DOCSLIB.ORG

German Lieder: Songs for Women Andrea M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
German Lieder: Songs for Women Andrea M McNair Scholars Research Journal Volume 3 | Issue 1 Article 5 1-24-2011 German Lieder: Songs for Women Andrea M. Apel Eastern Michigan University, [email protected] Follow this and additional works at: http://commons.emich.edu/mcnair Recommended Citation Apel, Andrea M. (2011) "German Lieder: Songs for Women," McNair Scholars Research Journal: Vol. 3: Iss. 1, Article 5. Available at: http://commons.emich.edu/mcnair/vol3/iss1/5 This Article is brought to you for free and open access by the Graduate School at DigitalCommons@EMU. It has been accepted for inclusion in McNair Scholars Research Journal by an authorized administrator of DigitalCommons@EMU. For more information, please contact [email protected]. Apel: German Lieder: Songs for Women *(50$1 LIEDER S21*6)25 W20(1 Andrea M. Apel Dr. Emery Stephens and Professor Kathleen Segar, Mentors ABSTRACT 0\ UHVHDUFK LGHQWL¿HV *HUPDQ Lieder FRPSRVHG VSHFL¿FDOO\ IRUIHPDOHVLQJHUV)HPDOHVSHFL¿FVRQJVZHUHGHWHUPLQHGWKURXJKWH[ WXDODQDO\VLVRIWKHVRORZRUNVIURPIRXULQÀXHQWLDOFRPSRVHUVRIWKLVHUD )UDQ]6FKXEHUW ± 5REHUW6FKXPDQQ ± -RKDQQHV %UDKPV ± DQG +XJR:ROI ± 5HVHDUFK PHWKRGV LQFOXGHH[LVWLQJGDWDELRJUDSKLFDOVWXGLHVVRFLRORJLFDOVWXGLHVDQGSHU IRUPDQFHSUDFWLFH$OVRSHUVRQDOVWXG\DQGSHUIRUPDQFHWKURXJKDSXE OLFVRORUHFLWDORIIHPDOHVSHFL¿FZRUNVJDYHPHDQRSSRUWXQLW\WRVLQJ Frauenliebe und-lebenE\5REHUW6FKXPDQQRat einer Alten E\ +XJR :ROIMädchenlied E\-RKDQQHV%UDKPVDQGGretchen am Spinnrade E\ )UDQ]6FKXEHUWIRUWKH¿UVWWLPH7KHVHZRUNVDUHGLVFXVVHGLQGHWDLO)RU IXUWKHUUHIHUHQFHDQDSSHQGL[LVSURYLGHGRIIHPDOHVSHFL¿FliederIURP WKHVHOHFWHGFRPSRVHUV6FKXEHUW6FKXPDQQ%UDKPVDQG:ROI INTRODUCTION 7KHVWXG\RI*HUPDQLiederLVEHQH¿FLDOIRUDOOFODVVLFDOVLQJ HUV ,W SURYLGHV VHYHUDO ZD\V WR LPSURYH WKH TXDOLW\ RI PXVLFLDQVKLS WKURXJK ODQJXDJH LQWHUSUHWDWLRQ VLQJHU DQG DFFRPSDQLVW XQL¿FDWLRQ DQGWHFKQLFDOFKDOOHQJHV:KHWKHUWKHVLQJHUZLVKHVWRWHDFKPXVLFLQ DQ\IRUPDWRUSXUVXHDSHUIRUPLQJFDUHHUVWXG\LQJliederSUHSDUHVWKH VLQJHUE\LPSDUWLQJNQRZOHGJHRIWKLVOLWHUDWXUHDQGUHSHUWRLUHWHDFK LQJNH\HOHPHQWVRIDQRWKHUODQJXDJHDQGDVDVWHSSLQJVWRQHLQWKHDUW RISHUIRUPDQFH0\REMHFWLYHLQLGHQWLI\LQJ*HUPDQLiederFRPSRVHG VSHFL¿FDOO\IRUIHPDOHVLQJHUVLVWRFUHDWHDWRROZRPHQFDQXWLOL]HZKHQ FKRRVLQJVRQJVDQGDOVRWRVKDUHP\SHUVRQDOSHUIRUPLQJH[SHULHQFHV LQWKLVJHQUHWKXVDGGLQJWRWKHIXWXUHVXFFHVVRIZRPHQSHUIRUPLQJ lieder:KHQFKRRVLQJWRVWXG\*HUPDQliederLWLVLPSRUWDQWWROHDUQDOO