DOCSLIB.ORG

Der Resenkavalier, Lustspiel Or Libretto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Der Resenkavalier, Lustspiel Or Libretto RICE UNIVERSITY PER ROSENKAVALIBR, LUSTSPIBL OR LIBRETTO by Sonja Augusta Skrotzky A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Thesis Director's signature Houston, Texas May, 1967 ABSTRACT TITLE* Per Rosenkavalier, Lustspiel or Libretto? Author* Sonja Augusta Skrotzky, Undoubtedly* Per Rosenkavalier holds an esteemed tt position in the standard operatic repeAtoire• Unfortu- nately* the general public thinks of it only as that* an opera. In recent years, several endeavours have been made to establish Hugo von Hofmannsthal's Per Rosenkavalier as an art*?ork of literature* The most notable contri¬ bution towards this end has been Emil Staiger's "Per •Rosenkavalier* als Pichtung" (Universitas, 1950). After reading this article I have made an attempt to prove that Per Rosenkavalier can hold its own as a Lustspiel without the benefit of Richard Strauss* or¬ chestral scoref From the genius of Hofmannsthal emerges a text filled with traditional splendor, comic elements, and psychological motives. Chapter I deals with the planning of the comedy and the beginning of the famous Hofmannsthal-Strauss collaboration. The second part of this chapter is devoted to an analysis of general comic elements found in the text and ranging from the comedia dell' arte to the slap-stick comedy of the 20th century. 2 Through, finesse and delicacy the Lustspiel shows a uni¬ versal appeal which delights not only the naive audience but the intellectual sophisticate as well* The second chapter proves why Per Kosenkavalier id not a libretto in the traditional sense but a comedy in its own right* The poet parades before us characte¬ rizations, mannerisms, situations,and language, found in 18th century Vienna under the rule of Maria Theresa^ But Hofmannsthal's genius does not limit itself to the self-evident scenes, props, and dialogues, it goes deeply into historical detail and theatrical heri¬ tage* The whole of these ingredients gi^ves us a work which does not have any need of musical accompaniment in order to lift it to the realm of prominence in come¬ dy. It is thus that we are able to say that this is not a traditional libretto but a Lustspiel that ele¬ vates itself to success by its own merits*^ CONTENTS TABLE OF CONTENTS , .. I INTRODUCTION . 2 CHAPTER I 1. Planning of Per Rosenkavalier ...... 6 2. Elements of Comedy in Per Rosenkavalier • 11 CHAPTER II 1* Comedy, according to Hugo von Hofmanns¬ thal . 37 2* Comedy in Language • <, « ••••••••« 40 3. Peculiarities of Dialogue • • V • • • • • 42 4. Re-occurrance of Themes • •••••••. 49 5* Eighteenth Century Vienna • •••••a* 56 6. Historical Elements • 64 7, No Need of Music ••••••.••*•••69 CONCLUSION v . 73 FOOTNOTES 76 BIBLIOGRAPHY . S i V "• . • . ......... 82 1 INTRODUCTION Since music has more limitations than language, the latter is able to express more completely than the former; especially in the capable hands of such a poetic and theatrical genius as Hugo von Hoitaannsthal. It is through his words that we see before us such a vast range of human emotions and thoughts as found in Per Rosenkavalier. In the folloT*ing pages, it shall be my endeavor to prove that Per Rosenkavalier is able to hold its oxm, as a comedy, on any stages that it is more than a mere libretto in the traditional sense. It is a comedy that not only gives pleasure to the more naive reader or audience due to its traditional splendor and broadly comic dialogue but appeals equally to the more sophisticated intellectual as it excites the imagination and encourages the intellect to seek deeper meaning in the complexity of Hofmannsthal's verbal elements, histo¬ rical background, and psychological motivation, in which it abounds? It may be noticed that I use the terra "Lustspiel” on some, and Mcomedy" on other occasions in reference to this play. In his essay "Komik- imd Lustspieltheo- ii Tie*' Otto Rommel states; Das aus dem Humor geborene Lustspiel erzeugt Humor, der aus dem Sinn fur Komik geborene Schwanlc erzeugt