of innovatively programmed Reiko Uchida, piano recordings. From In 2004, Cedille released a sampler CD of calming compositions titled Serenely Cedille (Ce- String Poetic — dille Records CDR 8001). Now, five years later, we present a disc of high-energy selections st from our catalog, ideal for keeping you “on the move,” whether walking, running, biking, American Works: A 21 Century Perspective driving, exercising, or just enjoying the music’s rhythmic drive. The tracks run the gamut CDR 90000 103 from a Vivaldi flute concerto, to symphonic works by late-Classical era composers from Bohemia (Krommer and Voříšek), to (later) 19th century concertos and chamber works, to seven selections by contemporary or very recent composers. All feature propulsive rhyth- mic energy designed to keep the music (and you) moving forward. This is the piece that inspired the idea for this sampler CD. About it, the iconic American I hope you enjoy this disc, and that it inspires you to want to learn more about and hear composer writes, “Road Movies is travel music, music that is comfortably settled in a pulse more from the wonderful Chicago artists represented on this CD. Toward that end, the track groove and passes through harmonic and textural regions as one would pass through a listing in this booklet includes a short statement about each selection and its respective landscape on a car trip.” Although titled, “Relaxed Grove,” the opening movement conveys disc. -
ARIANE GRAY HUBERT Concert Pianist, Singer & Composer Www
ARIANE GRAY HUBERT Concert Pianist, Singer & Composer www.arianegrayhubert.com A concert pianist, singer and composer, Ariane Gray Hubert is a much acclaimed and innovative artist in several fields. Over the years, she has delighted audiences and critics all over the world with her performances, be it a piano solo recital, a piano-vocal world music program or with various music ensembles. In her orchestral works, she blends both eastern and western music traditions in a unique manner—an absolutely visionary approach. Born in Paris with a French-American double nationality, the artist started her musical journey at the age of four. She was largely influenced by her American mother, Tamara Gray, and her great- aunt, who received her training from Alfred Cortot in Switzerland. The classical training Ariane Gray Hubert received is fascinating and ranged from the renowned Russian, Austrian and French piano traditions to the rich, oral music of the east. The distinctive characteristics of this French-American artist combine playing and singing together in expressive scales, her unique improvisation, powerful rhythmical ideas and inspiration from ancient musical traditions. In the west, the artist performs for major international festivals as well as for many productions in opera and dance. She played for Radio France, Musée d’Orsay, Opera Bastille & Garnier, the Vatican, the UNESCO, the European Delegation in India on the occasion of the 50 years of the EU Treaty, the French Alliances abroad (Austria, Germany, Italy, Baltic countries, India) and for various South American festivals. In 2010, in collaboration with various festivals abroad, she played “La Note Bleue” at the closing ceremony of the Festival “Bonjour India” to commemorate the bicentenary birth anniversary of F. -
Kaikhosru Shapurji Sorabji's Quintet for Piano and Four Stringed Instruments and Its Intended Performance by Norah Drewett and the Hart House String Quartet
91 Kaikhosru Shapurji Sorabji's Quintet for Piano and Four Stringed Instruments and its intended performance by Norah Drewett and the Hart House String Quartet Marc-AndrC Roberge Abstract This article attempts to reconstruct the history of what was to be the first per- formance of Kaikhosru Shapurji Sorabji's Quintet for Piano and Four Stringed Instruments (1919-20), which was scheduled to be given on 29 November 1925 at Aeolian Hall in New York by the pianist Norah Drewett and the University of Toronto's Hart House String Quartet as part of a concert sponsored by Edgard Varese's International Composers' Guild. The performance never took place for reasons that are not entirely clear but have to do mostly with the work's difficul- ties. The article also provides an introduction to the work itself, which Sorabji dedicated to his friend, the composer Philip Heseltine. Most people who have heard of Kaikhosru Shapurji Sorabji (1892-1988), the Parsi composer and pianist active who lived as a recluse in England for most of his career, know that