DVSHFWVRIWKHPXVLFZKLFKLQFOXGHVKLVWRULFDOEDFNJURXQGRIWKHPXVLFDQG WKHELRJUDSKLFDOLQIRUPDWLRQRQWKHFRPSRVHUV7KLVZLOOFRQWULEXWHWRDEHW WHUXQGHUVWDQGLQJDQGLQWHUSUHWDWLRQRIWKHPXVLFZKHQSHUIRUPLQJlieder. Published by DigitalCommons@EMU, 2011 1 McNair Scholars Research Journal, Vol. 3 [2011], Iss. 1, Art. 5 Andrea M. Apel ,Q*HUPDQ Lied WUDQVODWHVDVsong. Lieder VRQJV DUHSDUWRID WUDGLWLRQDODUWVRQJJHQUHLQFODVVLFDOVRORVLQJLQJ6LPLODUWRRSHUDDQG RUDWRULRDUWVRQJLVW\SLFDOO\PHDQWIRUVRORYRLFHDQGSLDQR3ULPDULO\ WDNHQIURPSUHH[LVWLQJSRHPVliederDUHDVHWWLQJIRUO\ULFSRHWU\GHULY LQJIURPHDUOLHUIRONVRQJWUDGLWLRQVLQ*HUPDQ\ 7KLVHUDRI*HUPDQliederSURGXFHGWKHPRVWVLJQL¿FDQWRXW SRXULQJRIDUWVRQJGXULQJWKHQLQHWHHQWKFHQWXU\DQGZDVDSDUWRI*HU PDQ5RPDQWLFLVPDGRPLQDQWPRYHPHQWLQWKHODWHHLJKWHHQWKDQGHDUO\ QLQHWHHQWKFHQWXULHV*HUPDQ5RPDQWLFSULQFLSOHVSURPRWHG WKHGHVLUHWRH[WHQGEH\RQGZKDWLVNQRZQ«5RPDQWLFVZDQW HGWRHOLPLQDWHERXQGDULHVWRH[WHQGEH\RQGOLPLWVDQGWRHQ MR\WKHLQ¿QLWH7KLVUHVXOWHGLQWKHGHVLUHWRHVFDSHPXQGDQH GDLO\ H[LVWHQFH WKURXJK LQWR[LFDWLRQ DQG WKURXJK HPEUDFH RI FKDRVWKURXJKH[SORUDWLRQRIWKHP\VWLFDODQGLQYHVWLJDWLRQRI WKHDEQRUPDO«7KHFHOHEUDWLRQRIWKHFRQWUDGLFWRU\DOVRZDVD UHDFWLRQDJDLQVWZKDWZDVFRQVLGHUHGDQRSSUHVVLYHUDWLRQDOLW\ DQGRUGHUOLQHVVGXULQJWKH(QOLJKWHQPHQW«5RPDQWLFVZDQWHG WRGH¿QHWKHLUZRUOGWKURXJKRSSRVLWLRQDQG3$5$'2;WRLQ WHQVLI\ UHDOLW\ ZLWK WKH LPDJLQDU\ WR HPSKDVL]H WKH VSLULWXDO WKURXJKFRQWUDVWZLWKWKHPDWHULDO 6WHLQ 6SLOOPDQS 5RPDQWLFLVPZDVH[SUHVVHGWKURXJKVHYHUDODUWIRUPVLQFOXG LQJPXVLFYLVXDODUWOLWHUDWXUHDQGHGXFDWLRQ5RPDQWLFWRSLFVLQFOXGHG ³ORYHVXIIHULQJGLVWUHVVQDWXUHVHDVRQDQGSLRXVGHYRWLRQ´ +DOOPDUN S 5RPDQWLFLVPHYROYHGDIWHUWKHFXVSRIWKH$PHULFDQ5HYROX WLRQ ± WKH)UHQFK5HYROXWLRQ ± DQGGXULQJWKH ,QGXVWULDO5HYROXWLRQ &KDQJH ZDV LQ WKH DLU DQG WKH ZRUOG ZDV SUR JUHVVLQJ(YHU\GD\OLIHZDVWUDQVIRUPHGE\WKH,QGXVWULDO5HYROXWLRQ² UDLOURDGV\VWHPVZHUHEHFRPLQJDGYDQFHGVFLHQFHDQGPHGLFLQHZHUH PDNLQJKXJHVWULGHVDQG³QHZDWWLWXGHVDERXWOLIHUHOLJLRQHFRQRPLFV DQGSROLWLFVZHUHLQWKHDLU´ 6FKRQEHUJS $VDUHVXOWWKH DUWVDOVRHYROYHG 7KHPLGGOHFODVVZDVJURZLQJDQGWKHUHZDVDQDSSHWLWHIRUWKH DUWV³7KHliedZDVDSHUIHFWPLQLDWXUHIRUPFRPELQLQJPXVLFDQGSRHWU\ DUWDQGOLWHUDWXUHQDWXUDOODQGVFDSHVDQGWKHLQWHULRUOLIHRIWKHLQGLYLG XDOVHHNLQJDSODFHLQWKHZRUOG´ (OOLRWS %HFDXVHRIWKH ,QGXVWULDO5HYROXWLRQDQGWKHDGYDQFHPHQWRIWHFKQRORJ\LQVWUXPHQWV WKHPVHOYHVZHUHEHLQJEXLOWRIEHWWHUTXDOLW\DQG³WKHSLDQRXQGHUZHQW http://commons.emich.edu/mcnair/vol3/iss1/5 2 Apel: German Lieder: Songs for Women German Lieder: Songs for Women DSKHQRPHQDOWUDQVIRUPDWLRQXQOLNHWKDWRIDQ\SUHYLRXVLQVWUXPHQW,WV PRGL¿FDWLRQVDQGWHFKQLFDOGHYHORSPHQWVPRVWFHUWDLQO\FRQWULEXWHGWR