LachenV ... Kein Mensch vor- mag bundig auszugeben, ob sich z%i?ischen KomBdie und Lustspiel eine wesentliche Unterscheidung machen lasst oder wie der Schwanlc von der Komodie abzugrenzen ist, da doch bei Moliere z.B. die beiden Formen deutlich II 1 ineinanderlaufen. I find that the same holds true for Hoftaannsthal and since he does not make a clear distinction between the two terms I have used them as best suited to the particular situation in the work. Possibly the term "Lustspiel” is more suitable for Der Rosenkavalier than the more general term of "KomS- die" since the first unveils tragic tinges and human depth which the latter treats more casually. Also, a "Lustspiel" is a play in which problems peculiar to situations and characters are solved, the movement towards this goal is surrounded by merriment, provided by varied elements of comedy. "Komodie", on the other it hand, ist beherrscht durch die *komische Gestalt4’, die im Lichte des absteigenden IContrastes gesehen wird; in ihr x?ird durch alle Lustiglceit hihdurch doch meist die Scharfe satirischen Zomes oder der Bitterkeit der Ohn- II 2 macht fuhlbar. I find very little "Scharfe des sa* k tirischen Zoraes" and hardly a trace of* "Bitterkeit der Ohnmacht" in Hofmannsthal’s text* Instead the dominating force seems to be irony, no matter which term ("Komodie" or "Lustspiel") we prefer, or if we combine them as Hof* ii raannsthal doess Das Element der Komodie ist die Ironie • •• Die wirkliche Komodie setzt ihre Individuen in ein tausendfach verhakeltes Verhaltnis zur Welt, sie setzt alles in ein Verhaltnis su allem und damit alles in ein I/O VerhHltnis der Ironie* J Hofmannsthal, like almost all comic %i;riters, uses irony in one form or another, since it unites descrip* tion and analysis, when used clearly and in an inter¬ esting manner* Besides irony, Per Rosenkavalier abounds in general elements of comedy. These range from the "Stegreifkomo* die” of the folk*theater to the slap-stick comedy of the 1920s* To this is added the magnificent splendor of the baroque theater tradition and a multitude of the poet’s own inventions, all of which will be discussed on the following pages* The combination of theatrical riches and poetic genius is what makes Per Rosenkavalier a successful comedy in its oxm right and detaches it from the term of traditional libretto* Hofmannsthal was not entirely pleased by the Straussian score, and Thomas Mann, in a letter to Hofmannsthal on February 5» 1911» shares the feeling completely when he writess Ich hatte den Rosenlcavalier schon vor der hiesigen Premiere in der Textausgabe ... gelesen, mit dem aufrichtigen Entziicken iiber so viol Anmut und Leich tigkeit. Aber wie, urn Gottes Willen, verhalten denn Sie sich nun eigentlich zu der Art, in der Richard Strauss Ihr leichtes Gebilde beiastet und in die Lange gezogen hat? t Vier Stunden GetSse um einen reizenden ScherzS ••• Wo ist Wien, wo ist achtzejmtes Jahrhundert in dieser Musilc? Doch nicht in den Walzern? • 0 • ist Musikdrama an- spruchvollsten Kalibersv Dabei ist Strauss von Wagners Kunst, die Deklamation mit dem Riesen- orchester nicht zuzudecken, gar nichts versteht, kein Wort verstandlich• Aber die tausend sprach- lichen Delikatessen und Kuriositat en des Buches werden erdriickt und verschlungen, und das ist am Ende gut, denn sie stehen in schreiendem stilisti* schen Wiederspruch zu dem raffinierten Larm, Kurz, ich war verstimmt und finde, dass Strauss nicht wie ein Kilns tier an Ihrem Werk gehandelt hat • CHAPTER I 1. PLANNING OF PER ROSENKAVALIER On July 26, 1928, Hugo von Hofmannsthal, in a letter to Richard Strauss, made the following state¬ ment: "¥enn ich so in die Leute, unsere Zeitgenossen, fur die wir ja schliesslich diese Sachen schaffen, mich hineindenko und hineinffihle, so schwant mir freilich ganz genau ... - was sie ersehnen wttrden, vodurch man ihren nach der Freude begierigen Gemiitern einen Sturm von Freude anbringen konnte - noch weit fiber die Freu- ij. de hinaus, die ihnen der Rosenkavalier beschert.” The above-quoted passage explains the primary reason for the writing of a comedy such as Der