performances of his often massive and extremely difficult works have been extremely rare as a result of a so-called ban.l The thirteen scores that Sorabji published between 1921 and 1931 contain the following warning: "All rights including that of performance, reserved for all countries by the composer." The score of his 248-page Opus clavicembalisticum (1929-30), his longest and most often cited work, contains the additional admonition: "Public performance prohibited unless by express consent of the composer." Various statements in letters make it possible to say that, in the late thirties, Sorabji had decided to turn down all requests for public performance either by himself or by others. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart. -
Bakalářská Práce
UNIVERZITA PALACKÉHO V OLOMOUCI FILOSOFICKÁ FAKULTA BAKALÁŘSKÁ PRÁCE Olomouc 2014 Michal Kadlec UNIVERZITA PALACKÉHO V OLOMOUCI FILOSOFICKÁ FAKULTA Katedra divadelních, filmových a mediálních studií POPULÁRNÍ OBRAZ LUDWIGA VAN BEETHOVENA VE FILMU POPULAR IMAGE OF LUDWIG VAN BEETHOVEN IN MOVIES (Bakalářská diplomová práce) Autor: Michal Kadlec Vedoucí práce: doc. Mgr. Zdeněk Hudec, Ph.D. Olomouc 2014 Univerzita Palackého v Olomouci Filosofická fakulta Tímto prohlašuji, že jsem bakalářskou diplomovou práci na téma Populární obraz Ludwiga van Beethovena ve filmu vypracoval samostatně pod odborným vedením vedoucího práce. V Olomouci, dne...................... Podpis:...................... Univerzita Palackého v Olomouci Filosofická fakulta Poděkování Rád bych poděkoval vedoucímu bakalářské práce doc. Mgr. Zdeňku Hudcovi, Ph.D. za od- borné vedení a pomoc při nalézání konečného tvaru práce. OBSAH OBSAH ...................................................................................................................................... 5 ÚVOD ........................................................................................................................................ 7 1. Téma ............................................................................................................................... 7 2. Cíl práce ......................................................................................................................... 7 2. VYHODNOCENÍ LITERATURY ..................................................................................... -
An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC AN ANNOTATED CATALOGUE OF THE MAJOR PIANO WORKS OF SERGEI RACHMANINOFF By ANGELA GLOVER A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 The members of the Committee approve the treatise of Angela Glover defended on April 8, 2003. ___________________________________ Professor James Streem Professor Directing Treatise ___________________________________ Professor Janice Harsanyi Outside Committee Member ___________________________________ Professor Carolyn Bridger Committee Member ___________________________________ Professor Thomas Wright Committee Member The Office of Graduate Studies has verified and approved the above named committee members. TABLE OF CONTENTS Abstract………………………………………………….............................................. iv INTRODUCTION……………………………………………………………………. 1 1. MORCEAUX DE FANTAISIE, OP.3…………………………………………….. 3 2. MOMENTS MUSICAUX, OP.16……………………………………………….... 10 3. PRELUDES……………………………………………………………………….. 17 4. ETUDES-TABLEAUX…………………………………………………………… 36 5. SONATAS………………………………………………………………………… 51 6. VARIATIONS…………………………………………………………………….. 58 BIBLIOGRAPHY…………………………………………………………………. -
Volume 46, Number 01 (January 1928) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1928 Volume 46, Number 01 (January 1928) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 46, Number 01 (January 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/752 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Journal of the ^Musical Home Everywhere THE ETUDE ) ''Music MCagazi January 1928 NEW YEARS AMBITIONS Panted by C. W. Snyder PRICE 25 CENTS $2.00 A YEAR •/ ' * ' . • - - - V ■ / * ETV D E jssMastf-r ift 1 Outstanding Piano Composen Whose Works Are Worth Knowing festers fjruguay.H Canada,’ tiS* STjE? Auditor! Td WARD^JwOTtHHIPOTER “? , Subscrib/rs We will gladly send any ot tnese compositions to piano teachers, allowing the privilege of ex¬ amining them on our “On Sale” plan and per¬ mitting the return ofot those not desired.aesirea. Askask forior “On Order Blank and the details of ?his helpful plan if you have never enjoyed its jVL/ 12 IS d-1 ffir n kJ> PRINTED IN THE UN,TED STATES OP AMERICA * — ' - ™L,SHE, > -V THEODORE PRESSER CO. -
