Beethoven, As I Knew Him
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The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
One Day, Two Exciting, Family-Friendly Events!
Tempo Symphony Friends Newsletter 2019-20 Season - January 2020 One Day, Two Exciting, CSO AT-A-GLANCE Family-Friendly Events! TCHAIKOVSKY On January 25th at 2:00 p.m., the have to admit that many of the & BEETHOVEN CSO will present its annual hour- film scores are from movies that SAT., FEB. 29TH • 7:30 PM CHEYENNE CIVIC CENTER long family matinee, Heroes and were my favorites when I was Enjoy the Barber of Seville Overture, Villains. The Orchestra will present younger: Superman, Raiders of Tchaikovsky’s Violin Concerto and a second concert, Blockbusters the Lost Ark, Robin Hood, Dances Beethoven’s Symphony No. 7! & Beethoven, as part of its with Wolves, etc. I am also excited Masterpiece series that evening about the Lord of the Rings music. MAHLER & at 7:30pm. These annual movie- Both the Saturday night concert BEETHOVEN themed performances are extremely and the Saturday afternoon SAT., MAR. 21ST • 7:30 PM popular because they provide matinee will be truly spectacular, CHEYENNE CIVIC CENTER audience members an opportunity with a large orchestra performing The celebration of Beethoven continues with the Egmont Overture to listen to accessible music in a fun incredible, dramatic and powerful and Eroica. Also featuring Mahler’s atmosphere. music.” Songs of a Wayfarer and “I am Lost to the World” The concerts will include Superman At the Matinee, the doors to the March, Raiders of the Lost Ark Civic Center will open at 1:00 RAIDERS OF THE LOST ARK March, and March of the Resistance p.m. This will give attendees IN CONCERT from The Force Awakens, all the opportunity to mingle with SAT., APR. -
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart. -
Pdf Jean-Efflam Bavouzet 2019-20 Season
French Connections Jean-Efflam Bavouzet’s 2019-20 season includes concertos by Bartók, Beethoven, Mozart and Ravel, Debussy’s Fantaisie and compelling new album of piano sonatas by Beethoven’s contemporaries ‘This series of discs is shaping up to be a serious front-runner in a cycle of works that has never wanted for fine recordings,’ Gramophone, review of Mozart Piano Concertos Vol.4, July 2019 A schedule rich in variety and landmark recording projects is central to Jean-Efflam Bavouzet’s 2019-20 season. The French pianist’s chosen repertoire spans everything from the concertos of Bartók, Beethoven and Ravel to sonatas by Haydn and rarities by Debussy. Highlights include an extensive UK tour of Ravel’s Piano Concerto for the Left Hand with the Iceland Symphony Orchestra (8-15 February 2020); a complete cycle of Beethoven’s piano concertos with the Orchestre National de Lyon (19 & 21 March, 11 & 13 June); Ravel’s Piano Concerto in G major with the London Philharmonic Orchestra (14 February) and the Prague Radio Symphony Orchestra (8 June); and Debussy’s Fantaisie with the Royal Scottish National Orchestra (28 & 29 February). Jean-Efflam Bavouzet’s long relationship with Chandos Records is set to grow further over the coming season. He will record Beethoven’s five piano concertos in November, directing the Swedish Chamber Orchestra from the keyboard, for a release due out in Autumn 2020, continue his series of Haydn’s complete piano sonatas, and explore works by Beethoven’s contemporaries. March sees the international release of the fifth volume of his critically acclaimed cycle of Mozart’s piano concertos. -
Beethoven Deaf: the Beethoven Myth and Nineteenth-Century Constructions of Deafness
BEETHOVEN DEAF: THE BEETHOVEN MYTH AND NINETEENTH-CENTURY CONSTRUCTIONS OF DEAFNESS By DEVIN MICHAEL PAUL BURKE Submitted in partial fulfillment of the requirements For the degree of Master of Arts Thesis Adviser: Dr. Francesca Brittan Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of ______________________________________________________ candidate for the ________________________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents LIST OF FIGURES ................................................................................................ 2 Abstract ................................................................................................................... 3 Introduction ............................................................................................................. 4 Chapter 1: The Heiligenstadt Testament, the Emerging Social Category of “Deafness,” and the Dual Nature of Disability ......................................... 20 Private and Public Deafness and the -
A Case Study of Institutional Disruption and Repair at the New York Philharmonic Orchestra (1842-2012)
