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Viola V26 N1 11/7/14 6:25 PM Page 102 Viola V30 N2 Viola V26 N1 11/7/14 6:25 PM Page 1
Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 101 30 Years of JAVS Features: A Survey of Hans Gál’s Chamber Works Vadim Borisovsky and His Viola Arrangements, Part I Alfred Uhl’s Viola Études Primrose’s Transcriptions Volume 30 Volume Number 2 and Arrangements Journal of Journal the American Viola Society Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 102 Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 1 Journal of the American Viola Society A publication of the American Viola Society Fall 2014 Volume 30 Number 2 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ In memoriam Feature Articles p. 13 A Survey of Hans Gál’s Chamber Works with Viola: Richard Marcus writes on the Austrian composer Hans Gál, who emigrated to Great Britain due to World War II. A catalog of his chamber works with viola is provided, along with a look at various selections of these compositions. p. 27 Vadim Borisovsky and His Viola Arrangements: Recent Discoveries in Russian Archives and Libraries, Part I: In the first installment of a two-part article, Elena Artamonova provides a detailed historical context of the Russian violist Vadim Borisovsky—who, in addition to his musical accomplishments, was also a poet. p. 37 Alfred Uhl’s Viola Études: Studies with a Heart: Études have long been an indispensible part of a violist’s training, but have also been typically confined to providing technical facility. Danny Keasler looks at the études of Alfred Uhl, which include melodic aspects that can relate directly to repertoire. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
TOCC0509DIGIBKLT.Pdf
THE BIOGRAPHICAL BACKGROUND by Eva Fox-Gál Hans Gál (1890–1987) was born near Vienna in 1890. Following considerable success as a composer during the 1920s, particularly with his second opera, Die heilige Ente (‘The Sacred Duck’), he was appointed Director of the conservatoire in Mainz in 1929. A major blow to his career came with the Nazi accession to power in 1933: it led to instant dismissal from his post and a ban on all publication and performance in Germany. He returned to Vienna, but was forced to leave by Hitler’s annexation of Austria to the Third Reich in 1938, fleeing to Britain. Donald Tovey brought him to Edinburgh, where he became a lecturer at the University, and where he remained until his death in 1987. In addition to his rich output as a composer, he was the author of books on Brahms, Schubert, Wagner, Verdi and Schumann. His compositions include four operas, four symphonies, large-scale cantatas and a host of chamber, piano and choral works. By the end of his long life, he had left a legacy of around 140 published works. Gál’s gift was to be able to remain intact in his creative soul, regardless of external circumstances, and to remain true to his own inner values in everything that he wrote. ‘Hans Madri-Gál’ Wherever Gál lived, whether in Vienna, in Mainz or in Edinburgh – the three main stations of his life – he involved himself in music-making in the community. In an article from 1928, entitled ‘Vocal Chamber Music’, he wrote about the ever-increasing gap between the composer and his audience in contemporary music, and the importance of reconnecting the consumers of music, the audience, with the direct experience of practical music-making. -
6.5 X 11 Double Line.P65
Cambridge University Press 978-0-521-87392-5 - Never Sang for Hitler: The Life and Times of Lotte Lehmann, 1888-1976 Michael H. Kater Index More information Index 8 [Acht] Uhr-Blatt, Vienna, 56 Auguste Victoria, ex-queen of Portugal, 137 Abessynians, 273 Auguste Viktoria, Empress, 3, 9 Abravanel, Maurice, 207, 259–61, 287, 298 Austrian Honor Cross First Class, 278 Academy Awards, Hollywood, 232, 236 Austrian Republic, 44, 48, 51, 57, 64–66, 77, Adler, Friedrich, 38 85, 94, 97–99, 166, 307–8 Adolph, Paul, 110–11 Austrian State Theaters, 220 Adventures at the Lido, 234 Austrofascism, 94, 166–69, 308 Agfa company, 185 Aida, 266, 276 Bachur, Max, 15, 18–21, 28, 30–31, 33, Albert Hall, London, 117 42–43 Alceste, 269 Baker, Janet, 251 Alda, Frances, 68 Baker, Josephine, 94 Aldrich, Richard, 69 Baklanoff, Georges, 43 Alexander, king of Yugoslavia, 170 Ballin, Albert, 16, 30, 77, 304 Alice in Wonderland, 193 Balogh, Erno,¨ 147–49, 151, 158, 164, Alien Registration Act, 211 180–81 Allen, Fred, 230 Bampton, Rose, 183, 206, 245 Allen, Judith, 253 Banklin oil refinery, Santa Barbara, 212 Althouse, Paul, 174 Barnard College, Columbia University, New Altmeyer, Jeannine, 261 York, 151 Alvin Theater, New York, 204 Barsewisch, Bernhard von, 1, 13, 35, 285, Alwin, Karl, 102, 106–7, 189, 196 298, 302, 319n172, 343n269 American Committee for Christian German Barsewisch, Elisabeth von, nee´ Gans Edle zu Refugees, 211 Putlitz, 13, 82, 285, 295 American Legion, 68 Bartels, Elise, 11, 14 An die ferne Geliebte, 217 Barthou, Louis, 170 Anderson, Bronco Bill, 198 -
