1 Sonata Form Experimentation in Joseph Haydn's String Quartets
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A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Symposium Programme
Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4. -
What Handel Taught the Viennese About the Trombone
291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios. -
A Theory of Spatial Acquisition in Twelve-Tone Serial Music
A Theory of Spatial Acquisition in Twelve-Tone Serial Music Ph.D. Dissertation submitted to the University of Cincinnati College-Conservatory of Music in partial fulfillment of the requirements for the degree of Ph.D. in Music Theory by Michael Kelly 1615 Elkton Pl. Cincinnati, OH 45224 [email protected] B.M. in Music Education, the University of Cincinnati College-Conservatory of Music B.M. in Composition, the University of Cincinnati College-Conservatory of Music M.M. in Music Theory, the University of Cincinnati College-Conservatory of Music Committee: Dr. Miguel Roig-Francoli, Dr. David Carson Berry, Dr. Steven Cahn Abstract This study introduces the concept of spatial acquisition and demonstrates its applicability to the analysis of twelve-tone music. This concept was inspired by Krzysztof Penderecki’s dis- tinctly spatial approach to twelve-tone composition in his Passion According to St. Luke. In the most basic terms, the theory of spatial acquisition is based on an understanding of the cycle of twelve pitch classes as contiguous units rather than discrete points. Utilizing this theory, one can track the gradual acquisition of pitch-class space by a twelve-tone row as each of its member pitch classes appears in succession, noting the patterns that the pitch classes exhibit in the pro- cess in terms of directionality, the creation and filling in of gaps, and the like. The first part of this study is an explanation of spatial acquisition theory, while the se- cond part comprises analyses covering portions of seven varied twelve-tone works. The result of these analyses is a deeper understanding of each twelve-tone row’s composition and how each row’s spatial characteristics are manifested on the musical surface. -
Remembering Music
lawrence m. zbikowski Remembering Music This article considers the role of memory in musical understanding through an exploration of some of the cognitive resources recruited for musical memory, with a special emphasis on processes of categorization and on the different memory systems which are brought to bear on musical phenomena. This perspective is then developed through a close analysis of the ways memory is exploited and expanded in To- ru Takemitsu’s Equinox, a short work for guitar written in 1993. Early in the second volume of Marcel Proust’s À la recherche du temps perdu (translated as In the Shadow of Young Girls in Flower) the narrator – having overcome a bit of awkwardness with Charles Swann – has become an intimate of Swann’s household, and the favored friend of his daughter Gilberte. On some days he joins the Swanns as they while away the afternoon at home, but on most occasions he joins them for a drive in the Bois de Boulogne. On occasion, before she changes her dress in preparation for their drive, Madame Swann sits down at the piano: The fingers of her lovely hands, emerging from the sleeves of her tea gown in crêpe de Chine, pink, white, or at times in brighter colors, wandered on the keyboard with a wistful- ness of which her eyes were so full, and her heart so empty. It was on one of those days that she happened to play the part of the Vinteuil sonata with the little phrase that Swann had once loved so much.1 This event provides Proust with an opportunity to reflect on the challenges of listening to music, and in particular on the difficulty of making something of a new piece on our first encounter with it. -
1) Aspects of the Musical Careers of Grieg, Debussy and Ravel
Edvard Grieg, Claude Debussy and Maurice Ravel. Biographical issues and a comparison of their string quartets Juliette L. Appold I. Grieg, Debussy and Ravel – Biographical aspects II. Connections between Grieg, Debussy and Ravel III. Observations on their string quartets I. Grieg, Debussy and Ravel – Biographical aspects Looking at the biographies of Grieg, Debussy and Ravel makes us realise, that there are few, yet some similarities in the way their career as composers were shaped. In my introductory paragraph I will point out some of these aspects. The three composers received their first musical training in their childhood, between the age of six (Grieg) and nine (Debussy) (Ravel was seven). They all entered the conservatory