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Schubert's!Voice!In!The!Symphonies!
! ! ! ! A!Search!for!Schubert’s!Voice!in!the!Symphonies! ! ! ! ! ! ! ! ! ! ! ! Camille!Anne!Ramos9Klee! ! Submitted!to!the!Department!of!Music!of!Amherst!College!in!partial!fulfillment! of!the!requirements!for!the!degree!of!Bachelor!of!Arts!with!honors! ! Faculty!Advisor:!Klara!Moricz! April!16,!2012! ! ! ! ! ! In!Memory!of!Walter!“Doc”!Daniel!Marino!(191291999),! for!sharing!your!love!of!music!with!me!in!my!early!years!and!always!treating!me!like! one!of!your!own!grandchildren! ! ! ! ! ! ! Table!of!Contents! ! ! Introduction! Schubert,!Beethoven,!and!the!World!of!the!Sonata!! 2! ! ! ! Chapter!One! Student!Works! 10! ! ! ! Chapter!Two! The!Transitional!Symphonies! 37! ! ! ! Chapter!Three! Mature!Works! 63! ! ! ! Bibliography! 87! ! ! Acknowledgements! ! ! First!and!foremost!I!would!like!to!eXpress!my!immense!gratitude!to!my!advisor,! Klara!Moricz.!This!thesis!would!not!have!been!possible!without!your!patience!and! careful!guidance.!Your!support!has!allowed!me!to!become!a!better!writer,!and!I!am! forever!grateful.! To!the!professors!and!instructors!I!have!studied!with!during!my!years!at! Amherst:!Alison!Hale,!Graham!Hunt,!Jenny!Kallick,!Karen!Rosenak,!David!Schneider,! Mark!Swanson,!and!Eric!Wubbels.!The!lessons!I!have!learned!from!all!of!you!have! helped!shape!this!thesis.!Thank!you!for!giving!me!a!thorough!music!education!in!my! four!years!here!at!Amherst.! To!the!rest!of!the!Music!Department:!Thank!you!for!creating!a!warm,!open! environment!in!which!I!have!grown!as!both!a!student!and!musician.!! To!the!staff!of!the!Music!Library!at!the!University!of!Minnesota:!Thank!you!for! -
Schubert's Mature Operas: an Analytical Study
Durham E-Theses Schubert's mature operas: an analytical study Bruce, Richard Douglas How to cite: Bruce, Richard Douglas (2003) Schubert's mature operas: an analytical study, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4050/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Schubert's Mature Operas: An Analytical Study Richard Douglas Bruce Submitted for the Degree of PhD October 2003 University of Durham Department of Music A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. The copyright of this thesis rests with the author. No quotation from it should be published without their prior written consent and information derived from it should be acknowledged. 2 3 JUN 2004 Richard Bruce - Schubert's Mature Operas: An Analytical Study Submitted for the degree of Ph.D (2003) (Abstract) This thesis examines four of Franz Schubert's complete operas: Die Zwillingsbruder D.647, Alfonso und Estrella D.732, Die Verschworenen D.787, and Fierrabras D.796. -
Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them. -
Gregg Nestor, William Kanengiser
Gregg Nestor, Guitar William Kanengiser, Guitar Jessica Pierce, Flute Francisco Castillo, Oboe Kevan Torfeh, Cello David McKelvy, Harmonica Anna Bartos, Soprano Executive Album Producers for BSX Records: Ford A. Thaxton and Mark Banning Album Produced by Gregg Nestor Guitar Arrangements by Gregg Nestor Tracks 1-5 and 12-16 Recorded at Penguin Recording, Eagle Rock, CA Engineer: John Strother Tracks 6-11 Recorded at Villa di Fontani, Lake View Terrace, CA Engineers: Jonathan Marcus, Benjamin Maas Digitally Edited and Mastered by Jonathan Marcus, Orpharian Recordings Album Art Direction: Mark Banning Mr. Nestor’s Guitars by Martin Fleeson, 1981 José Ramirez, 1984 & Sérgio Abreu, 1993 Mr. Kanengiser’s Guitar by Miguel Rodriguez, 1977 Special Thanks to the composer’s estates for access to the original scores for this project. BSX Records wishes to thank Gregg Nestor, Jon Burlingame, Mike Joffe and Frank K. DeWald for his invaluable contribution and oversight to the accuracy of the CD booklet. For Ilaine Pollack well-tempered instrument - cannot be tuned for all keys assuredness of its melody foreshadow the seriousness simultaneously, each key change was recorded by the with which this “concert composer” would approach duo sectionally, then combined. Virtuosic glissando and film. pizzicato effects complement Gold's main theme, a jaunty, kaleidoscopic waltz whose suggestion of a Like Korngold, Miklós Rózsa found inspiration in later merry-go-round is purely intentional. years by uniting both sides of his “Double Life” – the title of his autobiography – in a concert work inspired by his The fanfare-like opening of Alfred Newman’s ALL film music. Just as Korngold had incorporated themes ABOUT EVE (1950), adapted from the main title, pulls us from Warner Bros. -
Robert Volkmann (Geb
