DOCSLIB.ORG

Performance Practice of Schubert's Last Piano Sonata

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Performance Practice of Schubert's Last Piano Sonata Performance Practice of Schubert’s Last Piano Sonata Irene Comesaña Aguilar Codarts Hogeschool voor de kunsten [email protected] ABSTRACT Schnabel, Sviatoslav Richter, Alfred Brendel, András Schiff, Malcolm Bilson and Paul Badura-Skoda. Considered nowadays a milestone among some pianists’ repertoire, Franz Schubert’s Sonata in B flat Major is not The selected recordings are just a small sample of what only remarkably long and complex in structure, but also different views on this piece one can have, but there are full of details that make this piece worthy of a deeper study. many others that would deserve to be commented as well. Nevertheless, the Sonata was only re-discovered by the I chose these particular ones based on chronological Russian School of the 20th Century, establishing a very overview, contrasting interpretations and impact on the specific performance practice of it that was not concerned performance practice of the piece due to its popularity or with historical approach. This paper aims to analyze written essays that support the musician's ideas. I also different sources from Schubert’s time, as well as tried to compare recordings that use different contemporary articles about the subject, in order to get as instruments, since it is a very important aspect when close as possible to the original ideas of the composer. researching on historical interpretation. All the observed Keywords parameters were also applied in further specific sub Performance practice, Franz Schubert, Historical questions. performance, Piano literature The first recording of the Sonata was made in 1939 by Artur Schnabel and it serves as a highly valuable source ’Permission to make digital or hard copies of all or part of of information due to its historical value. His tempi this work for personal or classroom use is granted under became a reference to many later interpretations of the the conditions of the Creative Commons Attribution- piece; however, the recording of Sviatoslav Richter Share Alike (CC BY-SA) license and that copies bear this differs in many aspects from Schnabel’s. He chooses an notice and the full citation on the first page’’ extremely slow tempo for the First Movement, whereas for the rest of the piece his tempi are faster. Due to his SRC 2018, November 9, 2018, The Netherlands. numerous writings about Schubert's last sonatas, Alfred Brendel's interpretation is worth mentioning. He chooses to adjust the tempo of the piece according to the character INTRODUCTION and material of each section, creating a big contrast between the different parts rather than keeping a unified It is of mutual agreement that the best interpreters are the vision of the whole movement. Another pianist who also ones that understand the meaning of the music they perform spoke about the Sonata repeatedly is András Schiff. His the most and that are able to deliver the message that the first recording of the piece was made for the Decca label composer wanted to convey in the clearest possible way. in 1995 playing a Bösendorfer piano. Later on, in 2015, Nevertheless, if we hear the same work performed by a he recorded the Sonata for ECM on an 1820’s Viennese selection of the considered “best interpreters” not only we fortepiano, despite his early opposition to performing on perceive significant differences in their playing, but we could such instruments1. Malcolm Bilson and Paul Badura- even guess who is playing only by listening. Skoda both recorded the piece on period instruments and, From this apparent paradox, we can conclude two things: surprisingly enough, their interpretations are extremely that the personality and the ego of the interpreter is also a free, even though they are considered a part of the very important part of their work, and cannot be eliminated Performance Practice Movement. from the performance, and that it is almost impossible to truly understand the text in the context that it was written. THE INSTRUMENT By comparing different recordings of the piece, studying the characteristics of the Viennese pianos of Schubert’s time, By the end of the 18th century, there were two main and analyzing the manuscript and different editions of the types of keyboard instruments being developed in score, it is the purpose of this paper to get rid of preset ideas Europe: