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Schreker Franz
SCHREKER FRAZ Compositore tedesco (Monaco di Baviera 23 III 1878 - Berlino 21 III 1934) 1 Schreker studiò composizione a Vienna insieme a Robert Fuchs e Hermann Graedener e violino con Sigismund Bachrich e Joseh Rosé. Fondatore (1908), e più tardi anche direttore (1911) del coro filarmonico di Vienna, nel 1912 fu nominato professore di composizione all'Accademia di musica. Dal 1920 fu direttore della Musikhochschule a Berlino, e negli anni compresi tra il 1922 e il 1933 diresse una classe di composizione all'Accademia prussiana delle arti di Berlino. Schreker fu amico di Schonberg e di Berg ed ebbe fra i suoi rilievi Alois Haba ed Ernest Krenek e fu uno dei compositori più celebri del suo tempo. Per numero di rappresentazioni delle sue opere superò addirittura Richard Strauss. Nel 1933 il regime nazista lo privò di tutte le cariche. Schreker è stato il compositore più popolare di un'opera fortemente influenzata dalla psicanalisi e basata sul patetismo di soggetti da cui traspaiono conflitti sessuali carichi di implicazioni simboliche. Al tempo stesso, è stato il maestro di un'espressività timbrica dell'orchestra che sfrutta a fondo le risorse di un cromatismo dal colore fortemente caratteristico e massimamente espressivo. 2 DER FERNE KLANG Tipo: (Il suono lontano) Opera in tre atti Soggetto: libretto proprio Prima: Francoforte, Stadtoper, 18 agosto 1912 Cast: Grete (S), Fritz (T), il dottor Vigelius (B), un comico (Bar), il conte (Bar), il cavaliere (T), Rudolf (B), una vecchia (Ms), il vecchio Graumann (B), sua moglie (Ms), l’oste (B), Mizi (S), Milly (Ms), Mary (S), una spagnola (A), il barone (B) Autore: Franz Schreker (1878-1934) Der ferne Klang è la seconda opera di Franz Schreker, ma la prima ad approdare sulle scene teatrali, dato che la precedente, Flammen (1902), era stata presentata soltanto in una ridotta esecuzione concertistica, con l’autore stesso al pianoforte. -
Mona Lisa LEON BOTSTEIN, Conductor
Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. 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 The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence. -
Der Schatzgräber
1 DER SCHATZGRÄBER Oper in einem Vorspiel, vier Aufzügen und einem Nachspiel von Franz Schreker Der König..........................................................Hoher Bass Die Königin ......................................................Stumme Rolle Der Kanzler.......................................................Tenor Der Graf (Herold des zweiten Aufzugs) ...........Bariton Der Magister (des Königs Leibarzt) .................Bass Der Narr ............................................................Tenor Der Vogt............................................................Bariton Der Junker.........................................................dunkel gefärbter Bariton (oder hoher Bass) Elis, ein fahrender Sänger und Scholar.............Tenor Der Schultheiß ..................................................Bass Der Schreiber ....................................................Tenor Der Wirt ............................................................Bass Els, dessen Tochter ...........................................Sopran Albi, dessen Knecht ..........................................lyrischer Tenor Ein Landsknecht................................................Bass (tief) Erster Bürger.....................................................Tenor Zweiter Bürger..................................................Bariton Dritter Bürger....................................................Bass Erste alte Jungfer...............................................Mezzosopran Zweite alte Jungfer............................................Mezzosopran -
A Walt Whitman Sampler LEON BOTSTEIN, Conductor
Wednesday Evening, October 17, 2018, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents A Walt Whitman Sampler LEON BOTSTEIN, Conductor OTHMAR SCHOECK Trommelschläge, Op. 26 BARD FESTIVAL CHORALE JAMES BAGWELL, Director KURT WEILL Four Walt Whitman Songs Beat! Beat! Drums! Oh Captain! My Captain! Come up from the Fields, Father Dirge for Two Veterans EDWARD NELSON, Baritone FRANZ SCHREKER Vom ewigen Leben (From Eternal Life) ANGEL BLUE, Soprano Intermission RALPH VAUGHAN A Sea Symphony (Symphony No. 1) WILLIAMS I. A Song for All Seas, All Ships II. On the Beach at Night Alone III. The Waves IV. The Explorers ANGEL BLUE, Soprano EDWARD NELSON, Baritone BARD FESTIVAL CHORALE JAMES BAGWELL, Director This performance is dedicated to the memory of Susana Meyer, long-time artistic consultant of the American Symphony Orchestra, respected colleague and friend. This evening’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission. This program has been made possible due in part to the Kurt Weill Foundation for Music, Inc., New York, NY. