Winter 2020 the President’S Message Joanne Lougheed [email protected]
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Schubert: the Nonsense Society Revisited
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Schubert: The Nonsense Society Revisited RITA STEBLIN Twenty years have now passed since I discovered materials belonging to the Unsinnsgesellschaft (Nonsense Society).1 This informal club, active in Vienna from April 1817 to December 1818, consisted mainly of young painters and poets with Schubert as one of its central members. In this essay I will review this discovery, my ensuing interpretations, and provide some new observations. In January 1994, at the start of a research project on Schubert ico- nography, I studied some illustrated documents at the Historisches Museum der Stadt Wien (now the Wienmuseum am Karlsplatz), titled “Unsinniaden.”2 The documents comprise forty-four watercolor pictures and thirty-seven pages of text recording two festive events celebrated by the Nonsense Society: the New Year’s Eve party at the end of 1817 and the group’s first birthday party on 18 April 1818.3 The pictures depict various club members, identified by their code names and dressed in fan- ciful costumes, as well as four group scenes for the first event, including Vivat es lebe Blasius Leks (Long live Blasius Leks; Figure 1), and two group scenes for the second event, including Feuergeister-Scene (Fire Spirit Scene; Figure 6 below).4 Because of the use of code names—and the misidentifi- cations written on the pictures by some previous owner of the -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time. -
Franz Schubert: Inside, out (Mus 7903)
FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E. -
Connected by Music Dear Friends of the School of Music
sonorities 2021 The News Magazine of the University of Illinois School of Music Connected by Music Dear Friends of the School of Music, Published for the alumni and friends of the ast year was my first as director of the school and as a member School of Music at the University of Illinois at of the faculty. It was a year full of surprises. Most of these Urbana-Champaign. surprises were wonderful, as I was introduced to tremendously The School of Music is a unit of the College of Lcreative students and faculty, attended world-class performances Fine + Applied Arts and has been an accredited on campus, and got to meet many of you for the first time. institutional member of the National Association Nothing, however, could have prepared any of us for the of Schools of Music since 1933. changes we had to make beginning in March 2020 with the onset of COVID-19. Kevin Hamilton, Dean of the College of Fine + These involved switching our spring and summer programs to an online format Applied Arts with very little notice and preparing for a fall semester in which some of our activi- Jeffrey Sposato, Director of the School of Music ties took place on campus and some stayed online. While I certainly would never Michael Siletti (PhD ’18), Editor have wished for a year with so many challenges, I have been deeply impressed by Design and layout by Studio 2D the determination, dedication, and generosity of our students, faculty, alumni, and On the cover: Members of the Varsity Men’s Glee friends. -
Beethoven's Fourth Symphony: Comparative Analysis of Recorded Performances, Pp
BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY 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 Mark Christopher Ferraguto August 2012 © 2012 Mark Christopher Ferraguto BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY Mark Christopher Ferraguto, PhD Cornell University 2012 Despite its established place in the orchestral repertory, Beethoven’s Symphony No. 4 in B-flat, op. 60, has long challenged critics. Lacking titles and other extramusical signifiers, it posed a problem for nineteenth-century critics espousing programmatic modes of analysis; more recently, its aesthetic has been viewed as incongruent with that of the “heroic style,” the paradigm most strongly associated with Beethoven’s voice as a composer. Applying various methodologies, this study argues for a more complex view of the symphony’s