The Vocal Chamber Music of Hans Gál THOMAS LLOYD
AMERICAN CHORAL REVIEW WILLIAM WEINERT, EDITOR Volume 52 Number 1 BULLETIN OF THE AMERICAN CHORAL FOUNDATION Winter/Spring 2010 Hans Gál – portraits from between 1925 and 19851 The Vocal Chamber Music of Hans Gál THOMAS LLOYD The last decade has seen a resurgence of interest musical imagination with a rich harmonic and in the music of Hans Gál (1890-1987), the eminent melodic palette, and a sophisticated affinity for poet- composer and musicologist who fled Nazi Germany ic texts, including many settings of English poems. to Scotland in 1938. Gál was long known primarily This rich collection deserves a place in the repertoire for his early work as a Brahms scholar, but his own of advanced mixed chamber choirs and intermediate compositions have now become more widely known to advanced treble and men’s choirs. This article will through a growing catalog of thirty commercially present an overview of Gál’s life with special atten- available recordings, the majority of which docu- tion to the context of his extensive choral catalog, ment his extensive repertoire of instrumental cham- followed by a discussion of distinctive aspects of ber music.2 However, close to one-third of his total representative part songs and a complete listing of output consists of vocal works, including forty-four his choral works. choral works and madrigal collections, twenty-five of which are a cappella. Yet despite the flourish of The legacy of Hans Gál has benefitted immensely instrumental recordings, there are currently no pro- from the efforts of his daughter Eva Fox-Gál, her fessionally produced recordings of his choral music.3 husband Anthony Fox, and his grandson Simon Fox, who have established a very well-designed Gál’s choral works are evenly divided among website devoted to the composer’s life and works, mixed, men’s, and women’s choirs, and are of an with a complete catalog of his compositions and exceptionally high quality. -
MALEN MIT LICHT •••••••••••••••••••••••••••••••••••••••••••••••••••• Richard Wagners »Ring Des Nibelungen« Und Der Lichtgestalter Manfred Voss
Journal der Oper Köln 2 2004 · SEPTEMBER · OKTOBER · NOVEMBER MALEN MIT LICHT •••••••••••••••••••••••••••••••••••••••••••••••••••• Richard Wagners »Ring des Nibelungen« und der Lichtgestalter Manfred Voss TURANDOT, DAS UNGEZOGENE KIND •••••••••••••••••••••••••••••••••••••••••••••••••••••• Interview mit Nina Warren KOPFLOS •••••••••••••• Bernd Weikl über seine Erfahrungen als Jochanaan in »Salome« Titelfoto: Christian Franz in »Siegfried« INHALT VORWORT Liebes Publikum, ••••••••••••••••••••••••••••••••••••••••• herzlich willkommen in der neuen Spielzeit! Nun geht sie also los, die erste Saison, die ich als Intendant gemeinsam mit 4 MALEN MIT LICHT Generalmusikdirektor Markus Stenz geplant habe und verant- Richard Wagners »Ring des Nibelungen« worte. Für mich ist es eine unserer vorrangigen Aufgaben, und der Lichtgestalter Manfred Voss Ihnen neue Werke nahe zubringen, und zwar nicht nur in einer Experimentiernische, sondern auf der großen Bühne. 8 TURANDOT, DAS UNGEZOGENE KIND Daher ist für mich Detlev Glanerts Spieloper des 21. Jahrhun- Nina Warren kehrt in der Titelrolle von derts, »Scherz, Satire, Ironie und tiefere Bedeutung«, eine der »Turandot« an die Oper Köln zurück wichtigsten Produktionen in dieser Spielzeit. Diese zeitgenös- sische Oper, die den so schwer zu findenden leichten Ton 12 KOPFLOS trifft und gleichzeitig so substanziell ist, hat bereits an eini- Bernd Weikl über seine Erfahrungen als gen anderen Häusern ihre Repertoiretauglichkeit unter Beweis Jochanaan in »Salome« gestellt. Die beiden ersten Premieren dieser Spielzeit zeigen zwei wichtige Regiehandschriften: Katharina Thalbach setzt 10 HINTER DEN KULISSEN sich mit »Salome« auseinander, Günter Krämer inszeniert Die Bühnenmalerin Wencke Wesemann »Turandot« – zwei außergewöhnliche Frauengestalten, zwei 13 FREUNDE DER OPER KÖLN E.V. starke Werke über archaische Motive und Konflikte. 14 KINDEROPER »Die heilige Ente« von Hans Gál Außerdem freuen wir uns, Ihnen im Oktober die beiden ersten 15 AUSSENANSICHT Zyklen des Kölner »Rings« unter der Leitung von Jeffrey Tate Josef F. -
Toccata Classics TOCC 0043 Notes