Robert Volkmann (geb. Lommatzsch bei Meißen, 6. April 1815 — gest. Budapest, 29. Oktober 1883) I. (II.) Streichquartett a-moll op. 9 (1847-48) I Largo (p. 1) – Allegro non troppo (p. 2) II Adagio molto (p. 14) – Affettuoso (p. 15) – Tranquillo (p. 16) – a Tempo (p. 17) – Affettuoso (p. 18) –Accelerando – Adagio. Recitativo (p. 19) – Tempo I (p. 20) III Presto (p. 22) – Trio (p. 26) – Scherzo seconda parte (p. 29) IV Allegro impetuoso (p. 34) Vorwort Unter den vergessenen Komponisten der deutschen Romantik im Umfeld von Mendelssohn, Schumann, Liszt und des später geborenen Brahms war Robert Volkmann einer der originellsten und bedeutendsten. Geboren als zweiter Sohn des Kantoren Gotthelf Volkmann (1767-1833), begann er im Kindesalter zu komponieren und spielte Klavier, Orgel, Geige und Cello. 1832 ging er zum Studium nach Freiberg, wo ihn der städtische Musikdirektor August Ferdinand Anacker (1790-1851), ein tatkräftiger Beethovenianer, förderte und ihm die Entscheidung, vollberuflich Musiker zu werden, nahelegte. Also ging Volkmann 1836 nach Leipzig, wo es noch kein Konservatorium gab (dieses sollte erst 1843 gegründet werden), studierte Komposition und Theorie bei dem Organisten der Peterskirche (und späteren Leiter der Orgelklasse am Konservatorium), Karl Ferdinand Becker (1804-77), hörte die Donnerstagskonzerte im Gewandhaus unter Felix Mendelssohn-Bartholdy und erfreute sich der Schätzung Robert Schumanns. Im Oktober 1839 trat er eine Lehrstelle an einer Prager Musikschule an, doch schon 1840 wurde er als Musiklehrer der beiden Töchter der Gräfin Stainlein-Saalenstein im Familienschloß im ungarischen Szemeréd in der Nähe von Ipolyság verpflichtet, wo er sich nun vermehrt dem Komponieren widmete. Im Gefolge der Gräfin besuchte er öfters Pest, den damals vorwiegend deutschen Teil des heutigen Budapest. -
Program Notes When Mozart Wrote the Three Divertimentos, KV 136-8 at the Age of 16, He Had Already Spent More Than Two Years Away from His Hometown of Salzburg
Program Notes When Mozart wrote the three Divertimentos, KV 136-8 at the age of 16, he had already spent more than two years away from his hometown of Salzburg. He had lived in London and Paris and travelled throughout Austria, Germany, France, the Netherlands, and Italy. Besides giving concerts at court, he met many famous musicians of the time and had opportunities to hear and study their music. Mozart’s early compositions are therefore often case studies in the styles and traditions of where his travels had most recently taken him. The Divertimentos were written in the winter 1771/2, after the second of three extended trips to Italy. A third journey was already in the planning and the Italian influence on Mozart’s writing is evident. It is uncer- tain whether the pieces are meant for a specific occasion; the title ‘Divertimento’ was in fact even added by another hand, possibly that of his father Leopold. The three-movement structure follows the pattern of the early Italian Sinfonia type, but J. Haydn and J.C. Bach have strongly influenced his compositions as well. Young Mozart met the two composers in London and looked up to them mentors and friends. The scholar Alfred Einstein hypothesizes that Mozart wrote the three pieces anticipating the need for some new symphonies during his next Italian journey. If required on short notice, Mozart would simply have added winds at the last moment. Before the birth of his gifted children, Leopold Mozart had made a business of writing musical novelties. He was a violinist, conductor, and teacher, his book ‘Versuch einer gründlichen Violinschule’ is alongside the textbooks by Quantz and C. -
BBC Four Programme Information
SOUND OF CINEMA: THE MUSIC THAT MADE THE MOVIES BBC Four Programme Information Neil Brand presenter and composer said, “It's so fantastic that the BBC, the biggest producer of music content, is showing how music works for films this autumn with Sound of Cinema. Film scores demand an extraordinary degree of both musicianship and dramatic understanding on the part of their composers. Whilst creating potent, original music to synchronise exactly with the images, composers are also making that music as discreet, accessible and communicative as possible, so that it can speak to each and every one of us. Film music demands the highest standards of its composers, the insight to 'see' what is needed and come up with something new and original. With my series and the other content across the BBC’s Sound of Cinema season I hope that people will hear more in their movies than they ever thought possible.” Part 1: The Big Score In the first episode of a new series celebrating film music for BBC Four as part of a wider Sound of Cinema Season on the BBC, Neil Brand explores how the classic orchestral film score emerged and why it’s still going strong today. Neil begins by analysing John Barry's title music for the 1965 thriller The Ipcress File. Demonstrating how Barry incorporated the sounds of east European instruments and even a coffee grinder to capture a down at heel Cold War feel, Neil highlights how a great composer can add a whole new dimension to film. Music has been inextricably linked with cinema even since the days of the "silent era", when movie houses employed accompanists ranging from pianists to small orchestras. -