aesthetic and cultural significance. Chapter I surveys the reception of the Fourth from its premiere to the present day, arguing that the symphony’s modern reputation emerged as a result of later nineteenth-century readings and misreadings. While the Fourth had a profound impact on Schumann, Berlioz, and Mendelssohn, it elicited more conflicted responses—including aporia and disavowal—from critics ranging from A. B. Marx to J. W. N. Sullivan and beyond. Recent scholarship on previously neglected works and genres has opened up new perspectives on Beethoven’s music, allowing for a fresh appreciation of the Fourth. Haydn’s legacy in 1805–6 provides the background for Chapter II, a study of Beethoven’s engagement with the Haydn–Mozart tradition. -
Introduction Schubert Familiar and Unfamiliar
Nineteenth-Century Music Review, 13 (2016), pp 3–9. © Cambridge University Press, 2016 doi:10.1017/S1479409815000488 Introduction Schubert Familiar and Unfamiliar: Continuing Conversations Lorraine Byrne Bodley Maynooth University Email: [email protected] James William Sobaskie Mississippi State University Email: [email protected] Two decades ago, the bicentenary celebrations of Franz Schubert’s birth in Duisberg, Graz, Oxford, Paris and Vienna confirmed that a warm spirit of collegiality, one rare among musicians today, had arisen and begun to flourish. Perhaps tired by the irresolvable controversy regarding Schubert’s sexuality, or taken with the newly emerging portrait of the composer and his art, many embraced the collaborative process of developing that image, engaging in cordial conversation regarding their shared fascination in print, in public and in private. The result was a burgeoning of literature in the field of Schubert studies, evidenced and furthered by the founding of five Schubert-centred journals, 1 including Cahiers Franz Schubert: Revue de musique classique et romantique, the 2 3 4 Schubert-Jahrbuch, The Schubertian, Schubert durch die Brille and Schubert: 5 Perspektiven. The wealth of research published in these and other journals has greatly enhanced our understanding of Schubert’s social circle, addressed histor- ical and biographical issues, drawn attention to neglected repertoire and changed 1 Cahiers Franz Schubert: Revue de musique classique et romantique 1–17 (Paris: Societé Franz Schubert, 1992–2009), edited by Xavier Hascher. 2 Schubert–Jahrbuch (Duisberg: Deutsche Schubert-Gesellschaft, 1996–), edited by Christiane Schumann. 3 The Schubertian (Leeds: Schubert Institute [UK], 1996–) edited by Crawford Howie. 4 Schubert durch die Brille (Vienna [1988/89,vols.1–3], then Tutzing [1990–2003,vols.4–30]: Internationales Franz Schubert Institut, 1988–2003), edited by Ernst Hilmar. -
Schriftenreihe Des Sophie Drinker Instituts Band 4
Schriftenreihe des Sophie Drinker Instituts Herausgegeben von Freia Hoffmann Band 4 Marion Gerards, Freia Hoffmann (Hrsg.) Musik – Frauen – Gender Bücherverzeichnis 1780–2004 BIS-Verlag der Carl von Ossietzky Universität Oldenburg 2006 Das Werk ist einschließlich aller seiner Teile urheberrechtlich ge- schützt. Jede Verwertung außerhalb der Grenzen des Urheberrechts bedarf der Zustimmung der Autorinnen. Dies gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Medien. © BIS-Verlag, Oldenburg 2006 Umschlaggestaltung: Marta Daul Layout und Satz: BIS-Verlag Verlag / Druck / BIS-Verlag Vertrieb: der Carl von Ossietzky Universität Oldenburg Postfach 25 41, 26015 Oldenburg Tel.: 0441/798 2261, Telefax: 0441/798 4040 e-mail: [email protected] Internet: www.bis.uni-oldenburg.de ISBN 3-8142-0966-4 Inhaltsverzeichnis Vorwort 3 Hinweise zur Benutzung 5 1 Nachschlagewerke 9 1.1 Lexika und biographische Nachschlagewerke 9 1.2 Bibliographien 14 1.3 Notenverzeichnisse 17 1.4 Diskographien 22 2 Einführende Literatur 24 2.1 Kunstmusik 24 2.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 42 2.3 Stilübergreifend und Sonstige 50 3 Personenbezogene Darstellungen 54 3.1 Kunstmusik 54 3.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 320 3.3 Stilübergreifend und Sonstige 433 4 Spezielle Literatur 446 4.1 Kunstmusik 446 4.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 462 4.3 Stilübergreifend -
An Evening of Music and Laughter
