Wanderer” and His Music
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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 -
Schubert: the Nonsense Society Revisited
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Schubert: The Nonsense Society Revisited RITA STEBLIN Twenty years have now passed since I discovered materials belonging to the Unsinnsgesellschaft (Nonsense Society).1 This informal club, active in Vienna from April 1817 to December 1818, consisted mainly of young painters and poets with Schubert as one of its central members. In this essay I will review this discovery, my ensuing interpretations, and provide some new observations. In January 1994, at the start of a research project on Schubert ico- nography, I studied some illustrated documents at the Historisches Museum der Stadt Wien (now the Wienmuseum am Karlsplatz), titled “Unsinniaden.”2 The documents comprise forty-four watercolor pictures and thirty-seven pages of text recording two festive events celebrated by the Nonsense Society: the New Year’s Eve party at the end of 1817 and the group’s first birthday party on 18 April 1818.3 The pictures depict various club members, identified by their code names and dressed in fan- ciful costumes, as well as four group scenes for the first event, including Vivat es lebe Blasius Leks (Long live Blasius Leks; Figure 1), and two group scenes for the second event, including Feuergeister-Scene (Fire Spirit Scene; Figure 6 below).4 Because of the use of code names—and the misidentifi- cations written on the pictures by some previous owner of the -
OC 463 Roman Trekel Schwanengesang Booklet V03.Indd
FRANZ SCHUBERT (1797–1828) SCHWANENGESANG [01] Schwanengesang op. 23 Nr. 3 .........................02:34 [02] An den Mond .....................................03:03 [03] Der Wanderer an den Mond . 02:48 [04] Totengräbers Heimweh . 06:04 [05] Meeres Stille ......................................02:17 [06] Das Fischermädchen ................................02:08 [07] Am Meer .........................................03:36 [08] Die Stadt .........................................02:57 [09] Der Doppelgänger ..................................04:20 [10] Ihr Bild ..........................................02:51 [11] Der Atlas .........................................02:05 [12] Liebesbotschaft ....................................03:21 [13] Kriegers Ahnung ...................................05:18 [14] Frühlingssehnsucht .................................03:24 [15] Ständchen ........................................04:04 [16] Aufenthalt ........................................02:58 [17] Herbst ...........................................03:12 [18] In der Ferne .......................................05:40 [19] Abschied .........................................04:27 [20] Die Taubenpost ....................................04:08 ROMAN TREKEL, BARITON OLIVER POHL, KLAVIER total 71:24 3 LETZTE LIEDER VON FRANZ SCHUBERT winternden, den Hals etwas aufrechter tragenden Singschwan (Cygnus cygnus), den der ein Jahr nach Es singt der Schwan im Weiher Schuberts Tod geborene Alfred Brehm in seinem Und rudert auf und ab, Tierleben deshalb auch „Cygnus musicus“ genannt -
Schubert-Handbuch
Schubert-Handbuch Ungekürzte Sonderausgabe Bearbeitet von Walther Dürr, Andreas Krause 1. Auflage 2007. Taschenbuch. X, 681 S. Paperback ISBN 978 3 476 02067 3 Format (B x L): 17 x 24 cm Gewicht: 1392 g Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. XI Vorwort Gedenkjahre markieren Positionen: Das kon- tet. Der ein Jahr darauf erschienene Kongreß- zentrierte Interesse an einem Autor, an einem Bericht zieht gewissermaßen das Resümee der Ereignis verdeutlicht, wie Perspektiven und In- bis dahin geleisteten Arbeit. Das spiegelt sich teressen sich ändern und in welcher Weise die- bereits auf der dem Bericht vorangestellten se mit historischen Prozessen unmittelbar zu- Photographie: Sie zeigt Eusebius Mandyczews- sammenhängen. 