the Viennese (fortepiano) and the English about the Sonata and understand how it would have been (pianoforte). The first ones, made by Johann Andreas played at the time of the composition. Stein (early 1770) and developed later by piano makers such as Anton Walter and Conrad Graf, were substantially different from the English, developed by RECORDING HISTORY OF THE SONATA Americus Backers and John Broadwood, that would In order to have an overview of the history of the ultimately lead to the well-known brand Steinway & recording of Schubert's last sonata, I chose 6 different Sons (1853). pianists that I find relevant for understanding the evolution of the interpretation of the piece: Artur 1 Schiff, A. (1995) The mechanism of the Viennese fortepianos is simpler; provides for this peculiarity. In Wiener Urtext, we can read: the hammer is fixed on the key and points toward the “mm. 2-3, 11-12 rh beat 4 middle part: at Cp mm. 217-218, player. They have a lighter, quicker, refined action and a 226-227 Ms [Autograph] has one quarter-note f' instead of very sensitive touch. The tone decay is bigger and the two 8th-notes. Difference obviously intended.” registers have more differences in tone quality. Because On the other hand, Bärenreiter, which writes a dotted slur of the heavier mechanism of the Steinway, fast and between the two eight notes of the beginning suggests “The articulated passages with a leggiero feeling require more ties have been added for consistency with mm. 217,218, 226 strength and training than in a Viennese fortepiano, and and 227, which have a quarter-note instead of the two eight- these are quite frequent in Schubert's piano music. notes in these bars.” Due to the crossed strings and the iron frame of the Finally, Henle Urtext writes: “The two eight-notes of the modern piano, the registers are more unified and the middle voice of the last beat in the upper staff here and in length of the tone bigger. On the other hand, the strings of the following passages are without tie according to a Viennese fortepiano carry far less tension, and the autograph and first edition. In the recapitulation from M 217 hammers are smaller and harder. As a result, an intimate on, Schubert in several instances wrote a quarter note instead singing quality is easier to be achieved on the second one, of two eight-notes. Whether or not the composer intended whereas in a modern piano one has to struggle to get a this notation throughout is open to question.” soft and quiet melody to sing without the left hand While Wiener and Bärenreiter assume opposite positions on disturbing it or being too plain and inexpressive. the subject, Henle gives the performer the possibility of choosing to play them in the same way or distinctively, I am not in the opinion that a composer's music should being more impartial and just conveying what is written in only be played on the same instrument for which it was the original source. written because different tones and types of sound can Other discrepancies regarding dynamics and articulation are also bring out hidden qualities of the piece that might not analyzed in depth in the full-lenght paper, as well as the so- be enjoyed on a period instrument. But I also think that it called theory of alignment. This refers to the possible is not wise to forget what tools they had in hand when simultaneity of rhythms that are mathematically not together they created their works because that influences but that are, in fact, meant to be played at the same time. In inevitably the characteristics of the piece. Extremes are to Schubert's music there are many examples of this, and the B be avoided. Neglecting the possibilities that a modern flat Sonata is not an exception. In measure 52 of the Second piano can offer when performing an older piece is as movement, Schubert writes a double dotted sixteenth note misguided as disregarding the qualities of period against an accompaniment made of sixteenth triplets, which instruments and considering them “primitive instruments” would not fall together mathematically. Nevertheless, that were more limited and poorer in sound. several aspects of this specific fragment should be taken into account when performing it. First of all, this melody has been presented for the first time in bar 43, but this time with THE SCORE a regular sixteenth accompaniment. One could say that Different editions Schubert's first idea of this melody relies on a regular 3/4 One of the most crucial aspects