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Whitman and Democracy comprehend the English of Shakespeare by Leon Botstein or even Jane Austen without some reflection. (Indeed, even the space Among the most arguably difficult of between one generation and the next literary enterprises is the art of transla- can be daunting.) But this is because tion. Vladimir Nabokov was obsessed language is a living thing. There is a about the matter; his complicated and decided family resemblance over time controversial views on the processes of within a language, but the differences transferring the sensibilities evoked by in usage and meaning and in rhetoric one language to another have them- and significance are always developing. -
Musikalien Aus Dem Schönberg-Nachlaß / Printed Music from Schönberg’S Legacy
Musikalien aus dem Schönberg-Nachlaß / Printed music from Schönberg’s legacy 1. "110 Wiener Lieder Und Tänze."[Wiener Lieder Und Tänze], ed.//ed.//Vorwort Carl Michael Ziehrer, Rudolf Kronegger, and Vincenz Chiavacci. Wiener Musik, Leipzig: Lyra-Verlag, [19--?]. Notes: 'Enthaltend: Schätze der Wiener Volksmusik aus alter und neuer Zeit weiters Kompositionen von Ascher, Eysler, Fall, Lehar, Reinhardt, Stolz, Strauss und Behrer.'--t.p. Songs for voice and piano ; dances for piano solo. Introduction p. [3-4]: Die Wiener Volksmusik / von Vincenz Chiavacci. Includes index. Annotation on p. 49. 2. "Der Kanon: Ein Singbuch Für Alle."[Der Kanon], ed.//Forward Fritz Jode, and Herman Reichenbach. 9.-10. Tausend der Gesamtausg., verb. Aufl ed. Freiheit Und Heil, Wolfenbüttel: Georg Kallmeyer Verlag, 1932. Notes: Forward by Hermann Reichenbach ; afterword by Fritz Jode. Contains canons by many different composers, for 2 to 10 voices, both sacred and secular. Includes indexes. Includes indexes. Annotation on p. 353 3. "Excelsior: 100 Musikalische Erfolge."[Excelsior], Wien: Universal-Edition, [19--?]. Notes: Each volume contains 'Ernste Musik' and 'Heitere Musik' by various composers, written for or arranged for either voice and piano or piano alone. Certain pieces underlined in table of contents in each vol. Correction of accidental in v. 2 on p. 200. Volume numbers written in pen on covers. 4. "Opera Overtures." Hampton Miniature Arrow Scores, v. 10. New York: E. B. Marks Music Corp., 1943. Notes: Four miniature score pages reproduced on each page (i.e. 361 p. reproduced on 96 p.) Contents: Mignon / Thomas -- Merry wives of Windsor / Nicolai -- Hansel and Gretel / Humperdinck -- Russlan and Ludmilla / Glinka -- The bartered bride / Smetana -- Die Fledermaus ; The gipsy baron / Strauss. -
5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2
5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2 FRANZ SCHREKER (1878-1934) DER FERNE KLANG Oper in drei Aufzügen / Opera in 3 Acts Text: Franz Schreker - Gesamtaufnahme / Complete Recording - Grete GABRIELE SCHNAUT Fritz THOMAS MOSER Der alte Graumann VICTOR VON HALEM Frau Graumann BARBARA SCHERLER Der Wirt JOHANN WERNER PREIN Altes Weib JULIA JUON Ein Schauspieler HANS HELM Dr. Vigelius SIEGMUND NIMSGERN Milli / Kellnerin: Barbara Hahn · Mizzi / Ein Mädchen: Gudrun Sieber · Mary / Choristin: Gertrud Ottenthal Ein Individuum: Rolf Appel · Erster Chorist: Peter Haage · Der Graf: Roland Hermann Der Chevalier: Robert Wörle · Der Baron / Zweiter Chorist / Der Polizist: Gidon Saks · Rudolf: Claudio Otelli RIAS KAMMERCHOR · RUNDFUNKCHOR BERLIN (Einstudierung / Chorus Master: Dietrich Knothe) RADIO-SYMPHONIE-ORCHESTER BERLIN GERD ALBRECHT (Dirigent / conductor) Co-Produktion: RIAS Berlin - CAPRICCIO ©+P 1991 / 2013 CAPRICCIO, 1010 Vienna, Austria Made in Austria www.capriccio.at 3 5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 3 CD 1 ERSTER AUFZUG / ACT ONE [1] Vorspiel …………………………………………………………………………………………………………. 4:02 1. SZENE / SCENE 1 [2] „Du willst wirklich fort, Fritz“ (Grete, Fritz) …………………………………………………………………. 2:10 [3] „Ein hohes, hehres Ziel schwebt mir vor Augen“ (Grete, Fritz) …………………………………………. 5:37 [4] „Hörst du, wie sie toben“ (Grete, Fritz) …………………………………………………………………….. 2:06 2. SZENE / SCENE 2 [5] „Frau Mama zu Hause?“ (Die Alte, Grete) ………………………………………………………………… 2:10 3. SZENE / SCENE 3 [6] „Was weinst denn?“ (Mutter, Grete) ………………………………………………………………………. 1:36 4. SZENE / SCENE 4 [7] „Nur herein, meine Herren“ ………………………………………………………………………………….. 7:23 (Graumann, Wirt, Schauspieler, Grete, Vigelius, Mutter, Chor) 5. SZENE / SCENE 5 [8] „Fräulein sollten sich‘s überlegen“ (Wirt, Mutter, Grete) …………………………………………………. -