in their early teenage years (Debussy was 10, Ravel 14, Grieg 15 years old) and they all had more or less difficult experiences when they seriously thought about a musical career. In Grieg’s case it happened twice in his life. Once, when a school teacher ridiculed one of his first compositions in front of his class-mates.i The second time was less drastic but more subtle during his studies at the Leipzig Conservatory until 1862.ii Grieg had despised the pedagogical methods of some teachers and felt that he did not improve in his composition studies or even learn anything.iii On the other hand he was successful in his piano-classes with Carl Ferdinand Wenzel and Ignaz Moscheles, who had put a strong emphasis on the expression in his playing.iv Debussy and Ravel both were also very good piano players and originally wanted to become professional pianists. -
Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
Next on Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of the entire Discoveries series every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, August 4th, 2012, 5:00-6:00 p.m. Claude Debussy (1862-1918). Danse (Tarantelle styrienne) (1891, 1903). David Allen Wehr, piano. Connoiseur Soc 4219, Tr 4, 5:21 Debussy. Danse, orch. Ravel (1923). Philharmonia Orchestra, Geoffrey Simon. Cala 1024, Tr 9, 5:01 Maurice Ravel (1875-1937). Shéhérazade (1903). Anne Sofie von Otter, mezzo-soprano, Cleveland Orchestra, Pierre Boulez. DG 2121, Tr 1-3, 17:16 Ravel. Introduction and Allegro (1905). Rachel Masters, harp, Christopher King, clarinet, Ulster Orchestra, Yan Pascal Tortelier. Chandos 8972, Tr 7, 11:12 Debussy. Sarabande, from Pour le piano (1901). Larissa Dedova, piano. Centaur 3094, Disk 4, Tr 6, 4:21 Debussy. Sarabande, orch. Ravel (1923). Ulster Orchestra, Yan Pascal Tortelier. Chandos 9129, Tr 2, 4:29 This time, he’d show them. The Paris Conservatoire accepted Ravel as a piano student at age 16, and even though he won a piano competition, more than anything he wanted to compose. But the Conservatory was a hard place. He never won the fugue prize, never won the composition prize, never won anything for writing music and they sent him packing. Twice. He studied with the great Gabriel Fauré, in school and out, but he just couldn’t make any headway with the ruling musical authorities. If it wasn’t clunky parallelisms in his counterpoint, it was unresolved chords in his harmony, but whatever the reason, four times he tried for the ultimate prize in composition, the Prix de Rome, and four times he was refused. -
24. Debussy Pour Le Piano: Sarabande (For Unit 3: Developing Musical Understanding)
24. Debussy Pour le piano: Sarabande (For Unit 3: Developing Musical Understanding) Introduction and Performance circumstances Debussy probably decided to compose a Sarabande partly because he knew Erik Satie’s three sarabandes of 1887, with their similarly sensuous harmony. There are no grounds for referring to Debussy’s Sarabande as ‘impressionist’, even though the piece is very similar in date to his Prélude à l’après-midi d’un faune. The term ‘neoclassical’ may be more suitable, although we do not hear the post-World War I type of ‘wrong-note’ neoclassicism of, for example, Stravinsky’s Pulcinella. In public performance Debussy’s Sarabande is most likely to be heard as part of a piano recital, along with the two other movements which flank it (Prélude and Toccata) from Pour le piano. Incidentally the suite was published in 1901, but the Sarabande (in a slightly different version to the one we know) dates back to 1894. Performing Forces and their Handling Sarabande, for solo piano, does not depend for its effect on any virtuosity or display. Marguerite Long, a pupil of Debussy, noted that the composer ‘himself played [the piece] as no one [else] could ever have done, with those marvellous successions of chords sustained by his intense legato’. A wide range is involved, from (several) very low C sharps to E just over five octaves higher; there are no extremely high notes. Some left-hand chords extend to well over an octave and have to be spread. Texture The texture is almost entirely homophonic, with much parallelism, and is often extremely sonorous on account of the many chords with six or more notes. -
Brentano String Quartet