for a thorough study on any rhythm that he happens to slightly modify later on with a piece of music is the source of information: the score. triplet feeling, but the melody remains the same. Also, taking Performers usually read from the most reliable editions that into account the obvious lyricism of the passage, it would are available, the so-called Urtext. These are the ones that, sound forced and too energetic to play the 32nd in the real by definition, attempt to reproduce the original text of the measure. Looking at how editors deal with this issue, we can composer in the closest possible way, using the autograph see that Wiener Urtext, the First Edition and Bärenreiter and first editions of the piece.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Arsnov34 3..81
    Vol 33 2001 & Vol 34 2002 ARS NOVA 1 Contents/Inhoud Editorial/Redaksioneel Carol Steyn Two South African women: the lives and careers of the singers Miriam Makeba and Mimi Coertse 5 Jacobus Kloppers Musical rhetoric and other symbols of communication in Bach's organ music 11 Stephanus Muller Contemporary South African interfaces with aspects of Adornian musical thought 30 Christy Smith Aspects of modernism and postmodernism in music 36 Thembela Vokwana `We sing so that they may have life and have it more abundantly': music performance and Aids in South Africa 42 DanieÈ l G Geldenhuys Cross-cultural representation and influences in ballets by Darius Milhaud and Paul Hindemith 48 Conference reports: DanieÈ l G Geldenhuys The Congress of the Catalonian Musicological Society, Solsona, 1997: developments in the teaching of musicology in northeastern Spain 54 George King The Ninth Biennial Conference on Baroque music, Dublin, 2000 57 Carol Steyn The 17th Congress of the International Musicological Society, Leuven 60 Book reviews: Jonathan Drury Composing music with computers 62 George King Playing with History 68 Chronicle: Unisa graduates/Unisa-gegradueerdes 2001/2002 77 Contributors: Style sheet 78 ARSNOVA^Contents/Inhoud 2 Editorial/Redaksioneel Under its current Dean, Professor Mandla were spent on music in cities such as Venice and Makhanya, the former Faculty of Arts at the Rome as well as on art and architecture; imposing University of South Africa took a decision in 2001 buildings and parklands, great literature, to restructure itself. This restructuring process has magnificent paintings and sculptures, as well as resulted in a number of outcomes.
    [Show full text]
  • Digital Resources for the Composer Franz Schubert – the Databases ‘Schubert Online’ and ‘Schubert Digital’
    DIGITAL RESOURCES FOR THE COMPOSER FRANZ SCHUBERT – THE DATABASES ‘SCHUBERT ONLINE’ AND ‘SCHUBERT DIGITAL’ Christine Martin / Katharina Loose-Einfalt / Mirjam Kluger (Neue Schubert-Ausgabe) NEUE SCHUBERT-AUSGABE SCHUBERT DIGITAL SCHUBERT ONLINE CRITICAL EDITION: PHILOLOGICAL DESCRIPTIONS OF: DIGITAL REPOSITORY: PRINTED SCORES AUTOGRAPH MANUSCRIPTS IN THEIR AUTOGRAPHS CRITICAL REPORTS Reconstruction of the ORIGINAL AND CURRENT FORM FIRST AND EARLY EDITIONS Visualisation original manuscripts THE MUSICAL AND TEXTUAL CONTENTS via digital LETTERS Possibility of diverse images search requests OF THE MANUSCRIPTS e New Schubert Edition (Neue Schubert-Ausgabe) was established in 1965 and will be completed by 2027, with the aim of providing a new critical edi- The New Schubert Edition is currently developing Schubert Digital. This databa- tion of the complete works of Franz Schubert (1797–1828). e planned 84 se will offer highly detailed philological information on Schubert’s autographs, e publicly accessible database Schubert Online contains high-quality volumes are divided by genres into eight series, and also include a thematic based on the new fi ndings published in the critical reports of the New Schubert digital images of more than 600 Schubert autographs, 1,300 fi rst and early catalogue, a documentary biography, and a catalogue of the principal sour- Edition. Firstly, it will present the manuscripts in their original and current form prints of Schubert’s works, as well as select letters and other documents ces. As a scholarly-critical edition, the New Schubert Edition is based on all and structure, and secondly, it will provide detailed descriptions about the con- Detailed provided by the Wienbibliothek im Rathaus (Vienna), the Austrian National Data drawn from explanation available sources, not only documenting their alternative readings but also tents of each manuscript.
