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THIS DOCUMENT IS COMPILED by ROBERT JOHANNESSON, Fader
THIS DOCUMENT IS COMPILED BY ROBERT JOHANNESSON, Fader Gunnars väg 11, S-291 65 Kristianstad, Sweden and published on my website www.78opera.com It is a very hard work for me to compile it (as a hobby), so if you take information from it, mention my website, please! The discographies will be updated about four times a year. Additions and completitions are always welcome! Contact me: [email protected] SAABYE, Christian F. 1875, 13/8 – 1954, 18/5. Baritone. Pathé, 1905/1906 17264 Nærmere Gud til dig (Mason) 17264 17265 Vi vil os et land (Sinding) (?) 17265 17266 Sønner af Norge (?) 17266 17267 Jeg vil værge mit land (Tischendorf) 17267 17268 Husmandssang 17268 17269 Eg elskar dei voggande toner (Lepsøe) 17269 17270 Millom bakkar og berg utmed havet (Lindeman) 17270 17271 Jerusalem (Adams) 17271 17272 Lover den Herre 17272 17273 Kirken den er et gammelt hus 17273 Pathé, 1909? (many remakes) 17264 Nærmere Gud til dig (Mason) 17264 17265 Vi vil os et land (Sinding) 17265 17266 Sønner af Norge 17266 17267 Jeg vil værge mit land (Tischendorf) 17267 17268 Ja vi elsker (Nordraak) 17268 17269 Eg elskar dei voggande toner (Lepsøe) 17269 17270 Millom bakkar og berg utmed havet (Lindeman) 17270 17272 Lover den Herre 17272 17273 Kirken den er et gammelt hus 17273 17274 Glade jul (Gruber) 17274 17275 Jeg synger julekvad (In dulci jubilo) 17275 17276 Vor Gud har er saa fast en borg (Luther) 17276 17277 Mens Nordhavet bruser 17277 17278 Hvor herligt er mit fødeland 17278 17298 Gluntarne (Wennerberg): Här är gudagodt att vara (w. -
A Book of Operas
A Book of Operas Henry Edward Krehbiel A Book of Operas Table of Contents A Book of Operas................................................................................................................................................1 Henry Edward Krehbiel...........................................................................................................................1 CHAPTER I. "IL BARBIERE DI SIVIGLIA"........................................................................................1 CHAPTER II. "LE NOZZE DI FIGARO"..............................................................................................7 CHAPTER III. "DIE ZAUBERFLÖTE"...............................................................................................14 CHAPTER IV. "DON GIOVANNI".....................................................................................................20 CHAPTER V. "FIDELIO".....................................................................................................................27 CHAPTER VI. "FAUST"......................................................................................................................34 CHAPTER VII. "MEFISTOFELE".......................................................................................................39 CHAPTER VIII. "LA DAMNATION DE FAUST".............................................................................47 CHAPTER IX. "LA TRAVIATA"........................................................................................................50 CHAPTER -
Robert Schumann and the Gesangverein: the Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2011 Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Pellegrino, Gina, "Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850)" (2011). All Theses and Dissertations (ETDs). 276. https://openscholarship.wustl.edu/etd/276 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Hugh Macdonald, Chair Garland Allen Todd Decker Martin Kennedy Michael Lützeler Craig Monson John Stewart ROBERT SCHUMANN AND THE GESANGVEREIN: THE DRESDEN YEARS (1844–1850) by Gina Marie Pellegrino A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri ABSTRACT Nineteenth-century Germany saw an expansion of choral music in a secular context, bringing about changes not only in the nature of the organizations but also in the character of the music. Often depicted in history books as the age of the Lied, the early nineteenth century was also the age of the Chorgesang, creating a demand for music for social gatherings. Amateur choruses and partsinging reached their peak of popularity in nineteenth-century Germany. -