“Passionate, uninhibited, and spellbinding” —London Independent Brentano String Quartet Saturday, October 17, 2015 Riverside Recital Hall Hancher University of Iowa A collaboration with the University of Iowa String Quartet Residency Program with further support from the Ida Cordelia Beam Distinguished Visiting Professor Program. THE PROGRAM BRENTANO STRING QUARTET Mark Steinberg violin Serena Canin violin Misha Amory viola Nina Lee cello Selections from The Art of the Fugue Johann Sebastian Bach Quartet No. 3, Op. 94 Benjamin Britten Duets: With moderate movement Ostinato: Very fast Solo: Very calm Burlesque: Fast - con fuoco Recitative and Passacaglia (La Serenissima): Slow Intermission Quartet in B-flat Major, Op. 67 Johannes Brahms Vivace Andante Agitato (Allegretto non troppo) Poco Allegretto con variazioni The Brentano String Quartet appears by arrangement with David Rowe Artists www.davidroweartists.com. The Brentano String Quartet record for AEON (distributed by Allegro Media Group). www.brentanoquartet.com 2 THE ARTISTS Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves the London Independent; the New York Times extols its “luxuriously warm sound [and] yearning lyricism.” In 2014, the Brentano Quartet succeeded the Tokyo Quartet as Artists in Residence at Yale University, departing from their fourteen-year residency at Princeton University. The quartet also currently serves as the collaborative ensemble for the Van Cliburn International Piano Competition. The quartet has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House. -
Quartet Dimensions
concert program ii: Quartet Dimensions JOHANN SEBASTIAN BACH (1685–1750)! July 21 WOLFGANG AMADEUS MOZART (1756–1791) Sunday, July 21, 6:00 p.m., The Center for Performing Arts Fugue in E-flat Major, BWV 876, and Fugue in d minor, BWV 877, from at Menlo-Atherton Das wohltemperierte Klavier; arr. String Quartets nos. 7 and 8, K. 405 JOSEPH HAYDN (1732–1809) PROGRAM OVERVIEW String Quartet in d minor, op. 76, no. 2, Quinten (1796) The string quartet medium, arguably the spinal column of the Allegro chamber music literature, did not exist in Bach’s lifetime. Yet Andante o più tosto allegretto Minuetto: Allegro ma non troppo even here, Bach’s legacy is inescapable. The fugues of his semi- Finale: Vivace assai nal The Well-Tempered Clavier inspired no less a genius than Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Mozart, who arranged a set of them for string quartet. The influ- Fredrik Schøyen Sjölin, cello ence of Bach’s architectural mastery permeates the ingenious DMITRY SHOSTAKOVICH (1906–1975) Quinten Quartet of Joseph Haydn, the father of the modern Piano Quintet in g minor, op. 57 (1940) string quartet, and even Dmitry Shostakovich’s Piano Quintet, Prelude composed nearly two hundred years after Bach’s death. The Fugue Scherzo centerpiece of Beethoven’s Opus 132—the Heiliger Dankgesang Intermezzo CONCERT PROGRAMSCONCERT eines Genesenen an die Gottheit (“A Convalescent’s Holy Song Finale PROGRAMSCONCERT of Thanksgiving to the Divinity”)—recalls another Bachian signa- Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; ture: the Baroque master’s sacred chorales. -
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. -
Franz Joseph Haydn (1732-1809)
Composer Fact Sheets Franz Joseph Haydn (1732-1809) FAST FACTS • Learned music as a choirboy in Vienna • Dismissed from the choir for playing a practical joke on another choir member • Wrote, performed, and organized music and events for Prince Paul Anton Esterházy • Is known for his sense of humor that is very clear in his music Born: 1732 (Rohrau, Austria) Died: 1809 (Vienna, Austria) Joseph Haydn began his long musical career in St. Stephen’s Cathedral in Vienna, where he successfully auditioned into the choir. In the early 1700s, choirboys received a well-rounded education, so Haydn became proficient at singing, harpsichord, and violin. When he turned 17, his voice changed, so he left the cathedral choir to study music even further, realizing that he had received little training in the fundamentals of music. He studied and mastered music theory, the music of other composers, and took music composition lessons from a famous Italian composer and teacher. Haydn is also rumored to have been dismissed due to a practical joke he played on one of the other members of the choir. After his departure, Haydn struggled to support himself through part-time teaching and even street- serenading. He also performed freelance work for the chapel in Vienna, and filled in as an extra musician at balls that were given for orphaned children. Haydn began to gain a reputation, however, through his independent music studies and performing career. In 1761, Haydn entered the service of Prince Paul Anton Esterházy in Hungary. Haydn was required to compose music at a rapid pace, and to perform his works in concerts weekly, and to assist with chamber music concerts that took place nearly every day.