Christopher Hailey
Christopher Hailey: Franz Schreker and The Pluralities of Modernism [Source: Tempo, January 2002, 2-7] Vienna's credentials as a cradle of modernism are too familiar to need rehearsing. Freud, Kraus, Schnitzler, Musil, Wittgenstein, Klimt, Schiele, Kokoschka conjure up a world at once iridescent and lowering, voluptuously self-indulgent and cooly analytical. Arnold Schoenberg has been accorded pride of place as Vienna's quintessential musical modernist who confronted the crisis of language and meaning by emancipating dissonance and, a decade later, installing a new serial order. It is a tidy narrative and one largely established in the years after the Second World War by a generation of students and disciples intent upon reasserting disrupted continuities. That such continuities never existed is beside the point; it was a useful and, for its time, productive revision of history because it was fueled by the excitement of discovery. Revision always entails excision, and over the decades it became increasingly obvious that this narrative of Viennese modernism was a gross simplification. The re-discovery of Mahler was the first bump in the road, and attempts to portray him as Schoenberg's John the Baptist were subverted by the enormous force of Mahler's own personality and a popularity which soon generated its own self-sustaining momentum. In recent years other voices have emerged that could not be accommodated into the narrative, including Alexander Zemlinsky, Franz Schmidt, Egon Wellesz, Karl Weigl, Erich Wolfgang Korngold, and most vexing of all Franz Schreker. Long banished out of hand, Schreker was subsequently marginalized as a late Romantic and allotted a mini-orbit of his own. -
Singing Portuguese Nasal Vowels: Practical Strategies for Managing Nasality in Brazilian Art Songs
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS André Campelo University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.181 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Campelo, André, "SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS" (2017). Theses and Dissertations--Music. 89. https://uknowledge.uky.edu/music_etds/89 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Revising Perspectives on Nineteenth-Century Jewish Composers: a Case Study Comparison of Ignaz Brüll and Salomon Jadassohn
Revising Perspectives on Nineteenth-Century Jewish Composers: A Case Study Comparison of Ignaz Brüll and Salomon Jadassohn by Adana Whitter B.A., Universit y of British Columbia, 2009 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) March 2013 © Adana Whitter, 2013 i Abstract The influence of anti-Semitism on the lives and careers of Jewish musicians within the social climate of nineteenth-century Europe is well known. Pamela Potter, Sander Gilman, Philip Bohlman, and K. M. Knittel have thoroughly explored the anti-Semitic treatment of Jewish composers during this period. Definitions of the experience of Jewish composers have been crystallized on the basis of prominent cases, such as Gustav Mahler or Alexander Zemlinsky, who were actively discussed in the press or other publications. The goal of this study is to examine whether the general view of anti-Semitism, as shown in those studies, applies to other Jewish composers. To this aim, this thesis will introduce two lesser known Jewish composers, Ignaz Brüll (1846-1907) and Salomon Jadassohn (1831-1902) as case studies, consider closely their particular situations at the end of the nineteenth century, and assess their positions vis-à-vis the general views of how musician Jews were treated in these societies. Chapter One outlines the historical and political context in Germany and Austria, where these two composers resided, in order to understand where they fit into that context. Chapter Two focuses on Jewishness in music, the difficulties involved in defining Jewish music, along with the contributions of other Jewish composers to the wider European culture, and makes clear the important part anti- Semitism played in the process of identification during this period. -
Introduction