Maintaining the Institutional Core: A Case Study of Institutional Disruption and Repair at the New York Philharmonic Orchestra (1842-2012) by Alison C. Minkus A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Organizational Analysis Faculty of Business University of Alberta © Alison C. Minkus, 2015 ii ABSTRACT Drawing from an institutional work perspective, I focus on how institutions are maintained amidst disruption, by analyzing what aspects are held constant, and what aspects are allowed to change over time. I offer the institutional core as the main focus of maintenance work set alongside peripheral aspects that may be changed over time. Using a historical case study and archival analysis of the New York Philharmonic Orchestra, I find a continuum of change from relative constancy to significant change in three endogenous actors, i.e., the repertoire, soloists, and conductors, respectively. Three selected cases further our understanding of the nature of maintenance, including what is held constant and what is allowed to change, as well as how key endogenous and exogenous actors employ several key repairing and recreating mechanisms during and following periods of disruption. iii PREFACE This thesis is an original work by Alison C. Minkus. The research project, of which this thesis is a part, received research ethics approval from the University of Alberta Research Ethics Board, Project Name: Maintaining the Institutional Core: A Case Study of Institutional Disruption and Repair at the New York Philharmonic Orchestra (1842-2012), No. Pro00042006, September 5, 2013; renewed, August 27, 2014. iv Just because everything is different doesn’t mean anything has changed. -
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. -
The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations. -
Bach, Mozart, and Beethoven: Sorting Piano Excerpts Based on Perceived Similarity Using Distatis
New Ideas in Psychology 57 (2020) 100757 Contents lists available at ScienceDirect New Ideas in Psychology journal homepage: http://www.elsevier.com/locate/newideapsych Bach, Mozart, and Beethoven: Sorting piano excerpts based on perceived similarity using DiSTATIS Rachna Raman a,*, Michael A. Kriegsman a, Herv�e Abdi a, Barbara Tillmann b, W. Jay Dowling a a The University of Texas at Dallas, USA b Lyon Neuroscience Research Center, Lyon, France ARTICLE INFO ABSTRACT Keywords: Our initial aim in this study was to show that Western listeners can sort the music of 3 Western composers Constrained sorting consistently on the basis of their compositional style. We found that they could, and proceeded to investigate Free sorting what cues they might be using to accomplish that task, as well as whether their use of those cues was related to Musical style their level of musical training. In Experiment 1, we presented 21 excerpts from the keyboard music of Bach, Musical training Mozart, and Beethoven, each excerpt linked to an icon on the computer screen. Participants were to place the Style perception icons in different groups following the rule that the icons in one group could have been written by the same composer. First, they did a free sort in which they could form as many groups as they liked, and then we told them that there were just 3 composers, and they should make 3 groups in a constrained sort. In Experiment 1, the excerpts were produced with MIDI transcriptions of the scores, such that the composer’s pitch and time infor mation of the notes was preserved, but there was no variation in tempo, dynamics (loudness), or articulation (connectedness or separateness of notes in time). -
Beethoven's Fidelio Study Guide for Secondary
BEETHOven’s FIDELIO STUDY GUIDE FOR SECONDARY SCHOOLS BY CARLO DELFRATI 3 Study GUIDE for Secondary SCHOOLS Introduction The plot This guide is intended to introduce students The plot of Fidelio is simple. Set in Spain, it to opera: its language, characteristics, and deals with an episode that some sources conventions. It’s designed for secondary report actually took place during the Jac- schools, whether upper or lower (or middle obin Reign of Terror (1793-94), but there are and high schools in the US) depending on strong doubts about its authenticity. It fol- the topic, and offers a variety of educational lows a genre cultivated in France and Italy suggestions that can be used by teachers in by other composers, such as Pierre Gaveaux, whatever manner works best for their ori- Ferdinando Paer, Simone Mayr, and Luigi entation, course work, or the educational Cherubini. The main theme of “rescue opera” scheme in which they work. or opéra à sauvetage was the rescue of the The historical and musicological essays con- protagonist from danger or even death, with tained in this volume and on the accompa- the inevitable happy ending that featured nying DVD-ROM explore a range of topics the triumph of the ideals of liberty. about the figure of Beethoven, including the At the beginning of the first of two acts into inevitable topic of his deafness, along with which Fidelio is divided, young Jaquino is the changing role of the composer in soci- wooing Marzelline, the daughter of Rocco, ety. They tell the complicated backstory of the jailer of a state prison. -
Simply Beethoven
Simply Beethoven Simply Beethoven LEON PLANTINGA SIMPLY CHARLY NEW YORK Copyright © 2020 by Leon Plantinga Cover Illustration by José Ramos Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-64-3 Brought to you by http://simplycharly.com Contents Praise for Simply Beethoven vii Other Great Lives ix Series Editor's Foreword x Preface xi Introduction 1 1. The Beginning 5 2. Beethoven in Vienna: The First Years, 1792-1800 20 3. Into the New Century, 1800-05 38 4. Scaling the Heights, 1806-1809 58 5. Difficult Times, 1809-11 73 6. Distraction and Coping: 1812-15 91 7. 1816–1820: More Difficulties 109 8. Adversity and Triumph, 1821-24 124 9. Struggle and Culmination, 1825-1827 149 10. Beethoven’s Legacy 173 Sources 179 Suggested Reading 180 About the Author 182 A Word from the Publisher 183 Praise for Simply Beethoven “Simply Beethoven is a brief and eminently readable introduction to the life and works of the revered composer.Plantinga offers the lay- man reliable information based on his many years as a renowned scholar of the musical world of late-eighteenth and nineteenth- century Europe.