P CELLO MUSIC BY HANS GÁL by Malcolm MacDonald I believe that the creative process is anchored in a deep layer of consciousness to which the experiences of the moment do not penetrate. And if you can’t withdraw to that untouched, inner world, you can’t create. I never believed that you could create a work of art out of immediate external impressions. It’s the same as with rainwater, which has to seep its way through before it comes out again as a spring.1 Although Hans Gál lived through remarkably fractured times, including two world wars, exile, and the see-saw of success and obscurity, this declaration seems to sum up an attitude which is mirrored in his music. It was not that he did not respond to external stimuli, to the temper of the times; but he did so always in a long-considered way, assimilating his experiences into utterances that oten seem to have an Olympian serenity, giving the impression of being above the day-to-day struggle for existence. Even when his later music gives expression to pain or doubt, it is always in the context of a musical idiom that was essentially formed long before he inally let his native Austria, and that builds carefully, fruitfully, sometimes inspiredly upon the great Viennese classical tradition. Though he was, therefore, in some respects an echt-Viennese composer, Hans Gál’s family name is Hungarian, and both branches of his family originated in the Hungarian territories of the Austro-Hungarian Empire. His birthplace, Brunn am Gebirge, is nonetheless now a suburb of Vienna. -
Hans Gál: Style and Writing for the Violin in the Sonata in D for Violin and Piano
Hans Gál: Style and Writing for the Violin in the Sonata in D for Violin and Piano by Vladimir Gebe A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2019 by the Graduate Supervisory Committee: Katherine McLin, Chair Russell Ryan Ellon Carpenter ARIZONA STATE UNIVERSITY May 2019 ©2019 Vladimir Gebe All Rights Reserved ABSTRACT Hans Gál is arguably one of the most underrated, underperformed and forgotten composers of the twentieth century. Once a prolific composer in the 1920s and 1930s, Gál’s career was cut short by the Nazi regime in 1933 when he was fired, and his works banned due to his Jewish heritage. Following the Second World War, his music was relegated as obsolete, belonging to a bygone era. Hans Gál is a perfect example of the intransigence, superficiality, and discrimination of the evolving musical fashion, and his life-story speaks to the misfortunes and persecution of the Jewish people in the mid- twentieth century. Consequently, Hans Gál is known today mainly as an educator, scholar, and editor of Brahms’s works, rather than as a composer, despite an impressive compositional output spanning over 70 years covering every major musical genre. Within his impressive oeuvre are several little-known gems of the violin repertoire, including the Sonata in D for Violin and Piano and Violin Concerto op. 39 among others. Scholarly writings on Gál and his music are unfortunately scarce, particularly such works exploring his violin music. However, recent years have seen an increased interest in resurrecting the music of Gál. -
Rudolf Serkin Papers Ms
Rudolf Serkin papers Ms. Coll. 813 Finding aid prepared by Ben Rosen and Juliette Appold. Last updated on April 03, 2017. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2015 June 26 Rudolf Serkin papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 6 Administrative Information........................................................................................................................... 6 Related Materials........................................................................................................................................... 7 Controlled Access Headings..........................................................................................................................7 Collection Inventory...................................................................................................................................... 9 I. Correspondence.................................................................................................................................... 9 II. Performances...................................................................................................................................274 -
TOCC0535DIGIBKLT.Pdf
