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Boston Symphony Orchestra Concert Programs, Season 30,1910-1911, Trip
J ACADEMY OF MUSIC . BROOKLYN Thirtieth Season, 1910-191 MAX FIEDLER, Conductor flrogratron? of % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, NOVEMBER 11 AT 8.15 COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER OPERA AMERICA AND ABROAD Mr. H. WINFRED GOFF Frau CLARA WALLENTHIN- Miss EDITH DE LYS London Covent Garden STRANDBERG Stockholm London Covent Garden two seasons America Savage Grand Opera Royal Opera and Dresden Milan Florence Brussels Rome etc. Mrs. CLARA SEXTON- At present singing in Germany Mr. EARL W. MARSHALL CROWLEY Italy Florence Milan Miss LAURA VAN KURAN Italy Florence etc. Barcelona Now singing in America Italy Florence Now in America Now in Italy Mrs. LOUISE HOMER Mr. MYRON W. WHITNEY Mrs. ALICE KRAFT BENSON France Nantes At present with Aborn Grand Opera Co. New York Paris London Brussels Now with Boston singing in New York Metropolitan Opera Co. Lilian Nordica Concert and Opera Chicago Now Co. Italy - Mme. LENA ABARBANELL Miss FANNY B. LOTT Miss BLANCH FOX (VOLPINI) Austria Hungary Germany etc. Italy Palermo Rimini Pisa etc. Italy Venice Milan Vercelli etc. Metropolitan Opera Co. New York Now singing in Italy American Grand Opera Cos. New Nowsinging "Madam Sherry" N.Y. Miss EDITH FROST STEWART York Chicago San Francisco etc. Mr. HENRY GORRELL To create title role in Victor Her- Miss MARY CARSON (KIDD) Italy Florence Genoa Torino etc. bert's new opera " When Sweet Six- Italy Milan etc. Now singing in Italy teen "now rehearsing in New York Now singing in Italy Mr. FLETCHER NORTON Miss BERNICE FISHER Miss ROSINA SIDNA Now singing in New York With the Boston Opera Co. -
BEETHOVEN Explored Volume 6
BEETHOVEN Explored volume 6 Ludwig van Beethoven (1770-1827): Symphony No. 3 (“Eroica”) in E flat major, Op 55 (1803) Version for piano quartet, published Vienna, 1807 1 I Allegro con brio 18:18 2 II Marcia Funebre: Adagio assai 13:22 3 III Scherzo: Allegro vivace 6:13 4 IV Allegro molto 11:08 total CD duration 49:01 Peter Sheppard Skærved violin Dov Scheindlin viola Neil Heyde cello Aaron Shorr piano msvcd 2008 0809730008825 On the piano Quartet version of the Eroica Symphony - a player’s perspective Playing music written in the ‘pre-recording age’, I try to remember that, the predominant experience of orchestral and operatic music was in arrangement. Even with regular concert-going, people only had limited opportunities to hear any work. At the beginning of the 1800s, there was an enormous market of arrangements for home use, ranging from solo- violin transcriptions of melodies from operas, through works for chamber ensemble, ‘enlargements’ of piano works, re- instrumentations of other works, and reductions of orchestral pieces. An important ‘point of sale’ for much of this type of chamber music, was that it should function in a number of configurations. Duo transcriptions of opera arias were written so that they could be played by flutes or violins, and transcriptions involving piano usually functioned acceptably with all the ‘accompanying’ melody instruments missed out. It was in these versions that most people learnt the popular repertoire, playing or listening in the home or salon. It would be three decades into the 1800s before ‘full scores’ of orchestral pieces became available for study; Robert Schumann, writing in his 1841 ‘Marriage Diary’ with his new wife, Clara, spoke of his wish for a library of these for the two of them to work at together, playing the orchestra scores at the piano. -
1440. Cavatine Backgrounds of S