1897, zu Schuberts 100. Ge- ki, den Redakteur der Alten Gesamtausgabe. burtstag, war die erste Schubert-Gesamtaus- Was zu tun war, schien weitgehend getan. Zu- gabe abgeschlossen. Sie war von Johannes gleich war auch eine musikgeschichtliche Epo- Brahms begründet worden und dokumentiert che zu Ende gegangen: Die Musik der Spätro- noch heute den unmittelbaren Rezeptionszu- mantik, die sich auf Schubert noch direkt be- sammenhang des Schubertschen Werkes: Schu- rief, war 1928 nicht mehr zeitgemäß. Und wie bert – Schumann – Brahms. Kreißles Schu- im Reflex wandte sich auch die Forschung an- bert-Biographie (1865) lag damals seit gut drei- deren Themen zu, der in einem ganz neuen ßig Jahren vor, eine Biographie, die sich noch Sinne wiederentdeckten »Alten Musik«. -
Franz Schubert's Impromptus D. 899 and D. 935: An
FRANZ SCHUBERT’S IMPROMPTUS D. 899 AND D. 935: AN HISTORICAL AND STYLISTIC STUDY A doctoral document submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Keyboard Studies Division of the College-Conservatory of Music 2005 by Ina Ham M.M., Cleveland Institute of Music, 1999 M.M., Seoul National University, 1996 B.M., Seoul National University, 1994 Committee Chair: Dr. Melinda Boyd ABSTRACT The impromptu is one of the new genres that was conceived in the early nineteenth century. Schubert’s two sets of impromptus D. 899 and D. 935 are among the most important examples to define this new genre and to represent the composer’s piano writing style. Although his two sets of four impromptus have been favored in concerts by both the pianists and the audience, there has been a lack of comprehensive study of them as continuous sets. Since the tonal interdependence between the impromptus of each set suggests their cyclic aspects, Schubert’s impromptus need to be considered and be performed as continuous sets. The purpose of this document is to provide useful resources and performance guidelines to Schubert’s two sets of impromptus D. 899 and D. 935 by examining their historical and stylistic features. The document is organized into three chapters. The first chapter traces a brief history of the impromptu as a genre of piano music, including the impromptus by Jan Hugo Voŕišek as the first pieces in this genre. -
Young Persons' Guide to Music Composed in Salzburg
YOUNG PERSONS’ GUIDE TO MUSIC COMPOSED IN SALZBURG CONCERT OF SALZBURG PRE-COLLEGE STUDENTS 20 April 2017 19:30 Solitär of Mozarteum University Mirabellplatz 1 Program Heinrich Ignaz Franz Biber Passacaglia in G-minor from the Heinrich Ignaz Franz Biber Partita in G-minor (1644–1704) Mystery Sonatas for Violin solo (1676) (1644–1704) for two Violins and Basso continuo (1696) Theresa Giehl, Violin Intrada: Alla breve (Class: Brigitte Schmid) Aria: Adagio Balletto: Presto Gigue Cesar Bresgen Five Miniatures for Flute and Guitar (1979) Passacaglia: Adagio / Allegro / Adagio (1913–1988) Julia Klampfer, Flute Magdalena Waldauf, Violin (Class: Britta Bauer) (Class: Klara Flieder) Gyöngyi Bartha, Guitar Laura-Maria Waldauf, Violin (Class: Maria Isabel Siewers de Pazur) (Class: Esther Hoppe) Hanna Giehl, Violoncello (Class: Barbara Lübke) Wolfgang Amadé Mozart Rondo in D-major Lukas Moser, Harpsichord (1756–1791) for Flute and Orchestra KV Anh. 184 (1781) Fabian Egger, Flute (Class: Britta Bauer) Florian Podgoreanu, Piano Wolfgang Amadé Mozart Allegro from the Violin Concerto (1756–1791) in D-major KV 218 (1775) Yohei Shimizu, Violin Wolfgang Amadé Mozart Allegretto grazioso from Rondo in C-major (Class: Wonji Kim) (1756–1791) for Violin and Orchestra KV 373 (1781) Irma Kliauzaite, Piano Lilli Schneider, Violin (Class: Wonji Kim) Patrick Leung, Piano GCC – Guided Collective Composition* – first release (2017) Composition project of all young students of the composition classes Anton Diabelli Second Menuett from Serenade in the Pre-College Salzburg, -