History of the German Struggle for Liberty. Illustrated with Drawings By
Digitized by the Internet Archive in 2009 with funding from University of Toronto http://www.archive.org/details/histofgermimg01bige I QUEEN LUISE HISTORY OF THE GERMAN STRUGGLE FOR LIBERTY By POULTNEY BIGELOW, B.A. ILLUSTRATED WITH DRAWiyoS By R. CATOX WOODVILLE AND WITH PORTRAITS ASD MAPS IN TWO VOLUMES Vol. I. LONDON OSGOOD. 31cILVAI^E & CO. 45, Albkmarlk Strkkt, W. 1896 §03 01 Copyright, 1896, bv- HAxm k BRormnu. An HflUt mtrwtd. Printed at New York, U. S. A. TO CARIBEE MY CRUISING* CANOE III lier I have slept by night and Bailed by day for weeks and months at a time, exploriiij? the beautiful waterways of tlie German Fatherland. She has made me friends witli every kind of man—the bargee, the raftsman, the peasant, the wood-chopper, tlie weaver, the gendarme, the parish parson, the miller, the tax-collector—and many more of the types that make life interesting to the contemplative traveller. By the aid of Caribee I learned to foel how Germans feel. Without her this book would not have been written. CONTENTS OF VOL. I onAPTsn r*aa I. Execution ok John Palm, Bookselleu 1 II. Queen Luise op Pkussia Befoke Jena 6 III. What Sout op a Bhingingup had Queen Luise . 13 IV. Queen Luise Enters Berlin in Triumph .... 20 V. TiiE Two Piiilosopiieus op Jena—Hegel and Napo- leon 30 VI. The Eve op Jena, October 13. 1806 33 VII. The Great Prussian Stampede from Jena and Auerstadt 43 VIII. What Sort op Army Fought the French at Jena ? 54 IX. A Prussian Chronicle of Noble Criminals .. -
Franzschubert: Inside
Your progress ® FranzSchubert: Inside. Out instructor: Dr. Blake Howe [[email protected]] M&DA274 meetings: Thursdays, 2:00-4:50 M&DA 273 SCIIUBERT office hours: Fridays, 9:30-10:30 Vienna For background informationon early nineteenth-centuryVienna, read Alice M. Hanson, "The Civic Environmentfor Music" (Chapter 1) in MusicalLife in Biedermeier Vienna (Cambridge: Cambridge University Press,1985),4-33.The restof Hanson's book (on reserve in the music library)goes intofascinating detail aboutvarious Viennese musical institutions: the salon, concert hall,theater, etc. It'sworth a read, but ifyoudon't have time, you can find a much shorter introductionto the topic in Alice M. Hanson,"Vienna, City of Music," in Schubert‘s Vienna, ed. Raymond Erickson,98‐118 (New Haven, CT, and London: Yale University Press, 1997).The publishing industry also played an important role in Viennese musical life:fora briefoverview, read Ernst Hilmar, "Schubert and the Publishers" (Chapter 3) in FranzSchubertin His Time, trans. Reinhard G. Pauly (Portland, OR: Amadeus Press, 1985),33-44. The Vienna of Franz Schubert's childhood was undersiege and occupation by the French army.After the end of the Napoleonic Wars, the Congress of Vienna (1815)negotiated reformsthat attempted to repress future rebellionsacross Europe. Itwasmostly successful, yielding a prolonged period of political stability‐albeit onethat suppressed political dissent. Vienna, underfire leadership of Foreign Minister Klemensvon Metternich, became a police state. For more information on the effects this had on Viennese musicians, readAlice M. Hanson,"Musicians and the Austrian Police" (Chapter 2) in MusicalLife in Biedermeier Vienna (Cambridge: Cambridge University Press,1985),34‐60. -