Rosen- kavaliert simply to bring joy to those who read it or view it on the stage* Hugo von Hofmannsthal turned to the writing of Lustspiele in 1907 because, he says, nIch verliess 5 jede Form, bevor sie erstarrte*M^ Having left be¬ hind a successful array of poetry and prose, as well as stage productions of highest caliber, the poet turned to the writing of elaborate and highly intri¬ cate libretti. Having been bom into the Viennese 6 culture with its rich theatrical and historical back¬ ground, it seems quite natural for Hofmannsthal to select the early years of the reign of Maria Theresa of Austrialas the setting for his Rosenkavalier« nDas Theresianische Weltwesen war irdisch und naiv und voll Fr Smraigleeit# Bs war voll Mut zur Ordnung und Natur und voll Erhebung zu Gotti Es war natumahe und, wo es stolz war, voll echtem Stolz, ohne Steifheit und HSr- tev Haydn, Gluck und Mozart sind sein unverganglicher 6 Geist gewordener Xnhalt .n The milieu of the late baroque period, around 1740, proved charming subject matter in the hands of Hofmannsthal, whose imagination, poetic talent and love of his Austrian heritage restored those years-gone-by in the form of a delightful comedy, which was set to music by Richard Strauss*' Hugo von Hofmannsthal* a only earlier association with the composer had been when the poet added addit¬ ional lines to the Recognition Scene of Straussopera Electraaffoilowing this, the composer
Load more

Recommended publications
  • Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen
    Fedora Wesseler, Stefan Schmidl (Hg.), Oscar Straus Beiträge zur Annäherung an einen zu Unrecht Vergessenen Amsterdam 2017 © 2017 die Autorinnen und Autoren Diese Publikation ist unter der DOI-Nummer 10.13140/RG.2.2.29695.00168 verzeichnet Inhalt Vorwort Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................5 Avant-propos Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................7 Wien-Berlin-Paris-Hollywood-Bad Ischl Urbane Kontexte 1900-1950 Susana Zapke (Wien) ................................................................................................................ 9 Von den Nibelungen bis zu Cleopatra Oscar Straus – ein deutscher Offenbach? Peter P. Pachl (Berlin) ............................................................................................................. 13 Oscar Straus, das „Überbrettl“ und Arnold Schönberg Margareta Saary (Wien) .......................................................................................................... 27 Burlesk, ideologiekritisch, destruktiv Die lustigen Nibelungen von Oscar Straus und Fritz Oliven (Rideamus) Erich Wolfgang Partsch† (Wien) ............................................................................................ 48 Oscar Straus – Walzerträume Fritz Schweiger (Salzburg) ..................................................................................................... 54 „Vm. bei Oscar Straus. Er spielte mir den tapferen Cassian vor;
    [Show full text]
  • Famous Singers Fro M the Establish Ment of Italian Opera Down T O the Present
    FAMOUS SING ERS OF TO-DAY AND YESTERDAY THE MU SIC LOVER S’ SER IES T o ll o i he f w n g, each, GREAT COMPOSERS A ND THEIR WORK By Loui s C . E lson FAMOUS PIANIS TS OF TO-DAY A ND YE S TER DAY B en r C Lahee y H y . The ll w ach fo o ing, e , A HI STORY OF OPER A New Revised E dition By Arthur E lson MODERN COMPOSERS OF EUROPE New Revised E dition By Arth ur E lson ORCHE S TR AL I N S TRUME NTS A ND THE IR U SE New Revised E di ti o n By Arthur E lson S HA KE S PEAR E IN MU S IC By Louis C . Elson FAMOUS VIOLINISTS OF T0 -DAY A ND YE S TERDAY New Revised E dition B en r C Lahee y H y . FAMOU S S INGE RS OF TO-DAY A ND YE S TERDAY New Revised E dition B n y He ry C . Lahee THE NATIONAL MU S IC OF AMERI CA A N D I TS S CE OUR S . New Revised E dition B Loui s C an d r hur E son y . A t l The ll w ach fo o ing, e , AMERICAN COMPOSERS By R up er t Hughes an d Arthur Elson THE GRAND OPER A S I NGER S OF TO-D A Y New Revised E dition B en r C Lahee y H y . THE ORGAN A ND I TS MAS TER S New Revised E dition B en r C Lahee y H y .