WKH EORVVRPLQJ RI OLHGHU´ (OOLRW S 7KHVH DGYDQFHPHQWV KHOSHGWKHSLDQRH[SDQGLWV³WRQDOSDOHWWHDQGH[SUHVVLYHSRWHQWLDO´ (O OLRWS 7KHUHZDVDGHPDQGIURPWKHJHQHUDOSXEOLFIRU³QHZO\SXE OLVKHGVRQJVWREHXVHGIRUKRPHHQWHUWDLQPHQW´ (OOLRWS $OPRVWHYHU\KRPHIHDWXUHGSULYDWHPXVLFPDNLQJLQERWKSHUIRUPDQFH DQGLQVWUXFWLRQ³0DQ\FRPSRVHUVWRRNDGYDQWDJHRIWKHIDFWWKDWDJRRG GHDORIPRQH\FRXOGEHPDGHIURPWKHVDOHRIVRQJV&DUO/RHZH5REHUW )UDQ]0HQGHOVVRKQ6FKXPDQQDQG%UDKPVDOOZURWHVRQJVGXHWVDQG TXDUWHWVJHDUHGWRWKHDELOLWLHVRIDPDWHXUPXVLFLDQV´ (OOLRWS +RZHYHU³&RPSRVHUVDOVRVHWSRHPVWRPXVLFDVDQH[SUHVVLRQRIWKHLGH DOVRIWKH5RPDQWLFPRYHPHQW´DQG³:ROI«GHFODUHGWKDWKLVVRQJVZHUH ZULWWHQµIRUHSLFXUHVQRWDPDWHXUV¶´ (OOLRWS %XWWKHlied PDGHLWVZD\IURPSULYDWHJDWKHULQJVWRSXEOLFUHFLWDOVGHYHORSLQJQHZ FRQFHUWVHOHFWLRQVWKDWZHUHQRWWKHW\SLFDOV\PSKRQ\RUDQRSHUDDQGLQ VWHDGIHDWXUHG³VRQJVVRORLQVWUXPHQWDOVHOHFWLRQVPHORGUDPDVDQGSRHW U\UHDGLQJV´ (OOLRWS RQWKHFRQFHUWSURJUDP'LIIHUHQWIURP WKHRSHUDH[SHULHQFH³WKHliedGHPDQGHGFORVHFRPPXQLFDWLRQEHWZHHQ VLQJHUDQGDFFRPSDQLVWDQGSURYLGHGDQLQWLPDWHH[SHULHQFHEHWZHHQSHU IRUPHUVDQGDXGLHQFH´ (OOLRWS 7KLVLVZKDWPDNHVlieder VSHFLDOWKHFRPELQDWLRQRIWH[WDQGPXVLFHQJDJLQJWKHSLDQLVWVLQJHUDQG SRHWU\WREHFRPHXQL¿HGWHOOLQJDVWRU\ $QRWKHUFDWDO\VWWKDWVSXUUHG*HUPDQliederLVWKHUHYROXWLRQ DU\ZRUNRI/XGZLJYRQ%HHWKRYHQ ± %HHWKRYHQLVUHJDUGHG DVWKH)DWKHURI5RPDQWLFLVPDQGZDVIDPRXVLQKLVRZQWLPH+HGH YHORSHGDQGWUDQVIRUPHGQHZPXVLFDOLGHDVWKDWVKRRNWKHPXVLFZRUOG FKDQJLQJLWIRUHYHU)URPDUWVRQJWRSLDQRVRQDWDVV\PSKRQLHVDQG RQO\RSHUDKLVPXVLFLVNQRZQWKURXJKRXWWKHZRUOG+LVPRVWLQÀX HQWLDOZRUNLV6\PSKRQ\QRLQ'PLQRURSZKLFKLQFOXGHVWKH IDPRXV³2GHWR-R\´7KLVLVDZRUOGPDVWHUSLHFHDQGLVFRQVLGHUHGWKH JUHDWHVWFRPSRVLWLRQHYHUZULWWHQ6RWKLVLVZKDW6FKXEHUW6FKXPDQQ %UDKPVDQG:ROIZHUHXSDJDLQVW%HHWKRYHQZDVDPRQXPHQWDO¿JXUH DQGFDVWKLVORQJVKDGRZRYHUHYHU\RWKHUFRPSRVHUPDNLQJLWGLI¿ FXOWWREHFRPHUHFRJQL]HG,IDFRPSRVHUZDVUHFRJQL]HGKLVZRUNZDV FRPSDUHGWR%HHWKRYHQHVSHFLDOO\LQVWUXPHQWDOZRUN%XW³LQZULWLQJ YRFDOPXVLF%HHWKRYHQZDVIDUVORZHUWR¿QGKLVLQGLYLGXDOLW\WKDQLQ KLVLQVWUXPHQWDOZRUNV´ 6WHYHQVS WKXVFDXVLQJlieder to EHDYHQXHZKHUHFRPSRVHUVFRXOGZULWHPXVLFDQGH[FHO<HW%HHWKRYHQ Published by DigitalCommons@EMU, 2011 3 McNair Scholars Research Journal, Vol. 3 [2011], Iss. 1, Art. 5 Andrea M. Apel SDYHGWKHZD\IRUliedLQWKHFKDQJLQJZRUOGDQGWKHIROORZLQJFRPSRV HUVHDUQHGWKHLUSODFHLQPXVLFKLVWRU\WKURXJKlieder. 