SESSION EIGHT November 3, 2016 BEETHOVEN the MAN Last Years Do Not Go Gentle Into That Good Night, Old Age Should Burn and Rave
SESSION EIGHT November 3, 2016 BEETHOVEN THE MAN Last Years Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. So wrote the Welsh poet, Dylan Thomas, in the 20th century’s most famous poem about the end of life. Rage is a word often used to describe Beethoven. Gentle is not a word used to describe him, and he did not go gently. Two weeks ago, in Session 6, we observed the great surge in Beethoven’s popularity in his early and mid-forties: more performances, more publishers vying for his works, and a soaring income from performances, sales, royalties, and annuities. This was soon followed by a major decline in the popularity of his music and in his income. BEETHOVEN IN 1823 This sympathetic but realistic portrait at age 53 suggests that the continuous pain and discomfort Beethoven suffered contributed to his decline in composing, along with worsening health and behavior. WORSENING BEHAVIOR Accompanying these declines was a marked decline in his health and behavior. In grief over the death of his brother Carl, Beethoven turned to anger, and a prolonged, expensive and ultimately futile attempt to gain legal control of his nephew, also named Karl after his Father, from the influence of what he considered an immoral and uncaring Mother. This vendetta against his sister-in-law was only one of many signs of Beethoven’s increasingly erratic behavior. Franz Grillparzer, Beethoven’s long- time friend who would eventually deliver the eulogy at Beethoven’s funeral, remained -
Ludwig Van Beethoven: Triumph Over a Life of Tragedy
Ludwig van Beethoven: Triumph Over a Life of Tragedy Madeline Brashaw Senior Division Historical Paper Paper Length: 2,448 words “It seemed unthinkable for me to leave the world forever before I had produced all that I felt Heiligenstadt Testament called upon to produce,” Ludwig van Beethoven wrote in shortly before he passed away. Ludwig van Beethoven practiced music his entire life. He told people that he did not know what he would do without music. Beethoven was brought up during the Classical Period which was defined and determined by its clear characteristics such as its emphasis on beauty, elegance, and balance, and by the variety and contrast within the musical pieces. It is said that his music altered the course of musical history and that it modified the Classical Period (Classical Music). Sadly, Beethoven’s career came to a halt when he began to lose his hearing, and it became nearly impossible for him to compose and conduct his works. The tragic loss of Beethoven’s hearing led to his triumph in changing musical history. Beethoven was brought into this world in December of 1770. As a child, Ludwig van Beethoven often had a sad life. He had no friends and had nobody to care for him. The one thing that he did have, and he used almost every day, was his music. Beethoven’s main instruments were the piano and the violin. As a child, he even composed his own music at times. His father, Johann van Beethoven, was young Beethoven’s first music teacher. As a child, his father harshly pushed him in his musical studies. -
Ludwig Van Beethoven Hdt What? Index
LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father. -
Conversations with Beethoven/ by Sanford Friedman ; Introduction by Richard Howard
Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. CONVERSATIONS I WITH BEETHOVEN l A Novel SANFORD FRIEDMAN Introduction by RICHARD HOWARD NEW YORK REVIEW BOOKS Efiiit New York THIS IS A NEW YORK REVIEW BOOK PUBLISHED BY THE NEW YORK REVIEW OF BOOKS 435 Hudson Street, New York, NY wo14 www.nyrb.com Copyright© 2014 by Sanford Friedman Introduction copyright© 2014 by Richard Howard All rights reserved. Library of Congress Cataloging-in-Publication Data Friedman, Sanford, 1928-20!0. Conversations with Beethoven/ by Sanford Friedman ; introduction by Richard Howard. pages cm. - (New York Review Books classics) ISBN 978-1-59017-762-4 (alk. paper) I. Beethoven, Ludwig van, 1770-1827-Fiction. 2. Composers-Germany Fiction. I. Title. PS3556.R564C66 2014 813'.54-de23 ISBN 978-1-59017-762-4 Available as an electronic book; ISBN 978-1-59017-788-4 Printed in che United Scates of America on acid-free paper. 10 9 8 7 6 5 4 J 2 l It is known that conversation with Beethoven had in part to be written; he spoke, but those with whom he spoke had to write down their questions and answers.