INTRODUCTION The Passion according to St. Matthew for 181 (H 794; in the opening chorus. One aria (no. 9) was assigned to BR-CPEB D 4.4) is the first work in the fourth cycle of a different singer (soprano instead of tenor). The reason Passions that Carl Philipp Emanuel Bach performed in may simply have been that the borrowed movements stem Hamburg. He followed the long-established rotational from Homilius and Benda, whose style of church music scheme, by which the Gospels were used year after year matched Bach’s intention particularly well. in the sequence Matthew, Mark, Luke, and John without With respect to aesthetics, the 181 Passion may also repeating an earlier setting. A reduction of the amount of be regarded as a turning point in Bach’s understanding of preparatory work was made possible for the St. Matthew the Passion story. While the early settings show a broad Passions by reusing the musical skeleton of the previous spectrum of affections displayed in the choruses and arias, works, namely, the biblical narrative and some of the cho- the later Passions are more introverted and refrain from rales. Even for aesthetic reasons the reuse of the setting of strong affections like rage, wrath, or revenge. Except for the biblical narrative could easily be defended: if an ad- some of the turba choruses, the tempo rarely exceeds An- equate setting of a text had once been found, there was dante. Many of the arias in the earlier Passions appeared as no need to offer any alternate realization.1 There was also utterances by personae of the biblical narrative (e.g., Peter no requirement to provide new chorales for every single or even Jesus), but the later arias usually have a more dis- Passion, though Bach at least preferred a certain variety of tant, almost impersonal tone. -
Programmheft
Franz Schreker Kammersinfonie in einem Satz Duisburger Philharmoniker Annäherungen: der Komponist Franz Schreker Axel Kober Der Name des Komponisten Franz Schreker ist heute längst nicht mehr so be- Leitung kannt, wie er es früher einmal war. Den Gipfelpunkt seines Ruhmes erreichte Schreker in dem Jahrzehnt des Ersten Weltkriegs, als er mit drei Bühnenwerken Furore machte: 1912 wurde die Oper „Der ferne Klang“ uraufgeführt, 1918 folgten „Die Gezeichneten“ und 1920 „Der Schatzgräber“. Schreker, der sich die Libretti zu seinen Opern selbst schrieb, zählte zeitweise neben Richard Strauss zu den führenden deutschsprachigen Musikdramatikern. Provozierende Wirkungen blieben in diesen Werken nicht aus, Franz Schreker (1878-1934) zumal Schreker unwahrscheinlich dichte atmosphärische Zeichnungen gelangen, die Werke in bisweilen fantastische Welten führten und auch Erkenntnisse der Psycho- Kammersinfonie in einem Satz (1916) analyse berücksichtigten. Den Aufstieg musste sich Franz Schreker mühsam erkämpfen. Dabei sah anfangs alles so günstig aus: Als Sohn eines jüdischen Hofphotografen wurde er am 23. März 1878 in Monaco geboren. Die Familie reiste viel, doch der Vater starb früh, die Kind- heits- und Jugendjahre in Wien verbrachte er in bescheidenen Verhältnissen. Das Mu- sikstudium wurde ermöglicht, wobei der Student sich als Chor- und Orchesterleiter betätigte und sich nachdrücklich für die Musik der Gegenwart einsetzte. Seine erste Oper, „Flammen“, wurde 1902 konzertant in Wien uraufgeführt. Mit der Tanzpantomi- me „Der Geburtstag der Infantin“ -
Français, PDF À Télécharger 2,5 MB
PAUL 1895 1963 → SOMMAIRE PRÉLUDE PAGE 2 CHAPITRE 1 LES ANNÉES D’APPRENTISSAGE MUSICAL 1895-1914 PAGES 3-4 CHAPITRE 2 DÉBUTS DE CARRIÈRE PROFESSIONNELLE, EXPÉRIENCES DE GUERRE 1914-1918 PAGES 5-6-7 CHAPITRE 3 DE DONAUESCHINGEN À BADEN-BADEN 1918-1927 PAGES 8-9-10-11 CHAPITRE 4 LES ANNÉES À BERLIN 1927-1933 PAGES 12-13-14-15 CHAPITRE 5 → SOURCES POLITIQUE ET MUSIQUE 1933-1940 16 17 18 Compilation, traduction et adaptation PAGES - - – par Orane Dourde et François Margot – de textes extraits : CHAPITRE 6 USA 1940-1945 ↓ Du site Internet de la Fondation Hindemith à Blonay PAGES 19-20-21 disponible à cette adresse : CHAPITRE 7 https://www.hindemith.info/en/home/ Les citations qui en proviennent sont en ENTRE AMÉRIQUE caractères romains. Leur référencement n’est pas ET EUROPE 1945-1953 22 23 24 systématiquement précisé. Pour de plus amples PAGES - - informations, veuillez contacter l’administration de la Fondation Hindemith à Blonay. CHAPITRE 8 ↓ RETOUR EN SUISSE, De la biographie de Paul Hindemith par Giselher À BLONAY 1953-1963 Schubert, datée de janvier 2001 et disponible sur PAGES 25-26-27-28 l’Oxford Music Online à cette adresse : https://www.oxfordmusiconline.com/grovemusic/view /10.1093/gmo/9781561592630.001.0001/omo-9781561 592630-e-0000013053?rskey=BZkgdo Consulté, le 20.02.2018 Les citations extraites de ces textes sont en caractères italiques. Coordination : Heike Drost - Fondation Hindemith Graphisme et mise en page : François Dulex 1 → PRÉLUDE objectif peut paraître illusoire en regard de la tendance à la fragmentation qui marque l’environnement musical qui a été le sien durant les dernières années de sa vie.