1440. Cavatine Backgrounds Of S. Radic Joseph Joachim Raff (1822-1882) was a German composer and music teacher of Swiss origin who grew up in Lachen on the upper end of Lake Zurich. His father, the schoolmaster and music teacher Franz Josef Raff, had fled from forced recruitment to Switzerland in 1810, where he married Katharina Schmid, the daughter of the ox landlord, in Lachen in Canton Schwyz. In 1838 he moved to Schmerikon, then to Schwyz. His modest income as a schoolmaster did not allow him to provide his son Joachim with a comprehensive school education. Early on, the boy practiced playing the violin, piano and organ. When the papal nuncio needed an interpreter in an official matter, Joachim entered working life at the age of 18 In 1861 he won first prize with a prominent jury at the as his companion. He proved himself excellent and music competition of the Gesellschaft der became a teacher in Rapperswil in the same year. Musikfreunde in Vienna; the premiere took place on However, his thoughts were devoted to music, and 22 February 1863 at the Vienna Musikverein. only four years later he freed himself from the teaching profession. As a result of a youthful coup, he was expelled from Canton Schwyz as an "undesirable The Symphony Im Walde quickly spread its fame, as foreigner" and moved to Zurich. did the Fifth Symphony Leonore, which is still played occasionally today. In Wiesbaden, where Raff also Beginnings as a composer. Raff was mainly spent some time with his colleague Richard Wagner, autodidact, but already his first compositions showed he worked until 1877. -
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. -
SLUB Dresden Erwirbt Korrespondenzen Von Clara Schumann Und Johannes Brahms Mit Ernst Rudorff
Berlin, 24. Juni 2021 SLUB Dresden erwirbt Korrespondenzen von Clara Schumann und Johannes Brahms mit Ernst Rudorff Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB Dresden) erwirbt Korrespondenzen von Clara Schumann (1819-1896) und Johannes Brahms (1833-1897) jeweils mit dem Berliner Dirigenten Ernst Rudorff (1840-1916). Die Korrespondenzen waren bislang für die Wissenschaft unzugänglich. Die Kulturstiftung der Länder fördert den Ankauf mit 42.500 Euro. Dazu Prof. Dr. Markus Hilgert, Generalsekretär der Kulturstiftung der Länder: „Die Botschaft, dass diese mehr als 400 Schriftstücke, die zuvor in Privatbesitz waren, nun erstmals der Öffentlichkeit und der Wissenschaft zugänglich sind – jetzt bereits online verfügbar auf der Webseite der SLUB Dresden –, dürfte zahlreiche Musikwissenschaftlerinnen und Musikwissenschaftler aus der ganzen Welt dorthin locken. Die wertvollen Korrespondenzen sind nicht nur Zeugnisse von Clara Schumanns ausgedehnter Konzerttätigkeit quer durch den Kontinent. Sie sind auch Dokumente einer Musikepoche und bieten Einblicke in die Musikwelt Europas zwischen 1858 und 1896.“ Eigenhändiger Brief Clara Schumann an Ernst Rudorff, Moskau und Petersburg, April/Mai 1864, SLUB Dresden, Mscr.Dresd.App. 3222A,19 u. 20; Foto: © SLUB Dresden/Ramona Ahlers-Bergner Die Korrespondenzen zwischen Clara Schumann und Ernst Rudorff umfassen 215 handschriftliche Briefe der Pianistin und 170 Briefe ihres einstigen Schülers. Der Briefwechsel zwischen Brahms und Rudorff besteht aus 16 Briefen von Brahms und zwölf Gegenbriefen von Rudorff sowie ein Blatt mit Noten, beschrieben von beiden. Beide Briefwechsel wurden in das niedersächsische Verzeichnis national wertvollen Kulturgutes aufgenommen. Rund sechs Jahre (1844-1850) wohnte Clara Schumann gemeinsam mit ihrem Mann in Dresden. Die angekauften Korrespondenzen Schumanns mit Rudorff beginnen 1858 und enden mit bis dahin hoher Regelmäßigkeit im Jahr ihres Todes, 1896. -
Brahms, Johannes (B Hamburg, 7 May 1833; D Vienna, 3 April 1897)
Brahms, Johannes (b Hamburg, 7 May 1833; d Vienna, 3 April 1897). German composer. The successor to Beethoven and Schubert in the larger forms of chamber and orchestral music, to Schubert and Schumann in the miniature forms of piano pieces and songs, and to the Renaissance and Baroque polyphonists in choral music, Brahms creatively synthesized the practices of three centuries with folk and dance idioms and with the language of mid and late 19thcentury art music. His works of controlled passion, deemed reactionary and epigonal by some, progressive by others, became well accepted in his lifetime. 1. Formative years. 2. New paths. 3. First maturity. 