    [Show full text]
  • Ludwig Van Beethoven: the Heard and the Unhearing
    Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Translated by Andrew Horsfield ® MIX Papier aus verantwor- tungsvollen Quellen ® www.fsc.org FSC C083411 © Verlag Herder GmbH, Freiburg im Breisgau 2020 All rights reserved www.herder.de Cover design by University Hospital Bonn Interior design by SatzWeise, Bad Wünnenberg Printed and bound by CPI books GmbH, Leck Printed in Germany ISBN 978-3-451-38871-2 Words of welcome from Nike Wagner Bonn is not only the birthplace of Beethoven. The composer spent the first two decades of his life here, became a professional musician in this city and absorbed here the impulses and ideas of the Enlightenment that shaped his later creative output, too. To this extent, it is logical that Bonn is preparing to celebrate Beethoven with a kind of “Cultural Capital Year” to mark his 250th birthday. In this special year, opportunities have been cre- ated in abundance to engage with the “great mogul,” as Haydn called him. There is still more to be discovered in his music, as in his life, too. In this sense, a symposium that approaches the phenomenon of Beethoven from the music-medicine perspective represents an additional and necessary enrichment of the anni- versary year. When I began my tenure as artistic director of the Beethoven- feste Bonn in 2014, I set out to bring forth something that was always new, special and interdisciplinary.
    [Show full text]
  • 557171Bk Schubert 09/10/2003 05:13 Pm Page 28
    557171bk Schubert 09/10/2003 05:13 pm Page 28 Also available on Naxos: Deutsche Schubert Lied Edition Vol. 8 DEUTSCHE Schiller-Lieder, Vol. 2 Deutsche Schubert Lied Edition Vol. 1 Die Bürgschaft • Gruppe aus dem Tartarus SCHUBERT-LIED-EDITION • 15 Winterreise An Emma • Sehnsucht a.o. Roman Trekel, Baritone Regina Jakobi, Mezzo-soprano Ulrich Eisenlohr, Piano. 8.554471 Ulrich Eisenlohr, Piano. 8.554741 Deutsche Schubert Lied Edition Vol. 2 Deutsche Schubert Lied Edition Vol. 9 SCHUBERT Schwanengesang • Auf dem Strom • Herbst Schubert’s Friends, Vol. 1 Lebensmut • Lieder on texts by Ludwig Rellstab Schatzgräbers Begehr • Jägers Liebeslied Michael Volle, Baritone / Ulrich Eisenlohr, Piano Genügsamkeit • Der Strom • Grablied a.o. Schubert’s Friends, Vol. 2 Sjön Scott, Horn. 8.554663 Markus Eiche, Baritone / Jens Fuhr, Piano. 8.554799 Deutsche Schubert Lied Edition Vol. 3 Deutsche Schubert Lied Edition Vol. 10 Brigitte Geller, Soprano Goethe-Lieder, Vol. 1 Austrian Contemporaries, Vol. 1 An den Mond • Der Fischer • Ganymed • Meeres Stille Drang in die Ferne • Die Sterne • Am Fenster a.o. Ulrich Eisenlohr, Piano Prometheus • Wandrers Nachtlied I & II a.o. Christoph Genz, Tenor Ulf Bästlein, Baritone / Stefan Laux, Piano. .8.554665 Wolfram Rieger, Piano. .8.554796 Deutsche Schubert Lied Edition Vol. 4 Deutsche Schubert Lied Edition Vol. 11 Mayrhofer-Lieder, Vol. 1 North German Poets Der Alpenjäger • An die Freunde • Auf der Donau Auf der Bruck • Im Frühling • Der Wanderer a.o. Aus “Heliopolis” I & II • Der Hirt a.o. Hanno Müller-Brachmann, Bass-Baritone Cornelius Hauptmann, Bass Ulrich Eisenlohr, Piano . .8.555780 Stefan Laux, Piano. .8.554738 Deutsche Schubert Lied Edition Vol.