7KH ¿UVW FRPSRVHU , UHVHDUFKHG ZDV )UDQ] 6FKXEHUW ± 6FKXEHUWQHYHUOLYHGIDUIURP9LHQQDDQGZDVZHOONQRZQOR FDOO\³DVDFRPSRVHURIVRQJV´ 6FKRQEHUJS ,WZDVQ¶WXQWLO IRUW\\HDUVDIWHUKLVGHDWKWKDWKLVPXVLFZDVJLYHQLWVGXHUHFRJQLWLRQ $VWKHWZHOIWKRIIRXUWHHQFKLOGUHQ6FKXEHUWUHFHLYHGDJHQHUDO HGXFDWLRQDWWKH,PSHULDODQG5R\DO6HPLQDU\ZKHUHKHZDVDER\VRSUDQR LQWKHFKRLU 6FKRQEHUJS $WDJHHOHYHQKHVKRZHGWUHPHQ GRXVPXVLFDOWDOHQWEHLQJSUR¿FLHQWDWWKHSLDQRYLROLQDQGFRPSRVLWLRQ $QWRQLR6DOLHUL ± DQRWKHUIDPRXVFRPSRVHUZDVHPSOR\HGDV WKHFRXUWPXVLFDOGLUHFWRULQ9LHQQD+HWRRNQRWLFHRI6FKXEHUWLQ DQGEHFDPHKLVFRPSRVLWLRQWHDFKHU 6FKRQEHUJS 7KHUHLVOLWWOHLQIRUPDWLRQDYDLODEOHRQWKHSHUVRQDOOLIHRI6FKX EHUW,WLVEHOLHYHGKHZDVDYHU\VK\LQGLYLGXDONHHSLQJDVPDOOFLUFOHRI IULHQGVDQGQHYHUPDUU\LQJ+HOLYHGDWUXH%RKHPLDQOLIHVW\OHDQG³LQ KDELWHGWKHPXVLFORYLQJDUWORYLQJLQWHOOHFWXDOPLGGOHFODVVZRUOGDOO KLVOLIH«VHOGRPKDYLQJPRQH\PRYLQJLQZLWKIULHQGVVSHQGLQJPXFK WLPHDWFDIHV´ 6FKRQEHUJS +LVFORVHFLUFOHRIIULHQGVFRQ VLVWHGRIOLNHPLQGHGSHRSOHZKRZHUHDOVRPXVLFLDQVSRHWVDQGDUWLVWV 0RQH\DQGWLPHZHUHRIOLWWOHVLJQL¿FDQFHWRKLPDQGKHDQGKLVIULHQGV ZRXOG UHO\ RQ HDFK RWKHU IRU EDVLF QHFHVVLWLHV ³+DWV VKRHV FORWKHV PRQH\²DOOZDVFRPPXQDO:KRHYHUZDVLQIXQGVIRUWKHPRPHQWWRRN FDUHRIWKHELOOV´ 6FKRQEHUJS +LVSRSXODULW\VWDUWHGWR VSUHDGZKHQ-RKDQQ9RJO ± DIDPRXVEDULWRQHRSHUDVLQJHU EHJDQWRVLQJKLVPXVLFSXEOLFO\ 6FKRQEHUJS 3XEOLVKHUV UDUHO\DSSURDFKHG6FKXEHUW\HWKHZDVDEOHWRVXVWDLQKLVOLIHVW\OHRII YHU\OLWWOHLQFRPH(YHQWKRXJK6FKXEHUWLVPDLQO\UHFRJQL]HGDVDFRP SRVHURIVRQJVKHDOVRFRPSRVHGRSHUD+RZHYHUKLVZRUNLQRSHUDZDV QRWZHOOUHFHLYHGSRVVLEO\GXHWRSRRUVXEMHFWFKRLFHDQGOLEUHWWR (YHQWKRXJK6FKXEHUWDQG%HHWKRYHQVKDUHGWKH\HDUVEHWZHHQ DQG6FKXEHUWVWLOOPDQDJHGWRFDUYHKLVRZQPXVLFDOLGHQ WLW\ZLWKOLWWOHFRPSRVLWLRQDOLQÀXHQFHIURPKLVSURPLQHQWSUHGHFHVVRU %HHWKRYHQ ZDV KRZHYHU ZHOO DZDUH RI WKH XS DQG FRPLQJ 6FKXEHUW ³%HHWKRYHQZKRNQHZZKDWZDVJRLQJRQHYHU\ZKHUHUHDGWKURXJKVRPH RIWKH6FKXEHUWVRQJVDQGZDVLPSUHVVHG«KHVDLGWKDW6FKXEHUWKDGWKHGL YLQHVSDUN«$SSDUHQWO\6FKXEHUWJRWXSHQRXJKQHUYHWRYLVLW%HHWKRYHQ RQO\RQFHZKHQ%HHWKRYHQZDVRQKLVGHDWKEHG1RWKLQJDERXWWKHYLVLW LVNQRZQ%XWWKHUHZDVUHDOO\LQ6FKXEHUW¶VPXVLFDVOLWWOH%HHWKRYHQ LQÀXHQFHDVWKHUHZDVDFWXDOFRQWDFW´ 6FKRQEHUJS http://commons.emich.edu/mcnair/vol3/iss1/5 4 Apel: German Lieder: Songs for Women German Lieder: Songs for Women 6FKXEHUW¶VJHQLXVZDVLQKLVVRQJVDQGSURYHGWKLVZLWKKLV creation of Gretchen am Spinnrade DW DJH 7KH IROORZLQJ \HDU KH SURGXFHGVRQJV/LNHPRVWRWKHUFRPSRVHUV6FKXEHUWFKRVHH[LVW
Load more

Recommended publications
  • THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
    THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize.
    [Show full text]
  • The Nineteenth Century, Part 2: Nationalism and Ideology