4. At the summit. 5. Final years and legacy. 6. Influence and reception. 7. Piano and organ music. 8. Chamber music. 9. Orchestral works and concertos. 10. Choral works. 11. Lieder and solo vocal ensembles. WORKS BIBLIOGRAPHY GEORGE S. BOZARTH (1–5, 10–11, worklist, bibliography), WALTER FRISCH (6– 9, 10, worklist, bibliography) Brahms, Johannes 1. Formative years. Brahms was the second child and first son of Johanna Henrika Christiane Nissen (1789–1865) and Johann Jakob Brahms (1806–72). His mother, an intelligent and thrifty woman simply educated, was a skilled seamstress descended from a respectable bourgeois family. His father came from yeoman and artisan stock that originated in lower Saxony and resided in Holstein from the mid18th century. A resourceful musician of modest talent, Johann Jakob learnt to play several instruments, including the flute, horn, violin and double bass, and in 1826 moved to the free Hanseatic port of Hamburg, where he earned his living playing in dance halls and taverns. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects -
Julius Stockhausen's Early Performances of Franz Schubert's
19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16. -
CATALOG SUPPLEMENT 2014 Movimentos Edition
CATALOG SUPPLEMENT 2014 Movimentos Edition NEW 2014 Works for Cello and Piano by Richard Strauss, Francis Poulenc, Wolfgang Rihm Benedict Kloeckner, Cello José Gallardo, Piano GEN 14313 Release 2013 Olivier Messiaen: Méditations sur le Mystère de la Sainte Trinité Daniel Beilschmidt, Organ This recording (...) is a program of superlatives in a twofold sense (...) Südwestpresse, May 10, 2013 GEN 13276 Release 2013 Robert Schumann: Fantasiestücke, Op. 12 & Fantasy in C major, Op. 17 Annika Treutler, Piano (...) exceptional musical talent (...) CD tip on hr2-kultur GEN 13272 2 Edition Primavera NEW Tobias Feldmann 2014 Deutscher Musikwettbewerb Award Winner 2012 Tobias Feldmann, Violin Boris Kusnezow, Piano Works by Bartók, Beethoven, Waxman and Ysaÿe GEN 14316 NEW Wassily & Nicolai Gerassimez 2014 Free Fall Deutscher Musikwettbewerb Award Winner 2012 Wassily Gerassimez, Cello Nicolai Gerassimez, Piano Works for Cello and Piano by Mendelssohn Bartholdy, Shostakovich, W. Gerassimez & F. Say GEN 14304 Release 2013 Rie Koyama Deutscher Musikwettbewerb Winner 2010 Rie Koyama, Bassoon Südwestdeutsches Kammerorchester Pforzheim Sebastian Tewinkel, Conductor Bassoon Concertos by Antonio Vivaldi, Wolfgang Amadeus Mozart, André Jolivet and Paul-Agricole Génin A top flight listening experience. It is sheer pleasure to listen to GEN 13288 the soloist’s performance. CD tip on NDR Kultur Release 2013 Miao Huang Deutscher Musikwettbewerb Award Winner 2011 Miao Huang, Piano Works by Frédéric Chopin and Maurice Ravel (...) yet this is world-class piano playing -
Schubert's Winterreise in Nineteenth-Century Concerts
Detours on a Winter’s Journey: Schubert’s Winterreise in Nineteenth-Century Concerts NATASHA LOGES Downloaded from http://online.ucpress.edu/jams/article-pdf/74/1/1/465161/jams_74_1_1.pdf by American Musicological Society Membership Access user on 03 June 2021 Introduction For a time Schubert’s mood became more gloomy and he seemed upset. When I asked him what was the matter he merely said to me “Well, you will soon hear it and understand.” One day he said to me “Come to Schober’s to-day, I will sing you a cycle of awe-inspiring songs. I am anxious to know what you will say about them. They have affected me more than has been the case with any other songs.” So, in a voice wrought with emotion, he sang the whole of the “Winterreise” through to us.1 In 1858, Schubert’s friend Josef von Spaun published a memoir of Schubert that included this recollection of the composer’s own performance of his Winterreise,D.911.Spaun’s poignant account is quoted in nearly every pro- gram and recording liner note for the work, and many assume that he meant all twenty-four songs in the cycle, roughly seventy-five uninterrupted minutes of music, presented to a rapt, silent audience—in other words, a standard, modern performance.2 Spaun’s emotive recollection raises many questions, however. The first concerns what Spaun meant by “the whole of the ‘Winter- reise,’” and this depends on the date of this performance, which cannot be established. As many scholars have observed, Schubert most likely sang only the twelve songs he had initially composed.3 Susan Youens recounts that the 1. -