    [Show full text]
  • Schubert, Dance, and Dancing in Vienna, 1815-1840
    Schubert, Dance, and Dancing in Vienna, 1815-1840 11 August 2012; updated 21 March 2015 David Neumeyer The University of Texas at Austin Introduction1 On 7 October 2009, I wrote the 3irst entry for a blog named “Hearing Schubert D779n13.” The goal was to “post and discuss a variety of readings of D779n13, not only the 32 from the Notre Dame conference ["Critical Perspectives on Schenker: Toward a New Research Paradigm,” March 1994] but many others that I have generated since, a few of which were published in Neumeyer 2006” (Introduction). Ultimately, the total of readings reached ninety: see the tally here. [Please note that this PDF document does contain some live links, which will take you out to web pages. Since the original version of this ?ile was created in August 2012, however, I cannot guarantee that all these links in fact are still live.] The idea of a menu of readings 3it the broad goals of post-World War II academic criticism and analysis as they have been realized in both scholarly and pedagogical literatures. The point of the Notre Dame paper was to make more vivid through examples a critical position that had come to the fore in music theory during the course of the 1980s: a contrast between this widely accepted “diversity” standard and the closed, ideologically bound habits of descrip- tive and interpretative practice associated with classical pc-set analysis and Schenkerian analysis. Blogs are inherently dynamic, and it is hardly surprising, I suppose, that the topics dis- cussed on “Hearing Schubert” wandered off from the initial goal of a radical demonstration of music-theoretical Methodism.
    [Show full text]
  • 557369-70 Bk Schubert EU 16/03/2005 10:13Am Page 20
    557369-70 bk Schubert EU 16/03/2005 10:13am Page 20 Deutsche Schubert Lied Edition Vol. 7 Deutsche Schubert Lied Edition Vol. 13 DEUTSCHE European Poets, Vol. 1 Goethe Lieder, Vol. 2 Ellens Gesänge • Lied des gefangenen Jägers, Lieder der Mignon • Gretchen-Lieder • Suleika I,II a.o. SCHUBERT-LIED-EDITION • 18 Normans Gesang • Lodas Gespenst a.o Ruth Ziesak, Soprano • Ulrich Eisenlohr, Piano Ruth Ziesak, Soprano / Roman Trekel, Baritone Christian Elsner, Tenor. 8.554666 Ulrich Eisenlohr, Piano. 8.554795 Deutsche Schubert Lied Edition Vol. 14 Deutsche Schubert Lied Edition Vol. 8 European Poets, Vol. 2 SCHUBERT Schiller-Lieder, Vol. 2 Edward • An Silvia • Vedi quanto adoro Die Bürgschaft • Gruppe aus dem Tartarus a.o. Petrarca-Sonette a.o. Regina Jakobi, Mezzo-soprano Maya Boog, Soprano / W. M. Friedrich, Bass-Baritone Schiller-Lieder, Vols. 3 and 4 Ulrich Eisenlohr, Piano. 8.554741 Ulrich Eisenlohr, Piano. .8.557026-27 Maya Boog, Soprano • Lothar Odinius, Tenor Deutsche Schubert Lied Edition Vol. 9 Deutsche Schubert Lied Edition Vol. 15 Schubert’s Friends, Vol. 1 Schubert's Friends Vol. 2 Ulrich Eisenlohr, Piano Schatzgräbers Begehr • Jägers Liebeslied a.o. Nacht und Träume, Wehmut, Vergißmeinnicht a.o. Markus Eiche, Baritone / Jens Fuhr, Piano. 8.554799 Brigitte Geller, Soprano Ulrich Eisenlohr, Piano. 8.557171 Deutsche Schubert Lied Edition Vol. 10 Austrian Contemporaries, Vol. 1 Deutsche Schubert Lied Edition Vol. 16 Drang in die Ferne • Die Sterne • Am Fenster a.o. Goethe Lieder Vol. 3 Christoph Genz, Tenor Erlkönig, Geheimes, Der Musensohn Wolfram Rieger, Piano. 8.554796 Johannes Kalpers, Tenor Burkhard Kehring, Piano. .8.554667 Deutsche Schubert Lied Edition Vol.