    A-R Online Music Anthology www.armusicanthology.com Content Guide The Nineteenth Century, Part 2: Nationalism and Ideology Joseph E. Jones is Associate Professor at Texas A&M by Joseph E. Jones and Sarah Marie Lucas University-Kingsville. His research has focused on German opera, especially the collaborations of Strauss Texas A&M University-Kingsville and Hofmannsthal, and Viennese cultural history. He co- edited Richard Strauss in Context (Cambridge, 2020) Assigned Readings and directs a study abroad program in Austria. Core Survey Sarah Marie Lucas is Lecturer of Music History, Music Historical and Analytical Perspectives Theory, and Ear Training at Texas A&M University- Composer Biographies Kingsville. Her research interests include reception and Supplementary Readings performance history, as well as sketch studies, particularly relating to Béla Bartók and his Summary List collaborations with the conductor Fritz Reiner. Her work at the Budapest Bartók Archives was supported by a Genres to Understand Fulbright grant. Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This document is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this guide, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Nineteenth Century, Part 2 (Nationalism and Ideology) 1 ______________________________________________________________________________ Content Guide The Nineteenth Century,
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • Carnegie Hall Rental
    Wednesday Evening, October 15, 2014, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Marriage Actually LEON BOTSTEIN, Conductor RICHARD STRAUSS Four Symphonic Interludes from Intermezzo Reisefieber und Walzerszene (“Travel excitement and waltz scene”) Träumerei am Kamin (“Reverie by the fireplace”) Am Spieltisch (“At the gaming table”) Fröhlicher Beschluß (“Happy conclusion”) Parergon on Symphonia Domestica, Op. 73 MARK BEBBINGTON, Piano Intermission RICHARD STRAUSS Symphonia Domestica, Op. 53 Theme 1: Bewegt/Theme 2: Sehr lebhaft/ Theme 3: Ruhig Scherzo (Munter) Wiegenlied (Mäßig langsam) Adagio (Langsam) Finale (Sehr lebhaft) This evening’s concert will run approximately two hours and 10 minutes, including one 20-minute intermission. ASO’s Vanguard Series at Carnegie Hall is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Marriage Actually possibilities of music and turned it into by Leon Botstein a cheapened illustrative medium. The musical language of late Romanti- But this division was more ambiguous cism, its rhetoric and vocabulary, were than it appears.