Classical Music Manuscripts Collection Finding Aid (PDF)
University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketches …………………………………………………………………... 2 Scope and Content …………………………………………………………………………... 13 Series Notes …………………………………………………………………………………... 13 Container List …………………………………………………………………………………... 15 Robert Ambrose …………………………………………………………………... 15 Florence Aylward …………………………………………………………………... 15 J.W.B. …………………………………………………………………………………... 15 Jean-Guillain Cardon …………………………………………………………………... 15 Evaristo Felice Dall’Abaco …………………………………………………………... 15 Alphons Darr …………………………………………………………………………... 15 P.F. Fierlein …………………………………………………………………………... 15 Franz Jakob Freystadtler …………………………………………………………... 16 Georg Golterman …………………………………………………………………... 16 Gottlieb Graupner …………………………………………………………………... 16 W. Moralt …………………………………………………………………………... 16 Pietro Nardini …………………………………………………………………………... 17 Camillo de Nardis …………………………………………………………………... 17 Alessandro Rolla …………………………………………………………………... 17 Paul Alfred Rubens …………………………………………………………………... 17 Camillo Ruspoli di Candriano …………………………………………………... 17 Domenico Scarlatti …………………………………………………………………... 17 Friederich Schneider …………………………………………………………………... 17 Ignaz Umlauf …………………………………………………………………………... 17 Miscellaneous Collections …………………………………………………………... 17 Unknown …………………………………………………………………………... 18 MS226-Classical Music Manuscripts Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION -
Gardiner's Schumann
Sunday 11 March 2018 7–9pm Barbican Hall LSO SEASON CONCERT GARDINER’S SCHUMANN Schumann Overture: Genoveva Berlioz Les nuits d’été Interval Schumann Symphony No 2 SCHUMANN Sir John Eliot Gardiner conductor Ann Hallenberg mezzo-soprano Recommended by Classic FM Streamed live on YouTube and medici.tv Welcome LSO News On Our Blog This evening we hear Schumann’s works THANK YOU TO THE LSO GUARDIANS WATCH: alongside a set of orchestral songs by another WHY IS THE ORCHESTRA STANDING? quintessentially Romantic composer – Berlioz. Tonight we welcome the LSO Guardians, and It is a great pleasure to welcome soloist extend our sincere thanks to them for their This evening’s performance of Schumann’s Ann Hallenberg, who makes her debut with commitment to the Orchestra. LSO Guardians Second Symphony will be performed with the Orchestra this evening in Les nuits d’été. are those who have pledged to remember the members of the Orchestra standing up. LSO in their Will. In making this meaningful Watch as Sir John Eliot Gardiner explains I would like to take this opportunity to commitment, they are helping to secure why this is the case. thank our media partners, medici.tv, who the future of the Orchestra, ensuring that are broadcasting tonight’s concert live, our world-class artistic programme and youtube.com/lso and to Classic FM, who have recommended pioneering education and community A warm welcome to this evening’s LSO tonight’s concert to their listeners. The projects will thrive for years to come. concert at the Barbican, as we are joined by performance will also be streamed live on WELCOME TO TONIGHT’S GROUPS one of the Orchestra’s regular collaborators, the LSO’s YouTube channel, where it will lso.co.uk/legacies Sir John Eliot Gardiner. -
THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 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 Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize. -
Unit 7 Romantic Era Notes.Pdf
The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music. -
SONGS DANCES Acknowledgments & Recorded at St
SONGS DANCES Acknowledgments & Recorded at St. Mark’s Evangelical Lutheran Church, Jacksonville, Florida on June 13 and 14, 2018 Jeff Alford, Recording Engineer Gary Hedden, Mastering Engineer in THE SAN MARCO CHAMBER MUSIC SOCIETY collaboration THE LAWSON ENSEMBLE with WWW.ALBANYRECORDS.COM TROY1753 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2018 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. SanMarco_1753_book.indd 1-2 10/18/18 9:36 AM The Music a flute descant – commences. Five further variations ensue, each alternating characters and moods: a brisk second variation; a slow, sad, waltzing third; a short, enigmatic fourth; a sprawling fifth, this the Morning Elation for oboe and viola by Piotr Szewczyk (2010) emotional heart of the composition; and a contrapuntal sixth, which ends with a restatement of the theme Piotr Szewczyk was fairly new to Jacksonville when I asked him if he could compose an oboe/viola duo for now involving the flute. us in 2010, so I did not expect the enthusiasm and speed in which he composed “Morning Elation”! Two In all, it’s a complex, ambitious score, a glowing example of the American Romantic style of which days later he greeted me with the news that he had a burst of inspiration and composed our piece the day Beach, along with George Whitefield Chadwick, John Knowles Paine, and Arthur Foote, was such a wonder- before.