HANS GÁL: MUSIC FOR VIOLA, VOLUME ONE by Richard Marcus Hans Gál was born on 5 August 1890 in Brunn am Gebirge, a little to the south-west of Vienna. Although no one in his immediate family pursued music professionally, there was no lack of music in the household; and his aunt, Jenny Fleischer, an opera singer who had performed under Richard Strauss, encouraged young Hans to pursue his musical studies. Gál and his sisters all played the piano, and on occasion the family attended the Hofoper, the court opera, where the seven-year-old Gál heard Mahler conduct one of his first productions there.1 At fifteen, Gál began studying piano with Richard Robert, whose pupils included Rudolf Serkin and Clara Haskil. Through Robert, Gál met Eusebius Mandyczewski, a close friend of Brahms and, later, Gál’s composition teacher. Together, Gál and Mandyczewski edited the complete works of Brahms, published by Breitkopf und Härtel in 26 volumes in 1926–27. Gál’s music started gaining international attention in the 1920s. His second opera, Die heilige Ente, Op. 15 (1920), was premiered in Düsseldorf in 1923 and enjoyed immediate success: it was performed in some twenty opera-houses in Germany and Austria over the next ten years.2 His Overture to a Puppet Play, Op. 20 (1923), was performed under such leading conductors as Wilhelm Furtwängler, Felix Weingartner and Fritz Busch, and his First Symphony, Op. 30 (1927), earned a prize in the 1928 Columbia Graphophone International Competition commemorating the 100th anniversary of Schubert’s death. In 1929 Gál was appointed head of the Musikhochschule in Mainz; there he directed the orchestra and all choirs, and taught courses in conducting and 1 Martin Anderson, ‘Hans Gál: A Conversation with Martin J. -
La Flauta Mágica/Die Zauberflöte Die Heilige Ente
FEBRUAR/MÄRZ 2020 04 THEATERZEITUNG 1 04SPIELZEIT 2019 / 20 FEBRUAR / MÄRZ 2020 SCHAUSPIEL LA FLAUTA MÁGICA/DIE ZAUBERFLÖTE MUSIKTHEATER DIE HEILIGE ENTE JUNGES THEATER DIE FLUT 2 04 THEATERZEITUNG FEBRUAR/MÄRZ 2020 ür diese Leuchtturmproduktion zu SCHAUSPIEL Beginn des Jahres konnte das Thea- Fter außergewöhnliche Menschen ge- winnen: Regisseur Antú Romero Nunes, derzeit noch Hausregisseur am Thalia Das kommt mir Spanisch vor! Theater Hamburg, wird demnächst Mit »La flauta mágica/Die Zauberflöte« wird Schauspieldirektor in Basel. Horacio Sa- es im Schauspiel international und musikalisch linas aus Chile, der eine mitreißende Neu- komposition entworfen hat und Julieta Venegas aus Mexiko, die die Songtexte geschrieben hat, sind in Lateinamerika so bekannt, dass jedes Kind ihre Musik kennt. Der erfolgreichste chilenische Ge- genwartsdramatiker Guillermo Calderón hat dazu einen Text geschrieben, der ein- zelne Motive der Zauberflöte aufnimmt und aktuelle Bezüge zu der derzeitigen politischen und gesellschaftlichen Situa- tion in Chile herstellt, wo die Bevölkerung seit Wochen auf die Straßen geht, um gegen soziale Ungerechtigkeit zu protes- tieren. Im Zentrum der Inszenierung steht dabei Pamina – die als unschuldi- ges Mädchen von allen Menschen um sie herum benutzt wird: Von ihrer Mutter, der Königin der Nacht, um deren egomane Ziele umzusetzen, von Sarastro, der mas- siven Druck auf sie ausübt und sexuell missbraucht – und von Tamino, der seine eigene Liebesbedürftigkeit auf sie proji- ziert: Ein Märchen, ein Traum, ein Alp- traum – über -
Hans Gál Piano Music
Hans Gál Piano Music Martin Jones NI 5751/2 NI 5751/2 Hans Gál • Piano Music His performance repertoire, as well as encompassing most of the standard works for Martin Jones piano, also includes unusual concertos such as the Busoni Concerto, which he performed with the BBC Symphony Orchestra and Norman Del Mar. He has also championed the music of British composers and has performed concertos by Britten, Disc 1 Benjamin, Mathias, McCabe and Lambert. He gave the first performance of the revised version of Alun Hoddinott’s Third Concerto at the 1974 BBC Promenade Concerts, and Sonatine no.1 Op.58 no.1 Suite für clavier Op.24 recorded Hoddinott’s Second Concerto with Andrew Davis and the Royal 1 I Moderato e cantabile 6.29 q I Präludium: Leggiero e dolce, Philharmonic Orchestra for Decca. 2 II Presto ma non troppo 1.36 ma non presto 1.50 3 III Leggiero e vivace 3.57 w II Menuett: Quasi andantino, In the USA he has served as jury member on a number of international piano sostenuto e rubato 2.05 Sonatine no.2 Op.58 no.2 e III Capriccio: Vivacissimo 2.49 competitions, and performed in New York, Washington, Florida, Tennessee, 4 I Allegro con fuoco 3.32 r IV Sarabande funebre: Louisiana, Texas, Utah, Wisconsin and California. In Los Angeles he gave a recital as 5 II Arioso: Adagio 3.49 Largo e grave 5.09 part of the 1994 UK/LA Celebration of British Arts, which was broadcast live on KUSC 6 III Scherzando: t V Gigue: Allegretto, con Radio.