    [Show full text]
  • Chapter Twenty Two Outline Student
    Chapter 22: Musical Politics at Mid-Century: Historicism and the New German School I. Introduction A. Much music history is cast in the tale of the composers, but the people who actually do the writing are also significant contributors to how the story is told. B. “Historicism” defines social and cultural situations by their history. 1. It was promoted by Karl Heinz Brendel. 2. He wrote the most popular music history of the nineteenth century, Geschichte der Musik. II. Historicism and the Hegelian Dialectic A. The Hegelian dialectic has become somewhat a cliché. History is always in a state of flux. B. The Hegelian dialectic aims to show why things change. Historical change is to realize human freedom—the progress of the world soul. C. Brendel adopted these values. 1. He saw the history of music as a series of emancipations. 2. Musical value was best measured in how it embodied its own era’s evolutionary synthesis and pointed forward. 3. Brendel placed the highest value on German composers. III. The New German School A. Brendel became editor of the Neue Zeitschrift für Musik after Schumann, and his aesthetic preferences differed substantially from those of his predecessor. B. He formed a new organization to promote his agenda for progressive music and gave the keynote address at its formation. 1. Brendel named a group of composers who comprised the “New German School.” 2. Liszt was the honorary president. C. The “New German School” came to be identified with Liszt, Berlioz, and Wagner. D. Liszt began writing symphonic poems, which follow the Hegelian ideal of “unity of the poetic and the musical.” 1.
    [Show full text]
  • Baroque Transformations and Altered States in the Music of Franz Liszt
    Baroque Transformations and Altered States in the Music of Franz Liszt DaviD Gariff above Jean-Jacques Feuchère, Dante Meditating on the “Divine Comedy”, 1843, pen and brown ink with brown wash and watercolor over graphite, heightened with white gouache, National Gallery of Art, Gift of the Christian Humann Foundation cover Giulio Cesare Procaccini, The Ecstasy of the Magdalen, 1616 / 1620, oil on canvas, National Gallery of Art, Patrons’ Permanent Fund national Gallery of art Trasumanar significar per verba non si poria (To go beyond the human is not possible in words) Dante, Paradiso, i, 70-1 Music embodies feeling without forcing it to contend and combine with thought . Franz Liszt For the nineteenth-century Romantic, feeling was everything. The desire to explore and to understand the subjective experience was paramount to the painter, poet, composer, and novelist. These sub- jective states took many forms: dreams, ecstasy, inspiration, but also darker moods such as delirium, melancholy, grief, and a penchant for the morbid and the grotesque. The greatest triumph for the Romantic artist was to awaken emotions in the viewer, reader, or listener. The concepts of transformation and transfiguration reside at the heart of such thinking, what today might be called “altered states.” Franz Liszt (1811 – 1886) was a composer committed to feel- ing. His inspirations included Beethoven, Byron, Dante, Goethe, and Shakespeare. He shared this attitude with his contemporaries Chopin, Schumann, and, most especially, Hector Berlioz. As a prominent figure in the progressive New German School in Weimar, Liszt also recognized this trait in the music of Richard Wagner (1813 – 1883).