    [Show full text]
  • Chronology 1916-1937 (Vienna Years)
    Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere
    [Show full text]
  • The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years Of
    Press release | 30/3/2017 | acr | Updated: July 2017 The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years of the Future of Opera 10 premieres for this major birthday, two of which are reencounters with titles of legendary Felsenstein productions, two are world premieres and four are operatic milestones of the 20 th century. 70 years ago, Walter Felsenstein founded the Komische Oper as a place where musical theatre makers were not content to rest on the laurels of opera’s rich traditions, but continually questioned it in terms of its relevance and sustainability. In our 2017/18 anniversary season, together with their team, our Intendant and Chefregisseur Barrie Kosky and the Managing Director Susanne Moser are putting this aim into practice once again by way of a diverse program – with special highlights to celebrate our 70 th birthday. From Baroque opera to operettas and musicals, the musical milestones of 20 th century operatic works, right through to new premieres of operas for children, with works by Georg Friedrich Handel through to Philip Glass, from Jacques Offenbach to Jerry Bock, from Claude Debussy to Dmitri Shostakovich, staged both by some of the most distinguished directors of our time as well as directorial newcomers. New Productions Our 70 th birthday will be celebrated not just with a huge birthday cake on 3 December, but also with two anniversary productions. Two works which enjoyed great success as legendary Felsenstein productions are returning in new productions. Barrie Kosky is staging Jerry Brock’s musical Fiddler on the Roof , with Max Hopp/Markus John and Dagmar Manzel in the lead roles, and the magician of the theatre, Stefan Herheim, will present Jacques Offenbach’s operetta Barbe- bleue in a new, German and French version.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • Introduction
    Cambridge University Press 978-0-521-45659-3 - Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera Bryan Gilliam Excerpt More information Introduction Chapter 1 suggests that, despite its obscurity, Guntram (1893) remains the central source for understanding the emergence of Strauss as a mature artist. The work, whose text was written by the composer, documents his early philosophical struggles with the issue of music and metaphysics. Earlier scholars of Strauss’s operatic oeuvre have explained its failure in terms of its miscarried Wagnerism, demonstrating that they themselves have failed to understand that Guntram ultimately rejects Wagnerian metaphysics. In 1949, at the end of his life, Strauss regretted that his biographers tended to downplay Guntram’s rejection of a Wagnerian Erlösung, thereby ignoring the breach between individual (subject) and the world (object), as the Minnesänger breaks his lyre and walks 1 away from his brotherhood and his beloved Freihild. In this single gesture, Strauss, who served as his own librettist on this work, suggests that if one systematically follows Schopenhauer to the end of his four-book World as Will and Representation,thefinal denial of the will must include a rejection of music. Feuersnot (1901), the co-subject, along with Salome, of Chapter 2, marked the end of a seven-year operatic hiatus in the wake of Guntram’s failure. During those years Strauss composed his mature tone poems, all of which exemplify a shift toward ego assertion foreshadowed by that breach between individual and collective treated in Guntram. Informed by Nietzsche and Stirner, these orchestral works feature an individual (whether the visionary hero of Ein Heldenleben or the delusional antihero of Don Quixote) at odds with a complacent society.
    [Show full text]
  • Bruno Walter (Ca
    [To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒
    [Show full text]
  • Der Rosenkavalier
    110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 1 ADD Great Opera Performances 8.110277-79 Richard 3 CDs STRAUSS Der Rosenkavalier Risë Stevens • Eleanor Steber • Erna Berger • Emanuel List Chorus and Orchestra of the Metropolitan Opera, New York • Fritz Reiner American Broadcasting Corporation Telecast 21st November 1949 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 2 Great Opera Performance Richard STRAUSS (1864-1949) Der Rosenkavalier Telecast 21st November 1949 opening night of the 1949/1950 Metropolitan Opera season Octavian . Risë Stevens Die Feldmarschallin . Eleanor Steber Baron Ochs . Emanuel List Sophie . Erna Berger Faninal . Hugh Thompson Annina . Martha Lipton Valzacchi . Peter Klein Italian Singer . Giuseppe Di Stefano Marianne Leitmetzerin . Thelma Votipka Mahomet . Peggy Smithers Marschallin’s Major-domo . Emery Darcy Orphans . Paula Lenchner, Maxine Stellman, Thelma Altman Milliner . Lois Hunt Animal Vendor . Leslie Chabay Hairdresser . Matthew Vittucci Notary . Gerhard Pechner Leopold . Ludwig Burgstaller Faninal’s Major-domo . Paul Franke Innkeeper . Leslie Chabay Police Commissioner . Lorenzo Alvary Chorus and Orchestra of the Metropolitan Opera House Fritz Reiner conducting 8.110277-79 2 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 15 Producer’s note During the late 1940s, commercial television became a viable reality and the possibilities for this new medium were almost limitless. On 29th November 1948, The Metropolitan Opera Company’s first live telecast took place. The occasion was the opening night of the 1948-49 season, and the opera was Verdi’s Otello. Incidentally, this performance was only available to television viewers and was not broadcast via radio. The following year, the Metropolitan’s opening night performance of Richard Strauss’s Der Rosenkavalier was similarly telecast.