An Evening of Music and Laughter featuring the North American debut of baritone diva Marguerita Peeverovich with Professor Johannes Ambrosius Kellermeister and a host of Music Alumni Saturday, September 11, 2004 at 8:00 pm ,T Arts Building ConviKation ® Hall University of Alberta DEPARTMENT OF MUSIC m Program Part One Mistress (?) of Ceremonies Alexandra Munn From The Short-Tempered Clavier P D Q Bach Prelude and Fugue in: (1807-1742?) C Minor C Major G Major G Minor D Minor John Butler/Alexandra Munn, piano Owed To The Mizsteak R. 2004a Jan Randall (World premiere) (b. 1952) William Damur,fl ute Don Ross, clarinet Russell Whitehead, trumpet From Notebook for Betty-Sue Bach P D Q Bach Allemande Left Traumerie Two-Part Contraption Alexandra Munn Three Uncharacteristic Pieces Peter Schickele (For B-Flat Trumpet and Piano) (b. 1935) 1. Dance of Uncertain National Origin 2. Valse Enigmatique 3. Young Man Going West Russell Whitehead, trumpet John Butler, piano The Art of the Ground Round (S. 1.19/lb.) P D Q Bach For Three Baritones and Discontinue Frottola Swingers Rob Clark, Jonathan Ayres and Michael Kurschat, baritones Toscha Turner, double bass Prepared by Leonard Ratzlaff Intermission (Ten minutes) Translations Heidenroslein/Little Heath Rose Part Two Master (?) of Ceremonies (Goethe) Professor Johannes Ambrosius Kellermeister A lad saw a little rose growing. Little red rose on the heath; Four Folk-song Upsettings P D Q Bach It was as young and fair as the moming. (edited, but not gussied-up, by Professor Peter Schickele) He ran quickly to have a close look at it. -
Full Journal
A Multidisciplinary Latter-day Saint Journal STUDIES BYUVol. 43 • No. 3 • 2004 Preface 4 Paul E. Kerry, Guest Editor A Chronology of Mozart and His Times 9 Hans-Wilhelm Kelling INTRODUCTORY ESSAYS Mormons, Opera, and Mozart 23 Gideon O. Burton A Magic Summer with The Magic Flute 30 Kaye Terry Hanson A Performer’s Reflections on Die Zauberflöte 36 Lawrence P. Vincent THEMES Toward an Anthropology of Apotheosis in Mozart’s Magic Flute: A Demonstration of the Artistic Universality and Vitality of Certain “Peculiar” Latter-day Saint Doctrines 43 Alan F. Keele From Arcadia to Elysium in The Magic Flute and Weimar Classicism: The Plan of Salvation and Eighteenth-Century Views of Moral Progression 84 John B. Fowles “Initiates of Isis Now, Come, Enter into the Temple!”: Masonic and Enlightenment Thought in The Magic Flute 104 Paul E. Kerry European Views of Egyptian Magic and Mystery: A Cultural Context for The Magic Flute 137 Kerry Muhlestein Notes on the Egyptian Motifs in Mozart’s Magic Flute 149 John Gee CHARACTERS Sarastro’s Repentance: One Dramaturg’s Advice on The Magic Flute 162 Michael Evenden Monostatos, the Moor 170 David P. Crandall The Queen of the Night: A Mother Betrayed 180 Victoria A. Webb Die Zauberflöte: What’s in a Title? 189 Harrison Powley RECEPTION Mann und Weib, and Baby Makes Two: Gender and Family in Johann Wolfgang von Goethe’s Sequel to The Magic Flute 206 Robert B. McFarland An Allegory of Eden: Marc Chagall’s Magic Flute Poster 218 Philipp B. Malzl Adaptation, Enactment, and Ingmar Bergman’s Magic Flute 229 Dean Duncan Diese Aufnahme ist bezaubernd schön: Deutsche Grammophon’s 1964 Recording of The Magic Flute 251 Aaron Dalton BACK COVER IMAGE Set Design for the Final Scene in The Magic Flute Michael Lyon 270 © Bildarchiv Preußischer Kulturbesitz. -
2012 Donors in Action 2012 Donors
2012 DONORS IN ACTION 2012 DONORS Wanda Costuros & Francis & Muriel Walter & $1,000,000+ Douglas Whitehead Dunnigan $5,000 - Germaine Walchuk Anonymous William George Daly Gifford Edmonds $9,999 Glenn Walmsley & Lois Love Family Service Edmonton and Edmonton Chinese Anonymous Foundation Area Land Trust Lions Club Joseph & Alberta Legacy Wadona Walsh John & Barbara Edmonton Folk Music Edmonton Development Society Poole Family Festival Society Symphony Society Genevieve (Jean) Sharon & Mary Whiting Edmonton Opera Audrey Eikeland Douglas Barbour Association Pam Wight $500,000 - Film & Video Arts Ross Brierton & Rod Eidem Society of Alberta Daniel Stavert Ronald & Donna $999,999 Worthington Dentistry Canada Fund Martin Garber-Conrad Chatelaine Pension