THIS DOCUMENT IS COMPILED by ROBERT JOHANNESSON, Fader
THIS DOCUMENT IS COMPILED BY ROBERT JOHANNESSON, Fader Gunnars väg 11, S-291 65 Kristianstad, Sweden and published on my website www.78opera.com It is a very hard work for me to compile it (as a hobby), so if you take information from it, mention my website, please! The discographies will be updated about four times a year. Additions and completitions are always welcome! Contact me: [email protected] TABANELLI, Pedro 1885, Torino – 1956, 3/2, Cordoba, Artgentina. Tenor. Debut 1914 Buenos Aires. Fonografia Nazionale, Milano 1042 Madama Butterfly (Puccini): Bimba dagli occhi pieni (w. Agostinelli) D1042 1043 Madama Butterfly (Puccini): Vogliatemi bene (w. Agostinelli) D1043 1044 Madama Butterfly (Puccini): Via dall'anima in pena (w. Agostinelli) D1044 4611 Faust (Gounod): Tardi si fa (w. Agostinelli) C4611 4612 Faust (Gounod): Sempre amar (w. Agostinelli) C4612 (Agostinelli was Tabanelli's wife.) TABUYO, Ignazio 1863, Renteria - 1947, San Sebastian. Baritone. Debut 1888 Brescia. Societa Fonografica Española, date? Tannhäuser (Wagner): Aria della stella Falstaff (Verdi): Quand'ero paggio Africaine (Meyerbeer): Ballata Africaine (Meyerbeer): Aria, act 2 Hamlet (Thomas): Brindisi Roi de Lahore (Massenet): O casto fior Favorita (Donizetti): Aria Puritani (Bellini): Aria Apri (Tosti) O meus amores Vous êtes si jolie Guernikako Arbola (Iparraguirre) Charmangarria Nere Andrea Nere Amao Balegui Egun batiam loyolan Ume eder bat Adios (Iparraguirre) Gramophone, Madrid 1911-11-16 1537ah Dulce sôno, Canción gallega (Tabuyo) 3-62011 1538ah D'aqui vexo -
Quellen Band 8
Quellen zur Geschichte Thüringens Herausgegeben von Thomas Neumann Kultur in Thüringen 1919–1949 Quellen zur Geschichte Thüringens Kultur in Thüringen 1919–1949 »Wir aber müssen eine Welt zum Tönen bringen …« Quellen zur Geschichte Thüringens »Wir aber müssen eine Welt zum Tönen bringen …« Kultur in Thüringen 1919–1949 Herausgegeben von Thomas Neumann „Wir aber müssen eine Welt zum Tönen bringen …“ aus: Walter Benjamin (Text Nr. 43) Titelphoto: Thomas Neumann Landeszentrale für politische Bildung Thüringen, Bergstraße 4, 99092 Erfurt Satz und Druck: Gutenberg Druckerei GmbH Weimar 1998 ISBN 3-931426-23-8 Inhaltsverzeichnis Kultur 1919–1949 Inhaltsverzeichnis Einleitung. 13 1. Friedrich Lienhard: Wo bleibt der Meister der Menschheit? [1918] . 23 2. Walter Gropius: Baugeist oder Krämertum? [1919] . 24 3. Ernst Hardt: Weimar [1919]. 31 4. Erich Noether: Ziele [1919] . 32 5. Hans Wahl: Das Erbe [1919] . 34 6. Edwin Redslob: Bühne und bildende Kunst in Weimar [1919] . 37 7. Friedrich Ebert: Eröffnungsrede der Nationalversammlung [6. Februar 1919] . 41 8. Eduard Scheidemantel: Die deutsche Nationalversammlung in Weimar [1919]. 42 9. Ernst Hardt: Die Quelle [1919] . 44 10. Ernst Hardt: Rede zur Weihe des Nationaltheaters [1919] . 46 11. [Aufruf:] Bürger und Bürgerinnen im Sachsen-Weimarischen Lande! [7. März 1919.] . 50 12. Ernst Hardt: Henry van de Veldes Bühne [1919]. 51 13. Walter Gropius: Was ist Baukunst? [1919] . 54 14. Hans Kyser: Offener Brief an den Leiter des Deutschen Nationaltheaters [1919] . 55 15. Johannes Schlaf: Die Zukunft von Bühne und Drama [1919] . 58 16. Rudolf Pannwitz: Die Religion Friedrich Nietzsches [1919] . 60 17. Emil Herfurth: Weimar und das Staatliche Bauhaus [1920]. 62 18. Heinrich Lilienfein: Weimar. -
Mimetischer Zauber: Die Englischsprachige Rezeption Deutscher Lieder in Den Usa, 1830-1880