    [Show full text]
  • Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
    Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet
    [Show full text]
  • Hans Pfitzners Konzeption Des Musikalischen Dramas
    Hans Pfitzners Konzeption des musikalischen Dramas Inaugural Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultäten der Albert-Ludwigs-Universität zu Freiburg i.Br. vorgelegt von Ekkehard Lippold aus Bielefeld Referent: Prof. Dr. Hermann Danuser Korreferent: Prof. Dr. Günter Schnitzler Sprecher: Prof. Dr. Dieter Mertens Tag der Promotion: 05. Juli 1996 2 Inhalt I. Einleitung...........................................................................................3 1. Vorbemerkungen..........................................................................3 2. Zum Stand der Forschung ..........................................................14 3. Gegenstand der Untersuchung ...................................................21 II. Hans Pfitzners operntheoretische Schriften .................................24 1. Übersicht über die Schriften.......................................................24 2. Stellenwert und Aussagekraft der Schriften...............................30 III. Zur Theorie des musikalischen Dramas .......................................40 1. Richard Wagner als ‚Ahnherr‘ ...................................................40 2. Die Idee der musikalisch-dramatischen Dichtung .....................45 3. Vom Wesen der ‚musikdramatischen Konzeption‘ ...................48 4. Dichtung und Musik im musikalischen Drama..........................54 IV. Die Theorie im Werk ......................................................................62 1. Romantische Oper und Musikdrama..........................................62
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 14, 1894-1895
    m A NOTABLE TRIBUTE TO THE /EOLIAN From Boston's Distinguished Musicians, Mr. and Mrs. Emil Paur iimiiiiiiiiimiiiiiiiiiiiiiini " I shall be glad to have you add my name to the notable list of musicians and critics who have commended your admirable instrument. " I believe that the ^Eolian is destined to become a most potent factor in the cultivation of the musical taste of the people of the world. " Please accept my hearty wishes for its well-merited success. "EMIL PAUR." " It is really admirable how a person can in a short time, by the aid of the ^Eolian, familiarize himself with the works of the great masters, and execute them with perfection in all their details. "The yEolian is of great help to those studying composition; for, not being able to have an orchestra at their disposal to execute the great classical works, with the ^Eolian they can study the orchestral effects with a precision impossible to be obtained on any other musical instrument. "Mrs. MARIE PAUR." The AEOLIAN appeals to every music lover for both pleasure and education. We exhibit the iEolian daily, and cordially invite all patrons of the Symphony con certs to investigate it. Jte0tt&laralm Opp. Common. 146 Boylston Street, BOSTON DOStOfl Music Hall,—Boston II C 11I|/IIwIIti *-* J J' mm FOURTEENTH SEASON, Orchestra EMIL PAUR, Conductor. PROGRAMME OF THE Twenty-third Rehearsal « Concert WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. Friday Afternoon, April 19, At 2.30 o'clock. Saturday Evening, April 20, At 8 o'clock. PUBLISHED BY C. A. ELLIS, MANAGER.
    [Show full text]
  • Vocabulaire De La Musique Vocale Joëlle-Elmyre Doussot
    MINERVE Vocabulaire de la musique vocale Joëlle-Elmyre Doussot 256 pages format : 150 x 210 prix TTC : 23 euros EAN : 9782869311312 Collection « Musique ouverte » Parution : 18 mai 2012 Avec l’engouement que connaît aujourd’hui le chant, et son essor dans les lieux d’enseignement depuis plusieurs années, la série des « vocabulaire » se devait d’offrir un volume sur ce thème. 1) Caractéristiques générales : Comme les autres volumes de la série, celui-ci se présente non pas comme un dictionnaire à proprement parler, mais plutôt comme une encyclopédie, où sont recensés, analysés, parfois illustrés, les principaux termes relatifs à ce domaine musical. Le classement est alphabétique. 2) Délimitation du contenu : – Entre 400 et 500 termes ont été sélectionnés (cf plus bas), c’est-à-dire bien davantage que dans les vocabulaires précédents. C’est dire que ce volume sans être exhaustif, bien sûr, est particulièrement complet – La période considérée va du Moyen Âge à l’époque contemporaine. – Les termes concernent la musique vocale aussi bien profane que religieuse, et même parfois populaire, avec plusieurs dizaines de rubriques touchant la chanson folklorique, la comédie musicale, etc., au sein du monde occidental. MINERVE 3) Thème des rubriques : Les rubriques portent principalement sur : – Les genres musicaux chantés : chanson, cantate, choral, messe, opéra, Lied, etc. – Les interprètes : chantre, castrat, cantatrice... – Les différents registres de voix : soprano, contralto... – Les techniques vocales et les ornements : articulation, bel canto, roulade, trille... – Les théories esthétiques : ars nova, enseignement, réforme gluckiste... 4) Structure des rubriques : – Chaque rubrique propose une définition de la notion traitée. – Est retracée son évolution depuis son apparition jusqu’à la période moderne si elle a survécu.
    [Show full text]