John Douglas McGavin Dolores Dilkie Government of the & Mortgage Corp. Linda M. Youell Earle Kitchener Province of Alberta Rene & Lisa Cloutier $100,000 - Hawkesworth L. Neil Gower Robert Croteau & $1,000 - John & Leni Honsaker Jim & Diana Greer Teresa Dizon-Croteau $4,999 $499,999 Robert E. Hood Margaret Hiller John & Ann Dea Anonymous Jazz City International Audrey Holmes Anne Marie Decore Anonymous Larry & Janet Anderson Festival Society Don Howden & Terena Delaney & A & B Concrete Sam Chapple Pumping (2007) Ltd. Andromeda William & Shirley Lakey Jane Squire Howden Investments Ltd. Maclab Enterprises Garnet Ireland Randy Diamond Sharon Abbott David & Janet Bentley John & Maggie Mitchell Jerome N. Slavik Joe Dolan & AJH Securities Ltd. Maureen Barnes Georges R. Brosseau Moffat Family Fund Professional -
Johann Michael Vogl's Alterations to Schubert's "Die Schonë Mullerin̈ "
University of Iowa Iowa Research Online Theses and Dissertations Spring 2009 Johann Michael Vogl's alterations to Schubert's "Die schonë Mullerin̈ " Joseph R Matson University of Iowa Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons Copyright 2009 Joseph R Matson This thesis is available at Iowa Research Online: https://ir.uiowa.edu/etd/251 Recommended Citation Matson, Joseph R. "Johann Michael Vogl's alterations to Schubert's "Die schonë Mullerin̈ "." MA (Master of Arts) thesis, University of Iowa, 2009. https://doi.org/10.17077/etd.xsg0v6p1 Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons JOHANN MICHAEL VOGL’S ALTERATIONS TO SCHUBERT’S DIE SCHÖNE MÜLLERIN by Joseph R. Matson A thesis submitted in partial fulfillment of the requirements for the Master of Arts degree in Music in the Graduate College of The University of Iowa May 2009 Thesis Supervisor: Associate Professor Marian Wilson Kimber Copyright by JOSEPH R. MATSON 2009 All Rights Reserved Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL __________________________ MASTER’S THESIS _________________ This is to certify the Master’s thesis of Joseph R. Matson has been approved by the Examining Committee for the thesis requirements for the Master of Arts degree in Music at the May 2009 graduation. Thesis Committee: ___________________________________ Marian Wilson Kimber, Thesis Supervisor ___________________________________ Christine Getz ___________________________________ Katherine Eberle ACKNOWLEDGMENTS I wish to acknowledge the support of several people. The faculty, staff, and student body in the School of Music gave me the opportunity and support to pursue my research, in spite of the flood that closed the music building in 2008. -
The Affective Properties of Keys in Instrumental Music from the Late Nineteenth and Early Twentieth Centuries
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2010 The ffeca tive properties of keys in instrumental music from the late nineteenth and early twentieth centuries Maho A. Ishiguro University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Composition Commons, Musicology Commons, Music Practice Commons, Music Theory Commons, and the Other Arts and Humanities Commons Ishiguro, Maho A., "The ffea ctive properties of keys in instrumental music from the late nineteenth and early twentieth centuries" (2010). Masters Theses 1911 - February 2014. 536. Retrieved from https://scholarworks.umass.edu/theses/536 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE AFFECTIVE PROPERTIES OF KEYS IN INSTRUMENTAL MUSIC FROM THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES A Thesis Presented by MAHO A. ISHIGURO Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC September 2010 Music © Copyright by Maho A. Ishiguro 2010 All Rights Reserved THE AFFECTIVE PROPERTIES OF KEYS IN THE TWENTIETH CENTURY A Thesis Presented by MAHO A. ISHIGURO Approved as to style and content by: ________________________________________ Miriam Whaples, Chair ________________________________________ Brent Auerbach, Member ________________________________________ Robert Eisenstein, Member ________________________________________ Jeffrey Cox, Department Chair Music DEDICATION I dedicate my thesis to my father, Kenzo Ishiguro. ACKNOWLEDGEMENTS I would like to thank my advisor, Prof.