ABSTRACT Title of Dissertation: MIMETISCHER ZAUBER: DIE ENGLISCHSPRACHIGE REZEPTION DEUTSCHER LIEDER IN DEN USA, 1830-1880 Armin Werner Hadamer, Doctor of Philosophy, 2005 Dissertation directed by: Professor Elke Frederiksen Department of Germanic Studies The English-language reception of German songs in the United States was a textual practice that extended across many social contexts in the 19th century. Translation, adaptation and circulation of these songs were a form of rhetorical and quasi mimetic representation that helped various American discourses constitute their worlds and identities (Transcendentalism, reform movements, revivalism, education, popular culture, political parties and the Civil War). Homi Bhabha’s concept of the “Third Space” is a valid approach to the reception as these discourses made German songs part of their negotiations of American national identity, class, moral values, gender, and ethnicity, thus creating their own usable as well as ambivalent German point of reference. German and American cultures did not simply coexist in symbiotic relations. Rather, as the reception shows, they constructed their identities and differences through multiple intertextual relations within a shared discursive sphere of song. Cultural transfer was thus as much an inside as an outside phenomenon. The dissertation builds on extensive archival research and a collection of several hundred German songs, each with melody and English text, ranging from the Classics, Romanticism, the Napoleonic Wars, to German, Austrian and Swiss folk songs. The main objective is to move the American reception of German songs from its hidden archival existence into the light of scholarly investigation by applying an interdisciplinary Cultural Studies approach. The dissertation uses Michel Foucault’s discourse analysis to refine this approach methodologically, demonstrating with an in- depth archeology the discursive function of the songs within their contexts. -
Table of Contents
0 n 2. Sheet io TM rsi Ve Music 1 CD Franz Schubert The Complete Songs Table of Contents Welcome to the CD Sheet Music™ edition of Franz Schubert, The Complete Songs. This Table of Contents is interactive. Click on a title below or in the bookmarks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks be- come navigation aids to find the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Contents of this CD-ROM (click below to go to that section of the Table of Contents) SONG CYCLES SONGS (IN ALPHABETIC ORDER) A F K S B G L T-U C-D H M-N V-Z E I-J O-R The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 Music 2 CD SONG CYCLES Die schöne Müllerin, Op. 25 13. Die Post 1. Das Wander 14. Der greise Kopf 2. Wohin? 15. Die Krähe 3. Halt! 16. Letzte Hoffnung 4. Danksagung an den Bach 17. Im Dorfe 5. Am Feierabend 18. Der stürmische Morgen 6. Der Neugierige 19. Täuschung 7. Ungeduld 20. Der Wegweiser 8. Morgengruss 21. Das Wirtshaus 9. -
Verklista För Franz Schubert – Wikipedia Verklista För Franz Schubert
2014-7-11 Verklista för Franz Schubert – Wikipedia Verklista för Franz Schubert Från Wikipedia Verklista för Franz Schubert Förkortningen ”D” refererar till "Deutsch", som står för Otto Innehåll Erich Deutsch. Deutsch var den som katalogiserade Schuberts verk i kronologisk ordning efter kompositionsdatum. Denna 1 D 1 till D 50 katalog har uppdaterats flera gånger beroende på nya 2 D 51 till D 100 forskningsrön avseende verkens tillkomst. Därav följer att 3 D 101 till D 150 listan ibland upptar alternativa nummer. 4 D 151 till D 200 Endast ett fåtal, knappt 100, av Schuberts verk fick 5 D 201 till D 250 opusnummer under Schuberts livstid. Ungefär hälften av 6 D 251 till D 300 opusnumren har tillkommit postumt och indikerar inte i vilken 7 D 301 till D 350 ordning verken tillkommit utan i vilken ordning de 8 D 351 till D 400 publicerades. Sedan slutet av 1800-talet har ingen ny 9 D 401 till D 450 opusnumrering gjorts utan D-numren är de som använts. 10 D 451 till D 504 11 D 505 till D 550 D 1 till D 50 12 D 551 till D 600 13 D 601 till D 650 D 1 Fantasia i G-dur för fyrhändigt piano 14 D 651 till D 700 D 2 Stråkkvartett i G-dur (fragment) 15 D 701 till D 750 D 2a Ouvertyr i D-dur för orkester; tidigare D 996 16 D 751 till D 800 D 2b Fragment av en symfoni i D-dur; tidigare D 997 17 D 801 till D 850 D 2c Fragment av en stråkkvartett in d/F; tidigare D 18 D 851 till D 900 998 19 D 901 till D 950 D 2d Sex menuetter för piano; tidigare D 995 20 D 951 till D 965 D 2e Fantasia i c-moll för piano; tidigare D 993 21 Odaterade verk, D 966 till D -