    [Show full text]
  • Schubert Forever, 1829–1995
    concert program vi: Schubert Forever, 1829–1995 FELIX MENDELSSOHN (1809–1847) August 4 and 5 Selected Lieder ohne Worte (Songs without Words) Book 1, Opus 19b, no. 1 in E Major: Andante con moto (1830) Tuesday, August 4, 8:00 p.m., Stent Family Hall, Menlo School Book 4, Opus 53, no. 3 in g minor: Gondellied (1839) Book 2, Opus 30, no. 1 in E-flat Major: Andante espressivo (1830) MS Wednesday, August 5, 8:00 p.m., The Center for Performing A Gloria Chien, piano Arts at Menlo-Atherton R ANDRÉ PREVIN (b. 1929) G Vocalise for Soprano, Piano, and Cello (1995) Joélle Harvey, soprano; Hyeyeon Park, piano; Keith Robinson, cello Program Overview As our festival nears the end of Schubert’s life on Earth, we pause JOHANNES BRAHMS (1833–1897) our journey to celebrate his unparalleled posthumous career. A Zwei Gesänge for Voice, Viola, and Piano, op. 91 (1884) few prominent musicians recognized Schubert’s potential dur- Gestillte Sehnsucht (Rückert) (1884) Geistliches Wiegenlied (Lope de Vega) (1863–1864) ing his lifetime (Robert Schumann was one of them), but it fell to PRO ERT Sara Couden, contralto; Arnaud Sussmann, viola; Gilbert Kalish, piano composers and performers of later generations to discover and C popularize most of Schubert’s music. Concert Program VI pays JOHN HARBISON (b. 1938) tribute to an array of distinguished composers whose music con- November 19, 1828 for Piano, Violin, Viola, and Cello (1988) nects to Schubert in powerful ways—through lyricism, magical I. Introduction: Schubert Crosses into the Next World ON harmonies, drama, and, above all, a reverence for the vocal line as II.
    [Show full text]
  • Biopolitics in German Musical Culture, 1850-1910 by Jonathan
    Sound Bodies: Biopolitics in German Musical Culture, 1850-1910 By Jonathan Gentry M.A., Portland State University, 2007 Dissertation Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of History at Brown University PROVIDENCE, RHODE ISLAND MAY 2015 © Copyright 2015 by Jonathan Gentry This dissertation by Jonathan Gentry is accepted in its present form by the Department of History as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date____________ __________________________________ Michael P. Steinberg, Advisor Recommended to the Graduate Council Date____________ __________________________________ Dana Gooley, Reader Date____________ __________________________________ Ethan Pollock, Reader Approved by the Graduate Council Date____________ __________________________________ Peter M. Weber, Dean of the Graduate School iii ACKNOWLEGEMENTS This dissertation has been written on dozens of surfaces. From attics to offices, I have called numerous desks my own. But I also made use of library carrels, the broad tables of reading rooms, and mucky table tops in coffee shops and cafes. I would like to thank the countless people that provided those surfaces: family, friends, colleagues, librarians, archivists, baristas, and servers. It has been a progressive dinner of writing, moving from place to place, finding material and shaping it. I would like to thank the institutions that allowed me to undertake this project and the specific people therein who aided its completion. I am first of all grateful to the members of the History Department at Brown University for all their guidance and the funding, including a grant from the Church Travel Fund that allowed me to conduct research at the Staatsbibliothek in Berlin.
    [Show full text]
  • “Hungarian Identity” and the Music of Franz Liszt
    “Hungarian Identity” and the Music of Franz Liszt LEE, Shaw 1. Liszt in Germany Franz Liszt’s first visit to Weimar was actually in 1840, according to “Gästebuch des Goethehauses (1832-1842/1866-1911). GSA 150/Goethe-Nationalmuseum 200, S.96”.1 Having been appointed Court Conductor (Hofkapellmeister) in 1848 after the death of Johann Nepomuk Hummel, the previous Hofkapellmeister in Weimar who had died in 1837, Franz Liszt settled semi-permanently into Weimar for several reasons, quitting his travels in Europe as a great Virtuoso. (He settled into Rome in 1861. However gradually from the late 1860’s he lived moving mainly from Weimar to Budapest via Rome. It was the so-called “vie trifurquée” (life trifurcated).2) It was clear that he intended to worship the German greats, because he not only held the “Goethe-Festival” (1849), “Herder- Festival” (1850), and music festivals such as “Wagner-Week” (“Wagnerwoche”) and “Berlioz-week” in the context of “The New German School”, but also wrote writings such as “Goethe-Foundation” and “Tannhäuser and Lohengrin”, and works such as “Faust-Symphony” and the so-called “Goethe-March.”3 In addition, he donated a lot of money to the monuments of Beethoven as well as Goethe-Schiller. On one hand, he tried to identify himself with Western-Europe, since his adolescence in Paris. On the other hand, he saw himself as a non-Western-European, i.e. a Hungarian. One of Liszt’s best friends, Prince (Fürst) Felix Lichnowsky, was so conservative that he was murdered on 18 September, 1848 after being tortured.4 This incident was shocking enough to have a strong political influence on Liszt.5 Based upon this matter, Liszt came not to hesitate to occupy himself with political matters in Paris.