Jahresbericht 2010
UNION DER DEUTSCHEN AKADEMIEN DER WISSENSCHAFTEN vertreten durch die Akademie der Wissenschaften und der Literatur, Mainz Musikwissenschaftliche Editionen JAHRESBERICHT 2010 Koordination: Dr. Gabriele Buschmeier © 2011 by Akademie der Wissenschaften und der Literatur, Mainz. Alle Rechte einschließlich des Rechts zur Vervielfältigung, zur Einspeisung in elektronische Systeme sowie der Übersetzung vorbehalten. Jede Verwertung außer- halb der engen Grenzen des Urheberrechtsgesetzes ist ohne ausdrückliche Geneh- migung der Akademie unzulässig und strafbar. Gedruckt auf säurefreiem, chlorfrei gebleichtem Papier. Druck: Rheinhessische Druckwerkstätte, Alzey Printed in Germany UNION DER DEUTSCHEN AKADEMIEN DER WISSENSCHAFTEN vertreten durch die Akademie der Wissenschaften und der Literatur, Mainz Musikwissenschaftliche Editionen JAHRESBERICHT 2010 1. Koordinierung der musikwissenschaftlichen Vorhaben durch die Union der deutschen Akademien der Wissenschaften .......................................................................... 3 2. Berichte der einzelnen Projekte Johannes Brahms, Neue Ausgabe sämtlicher Werke ........................................................... 5 Christoph Willibald Gluck, Sämtliche Werke ..................................................................... 12 Georg Friedrich Händel, Hallische Händel-Ausgabe .......................................................... 15 Joseph Haydn, Werke .......................................................................................................... 17 Felix Mendelssohn -
Zum Gedenken an Renate Groth (1940–2014) 7
Arbeitsgemeinschaft für rheinische Musikgeschichte Mitteilungen 96 Juli 2016 Herausgeber: Arbeitsgemeinschaft für rheinische Musikgeschichte e.V. Institut für Historische Musikwissenschaft der Hochschule für Musik und Tanz Köln Unter Krahnenbäumen 87, 50668 Köln Redaktion: Fabian Kolb Druck: Jürgen Brandau Druckservice, Köln © 2016 ISSN 0948-1222 MITTEILUNGEN der Arbeitsgemeinschaft für rheinische Musikgeschichte e.V. Nr. 96 Juli 2016 Inhalt Inga Mai Groote Zum Gedenken an Renate Groth (1940–2014) 7 Hans Joachim Marx Zum Gedenken an Günther Massenkeil (1926–2014) 8 Klaus Wolfgang Niemöller Zum Gedenken an Detlef Altenburg (1947–2016) 9 Joachim Dorfmüller Ein reiches Wissenschaftlerleben – Gedenkblatt für Prof. Dr. Heinrich Hüschen anlässlich seines 100. Geburtstags am 2. März 2015 10 Norbert Jers Dietrich Kämper 80 Jahre 13 Klaus Wolfgang Niemöller Das Sängerfest des Deutsch-flämischen Sängerbundes 1846 in Köln unter Leitung von Felix Mendelssohn Bartholdy und Franz Weber. Die Chorpartitur der Gesänge und das Festprogrammbuch im Kontext der Mitwirkenden 15 Franz-Josef Vogt Die Orgel der kath. Pfarrkirche St. Bartholomäus in Köln-Porz-Urbach 37 Arnold Jacobshagen 1863 – Der Kölner Dom und die Musik 44 Fabian Kolb Max Bruch – Neue Perspektiven auf Leben und Werk 46 6 Robert von Zahn Wie preußisch klang das Rheinland? Eine Tagung bilanzierte 48 Robert von Zahn Das Beethoven-Haus während des Nationalsozialismus 50 Leitungswechsel im Deutschen Musikinformationszentrum 53 Protokoll der Mitgliederversammlung 2015 54 7 Inga Mai Groote Zum Gedenken an Renate Groth (1940–2014)* Am 11. September 2014 verstarb mit Renate Groth eine engagierte Vermittlerin zwischen Musikwissenschaft und Musiktheorie. Nach dem Studium der Schulmusik mit dem instru- mentalen Hauptfach Viola da gamba und den Nebenfächern Anglistik und Philosophie und Tätigkeit im Schuldienst unterrichtete sie an der Hochschule für Musik und Theater Hanno- ver, wo sie ab 1982 eine Professur für Musiktheorie innehatte.