    [Show full text]
  • Interpretation of the First Movements of Beethoven's and Schubert's Last
    Final Thoughts? Interpretation of the First Movements of Beethoven’s and Schubert’s Last Three Piano Sonatas Marie-Charline Foccroulle Dissertation submitted to Dublin City University in partial fulfilment of the requirements for the degree Doctor in Music Performance ROYAL IRISH ACADEMY OF MUSIC Supervisor: Dr. Denise Neary September 2017 Terms and Conditions of Use of Digitised Theses from Royal Irish Academy of Music Copyright statement All material supplied by Royal Irish Academy of Music Library is protected by copyright (under the Copyright and Related Rights Act, 2000 as amended) and other relevant Intellectual Property Rights. By accessing and using a Digitised Thesis from Royal Irish Academy of Music you acknowledge that all Intellectual Property Rights in any Works supplied are the sole and exclusive property of the copyright and/or other Intellectual Property Right holder. Specific copyright holders may not be explicitly identified. Use of materials from other sources within a thesis should not be construed as a claim over them. Access Agreement By using a Digitised Thesis from the Royal Irish Academy of Music you are bound by the following Terms & Conditions: I have read and I understand the following statement: All material supplied as a Digitised Thesis from the Royal Irish Academy of Music is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of a thesis is not permitted, except that material may be duplicated by you for your research use or for educational purposes in electronic or print form providing the copyright owners are acknowledged using the normal conventions.
    [Show full text]
  • SOLO VOICE (BA 5570-90) I Smetana, the Bartered Bride (BA 9534-90) Bärenreiter Catalog
    French Opera and Song Your next performance is worth it. Hector Berlioz French Opera Benvenuto Cellini (BA 5441-90) I Opera in all its Variety Cléopâtre (BA 5787-90) I Les nuits d’été and Song Beethoven, Fidelio (BA 9011-90) I Dvorák, Rusalka (BA 9510-90) I op. 7, High Voice (BA 5784-90) I Les nuits Janácek,ˇ Osud (BA 9562-90) I Monteverdi, L’Orfeo (BA 8793-90) I The French opera and song d’été op. 7, Medium Voice (BA 5786-90) I Rossini, The Barber of Seville (BA 10506-92) I Schubert, Fierabras repertoire of the 19th century Les Troyens (BA 5442-90) I Songs for High (BA 5557-90) I Schubert, Rosamunde, Fürstin von Cypern forms an important part of the Voice and Piano, Vol. 1 (BA 5984) I Songs SOLO VOICE (BA 5570-90) I Smetana, The Bartered Bride (BA 9534-90) Bärenreiter catalog. Numerous for High Voice and Piano, Vol. 2 (BA 5985) works have already been OPERA · LIED published in new scholarly-critical editions, many based on our series Les nuits d’été op. 7, Medium Voice L’Opéra français. Bärenreiter’s BA 5786-90 Opera Vocal Scores & catalog of French opera and song Solo Voice Editions is continuously being expanded. Charles Gounod The opera Faust was instrumental in establishing Charles Gounod’s reputation A Selection FRENCH OPERA as a world famous composer. The Bärenreiter vocal score of this masterwork Georges Bizet, Carmen (AE 129-90) I includes numerous well-known numbers such as Marguerite’s Air des bijoux Bärenreiter Emmanuel Chabrier, L’Étoile and Chanson du roi de Thulé, Méphistophélès’ Ronde du veau d’or and Faust’s Opera Kaleidoscope (BA 8708-90) Cavatina Salut ! demeure chaste et pure.
    [Show full text]
  • Bärenreiter the Musiciansl Choice
    8h[dh[_j[h J^[Cki_Y_WdiÊ9^e_Y[ J^[Fhe]hWcc[ D[mFkXb_YWj_ediThe Programme I^[[jCki_YNew Publications (%(&''Sheet Music 2/2011 New Publications 2/2011: The Programme 1 Contents The New Bärenreiter Website ............................................3 Stage Work Jean-Philippe Rameau, Zaïs Piano BA 8856-90 .............................................................................................24 Robert Schumann, Forest Scenes op. 82 BA 9640 ..................................................................................................... 4 Complete Editions Robert Schumann, Scenes from Childhood op. 15 BA 9639 ..................................................................................................... 5 New Publications up to May 2011 ................................................... 25 Franz Schubert, Moments Musicaux D 780 (op. 94) BA 9647 ......................................................................................................6 Franz Schubert, Impromptus D 899 (op. 90), D 935 Study Score (op. post. 142). BA 9648 ........................................................................ 7 Wolfgang Amadeus Mozart, Idomeneo K. 366 Johannes Brahms, Waltzes op. 39 TP 322 .......................................................................................................26 BA 9602, BA 9603 (Easy Edition) ..................................................8–9 Solo Voice Strings / Winds Franz Schubert, Lieder, Volume 5 Joseph-Hector Fiocco, Allegro in G BA 9105, BA 9125, BA 9145 .................................................................