Like a Moth to the Flame: Modernity and Mary Wigman 1886-1973 Mary Anne Santos Newhall
University of New Mexico UNM Digital Repository History ETDs Electronic Theses and Dissertations 6-28-2010 Like a Moth to the Flame: Modernity and Mary Wigman 1886-1973 Mary Anne Santos Newhall Follow this and additional works at: https://digitalrepository.unm.edu/hist_etds Recommended Citation Newhall, Mary Anne Santos. "Like a Moth to the Flame: Modernity and Mary Wigman 1886-1973." (2010). https://digitalrepository.unm.edu/hist_etds/68 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in History ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. LIKE A MOTH TO THE FLAME: MODERNITY AND MARY WIGMAN 1886 - 1973 BY MARY ANNE SANTOS NEWHALL B.A., Dance, summa cum laude, University of New Mexico, 1998 M.A., Dance History and Criticism, University of New Mexico, 2000 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy History The University of New Mexico Albuquerque, New Mexico May, 2010 iii ACKNOWLEDGEMENTS Perhaps it is best to begin at the beginning. Work on this dissertation started nearly fifteen years ago, and if anyone had predicted at that time that I would spend the ensuing years researching the life and work of Mary Wigman, I would have shaken my head in disbelief. And curiously, this journey was first inspired by an American modern dance pioneer. Eve Gentry was a quintessential American modern, born to a Jewish immigrant family and finding her way to the New York dance community in 1936 when she became a member of the original Hanya Holm company. -
Who Wrote It? an Index to the Authorship of the More Noted Works
t\ I UNIVERSITY OF CALIFORNIA LI8RARY REESE LIBRARY OF THE NIVERSITY OF CALIFORNIA. Class —u—u—u—u—u—u—u—u u u—u—u—u—u—o—\r—u—u—u—u—u—u—u-rv— "•*» I* !# mm*** •'* • L.'< \M s x $) r c f a c e. 77/z.s- /////<? volume is not a universal index to literature. It lays no claim to being exhaustive in any department. Its design is simply to furnish a handy-book for ascertain- ing or verifying the authorship of famous poems, plays, essays, novels, romances, philosophical and literary treatises, and the like, so far as they bear a specific and distinctive title. An elegy like Adonais, a scientific treatise like Cos- mos, a book of travels like Eothen, come fairly within the grasp of the work ; while a History of England (as Froudcs), a Dictionary of the English Language (as Johnsons), a volume of Essays (as Bacons) or Sermons (as Tillotsous), and other the like books, have titles altogether too general and indiscrete to bring them properly within its scope. Of course an undertaking of this sort — wholly novel as it is believed to be — must inevitably and from its very nature yield imperfect results. The compiler, in doubtful cases, must exercise his own judgment ; yet however cau- tiously he may do so, lie will sometimes err, both in what he admits and what he excludes. The very copiousness of the materials with which he has to deal will prove a dis- traction and a snare. He will find himself, as Taiue says " of the critic of English novels, in danger of being swamped, as it were, in this abundance: he must select in order to grasp the whole, and confine himself to a few in order to 2 PREFACE.