    [Show full text]
  • Brahms, Autodidacticism, and the Curious Case of the Gavotte
    Brahms, Autodidacticism, and the Curious Case of the Gavotte Martin Ennis in memoriam Robert Pascall1 On 23 February 1896, after an excursion into the countryside outside Vienna, Richard Heuberger found Brahms in uncharacteristically expan- sive mood. Brahms spoke at length about the relative merits of Mozart and Beethoven, making it clear his sympathies lay with the former, before turn- ing to Haydn’s “extraordinary greatness.”2 He entered his stride, however, when the conversation turned to musical education: Neither Schumann, nor Wagner, nor I learned anything proper. Schumann went one way, Wagner another, and I a third. But not one of us learned anything decent. Not one of us went through a proper school. Yes; we learned after the event.3 Several years earlier, in 1888, Gustav Jenner heard a slightly different version of the same tale when, as a twenty-two-year-old, he went to Vienna to study with Brahms: Just think how Schumann suffered by coming so late to music. It was the same story with me; I came even later to music. What might I have been, if only I’d learned in my youth what I had to catch up on as a man!4 Both stories are presented without commentary; the two interlocutors apparently accepted them without demur. In later years, Brahms was keen to stress the disadvantages of his musical education when compared with Mendelssohn’s: Mendelssohn had a great advantage over us: his outstanding training. What endless pains it has cost me making up for that as a man.5 The most thorough-going account of Brahms’s musical training dates from 1912 when Gustav Jenner argued, on the basis of conversations with the composer, that Brahms’s education was seriously deficient (Jenner 1912).
    [Show full text]
  • PDF Download Johannes Brahms
    JOHANNES BRAHMS PDF, EPUB, EBOOK Mike Venezia | 32 pages | 01 Sep 1999 | Scholastic US | 9780516264677 | English | New York, NY, United States Johannes Brahms PDF Book Monday 19 October Tuesday 7 July View all similar artists. Brahms, for the most part, enjoyed steady success in Vienna. Saturday 25 April With the Requiem , which is still considered one of the most significant works of 19th-century choral music , Brahms moved into the front rank of German composers. Brahms looked both backward and forward; his output was often bold in its exploration of harmony and rhythm. Category Portal. Over the next several years, Brahms held several different posts, including conductor of a women's choir in Hamburg, which he was appointed to in In , following the death of his mother, he finished "A German Requiem," a composition based on Biblical texts and often cited as one of the most important pieces of choral music created in the 19th century. He ensured that the orchestra was staffed only by professionals, and conducted a repertoire which ran from Bach to the nineteenth century composers who were not of the 'New German School'; these included Beethoven, Franz Schubert , Mendelssohn, Schumann, Joachim, Ferdinand Hiller , Max Bruch and himself notably his large scale choral works, the German Requiem , the Alto Rhapsody , and the patriotic Triumphlied , Op. Saturday 10 October Saturday 11 July German composer and pianist. Thursday 3 September For other uses, see Brahms disambiguation. The commendation of Brahms by Breslau as "the leader in the art of serious music in Germany today" led to a bilious comment from Wagner in his essay "On Poetry and Composition": "I know of some famous composers who in their concert masquerades don the disguise of a street-singer one day, the hallelujah periwig of Handel the next, the dress of a Jewish Czardas -fiddler another time, and then again the guise of a highly respectable symphony dressed up as Number Ten" referring to Brahms's First Symphony as a putative tenth symphony of Beethoven.
    [Show full text]
  • Chapter Twenty Four Outline
    Chapter 24: Slavic Harmony and Disharmony I. Smetana A. Introduction 1. The ideas proposed by the New German School influenced composers in other areas as well, notably Smetana (considered the first important nationalist composer from the Czech lands). 2. He was educated in Germany. 3. He was also a piano prodigy. As a young composer, he contacted Liszt, who assisted in the publication of some early works. 4. In the late 1840s Smetana hoped that Franz Joseph I would work for Czech autonomy, but the opposite happened, stifling Czech creativity. B. A Czech Abroad 1. While the use of the Czech increased in the last half of the nineteenth century, Smetana’s music was not appreciated. 2. He left Prague in 1856, moving to Sweden. 3. He visited Liszt in Weimar in 1857 and joined the New German School. a. This resulted in a series of symphonic poems. b. During this period, Smetana was one of the most progressive composers in Europe, but music history has been written differently. 4. Smetana returned to Prague to write a Czech opera (for a competition) for a new national theater. a. He eventually became its conductor and artistic director. 5. Smetana wrote seven operas in different genres. a. He did not use folk songs but did follow the rhythms of Czech speech patterns. b. Despite this, today Smetana is considered a nationalist composer. c. It might be because the Czechness (českost) does not come directly from style but from musical symbols which carry associations. C. Má Vlast 1. In the 1870s (when he went deaf), Smetana composed music that represents českost, including the cycle of symphonic poems entitled Má vlast.
    [Show full text]