    [Show full text]
  • Lively Becky Sharp Performs As the Queens of Vanity Fair
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1997 Lively Becky Sharp performs as the Queens of Vanity Fair| A study in the mythical & historical allusions and intertexts employed by William Makepeace Thackeray in "Vanity Fair" Kenneth Galen York The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation York, Kenneth Galen, "Lively Becky Sharp performs as the Queens of Vanity Fair| A study in the mythical & historical allusions and intertexts employed by William Makepeace Thackeray in "Vanity Fair"" (1997). Graduate Student Theses, Dissertations, & Professional Papers. 2861. https://scholarworks.umt.edu/etd/2861 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of MONTANA Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. ** Please check "Yes" or "No" and provide signature ** Yes, I grant permission X No, I do not grant permission Author's Signature ^ Date Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. THE LIVELY BECKY SHARP PERFORMS as THE QUEENS OF VANITY FAIR: A STUDY IN THE MYTHICAL & HISTORICAL ALLUSIONS AND INTERTEXTS EMPLOYED BY WILLIAM MAKEPEACE THACKERAY IN VANITY FAIR by K.
    [Show full text]
  • Z Ý}À:ÌW6‚Š Q‚ˇªbmı“
    557369-70 bk Schubert US 16/03/2005 10:14am Page 12 Deutsche Schubert Lied Edition Vol. 5 Deutsche Schubert Lied Edition Vol. 12 DEUTSCHE Die schöne Müllerin Mayrhofer-Lieder, Vol. 2 Christian Elsner, Tenor Erlafsee • Uraniens Flucht • Auflösung a.o. SCHUBERT-LIED-EDITION • 18 Ulrich Eisenlohr, Piano . .8.554664 Christiane Iven, Mezzo-Soprano Burkhard Kehring, Piano . 8.554739 Deutsche Schubert Lied Edition Vol. 6 Schiller-Lieder, Vol. 1 Deutsche Schubert Lied Edition Vol. 13 Der Alpenjäger • Der Kampf • Der Taucher a.o. Goethe Lieder, Vol. 2 SCHUBERT Martin Bruns, Baritone Lieder der Mignon • Gretchen-Lieder • Suleika I,II a.o. Ulrich Eisenlohr, Piano . .8.554740 Ruth Ziesak, Soprano • Ulrich Eisenlohr, Piano Christian Elsner, Tenor. 8.554666 Schiller-Lieder, Vols. 3 and 4 Deutsche Schubert Lied Edition Vol. 7 European Poets, Vol. 1 Deutsche Schubert Lied Edition Vol. 14 Maya Boog, Soprano • Lothar Odinius, Tenor Ellens Gesänge • Lied des gefangenen Jägers, European Poets, Vol. 2 Normans Gesang • Lodas Gespenst a.o Edward • An Silvia • Vedi quanto adoro Ulrich Eisenlohr, Piano Ruth Ziesak, Soprano / Roman Trekel, Baritone Petrarca-Sonette a.o. Ulrich Eisenlohr, Piano. 8.554795 Maya Boog, Soprano / W. M. Friedrich, Bass-Baritone Ulrich Eisenlohr, Piano. .8.557026-27 Deutsche Schubert Lied Edition Vol. 8 Schiller-Lieder, Vol. 2 Deutsche Schubert Lied Edition Vol. 15 Die Bürgschaft • Gruppe aus dem Tartarus a.o. Schubert's Friends Vol. 2 Regina Jakobi, Mezzo-soprano Nacht und Träume, Wehmut, Vergißmeinnicht a.o. Ulrich Eisenlohr, Piano. 8.554741 Brigitte Geller, Soprano Ulrich Eisenlohr, Piano. 8.557171 Deutsche Schubert Lied Edition Vol. 9 Schubert’s Friends, Vol.
    [Show full text]