Andras Schiff Franz Schubert Sonatas & Impromptus
Andras Schiff Franz Schubert Sonatas & Impromptus -• ECM NEW SERIES Franz Schubert Vier Impromptus D 899 Sonate in c-Moll D 958 Drei Klavierstücke D 946 Sonate in A-Dur D 959 Andräs Schiff Fortepiano Franz Schubert (1797-1828) II 1-4 Vier Impromptus D899 1-3 Drei Klavierstücke D 946 Allegro molto moderato in c-Moll 9:32 Allegro assai in es-Moll 9:12 Allegro in Es-Dur 4:39 Allegretto in Es-Dur 11 :46 Andante in Ges-Dur 4:59 Allegro in C-Dur 5:31 Allegretto in As-Dur 7: 21 4-7 Sonate in A-Dur D959 5-8 Sonate in c-Moll D958 Allegro 15:45 Allegro 10:35 Andantino 7:13 Adagio 7:00 Scherzo. Allegro vivace - Trio 5:30 Menuett. Allegretto - Trio 3:04 Rondo. Allegretto 12:35 Allegro 9:13 Beethoven's sphere "Secretly, I hope to be able to make something of myself, but who can do any thing after Beethoven?" Schubert's remark, allegedly made to his childhood friendJosef von Spaun, gives us an indication of how strongly he feit himself to be in the shadow of the great composer he was too inhibited ever to approach. For his part, Beethoven cannot have been unaware of Schubert's presence in Vienna. The younger composer's first piano sonata to appear in print - the Sonata in A minor D 845 - bore a dedication to Beethoven's most generous and ardent pa tron, Archduke Rudolph of Austria. Moreover, the work was favourably reviewed in the Leipzig Al/gemeine musikalische Zeitung - a journal which Beethoven is known to have read. -
The Functions of Harmonic Motives in Schubert's Sonata Forms1 Brian
The Functions of Harmonic Motives in Schubert’s Sonata Forms1 Brian Black Schubert’s sonata forms often seem to be animated by some hidden process that breaks to the surface at significant moments, only to subside again as suddenly and enigmatically as it first appeared. Such intrusions usually highlight a specific harmonic motive—either a single chord or a larger multi-chord cell—each return of which draws in the listener, like a veiled prophecy or the distant recall of a thought from the depths of memory. The effect is summed up by Joseph Kerman in his remarks on the unsettling trill on Gß and its repeated appearances throughout the first movement of the Piano Sonata in Bß major, D. 960: “But the figure does not develop, certainly not in any Beethovenian sense. The passage... is superb, but the figure remains essentially what it was at the beginning: a mysterious, impressive, cryptic, Romantic gesture.”2 The allusive way in which Schubert conjures up recurring harmonic motives stamps his music with the mystery and yearning that are the hallmarks of his style. Yet these motives amount to much more than oracular pronouncements, arising without any apparent cause and disappearing without any tangible effect. Quite the contrary—they are actively involved in the unfolding of the 1 This article is dedicated to William E. Caplin. I would also like to thank two of my colleagues at the University of Lethbridge, Deanna Oye and Edward Jurkowski, for their many helpful suggestions during the article’s preparation. 2 Joseph Kerman “A Romantic Detail in Schubert’s Schwanengesang,” in Walter Frisch (ed.), Schubert: Critical and Analytical Perspectives, (Lincoln: University of Nebraska Press, 1986): 59. -
Schubert's Late Style and Current Musical Scholarship
Cambridge University Press 978-1-107-11129-5 — Schubert's Late Music Edited by Lorraine Byrne Bodley , Julian Horton Excerpt More Information Introduction: Schubert’s late style and current musical scholarship lorraine byrne bodley The theme of lateness When discussing Schubert’s ‘late’ works it is worth remembering that wearereferringtoacomposerinhislatetwenties.Whythen,dowe ascribe the classification ‘late’? And in what sense do we mean ‘late’? Istherenot,inallSchubert’s‘latemusic’,simplyanexperiencedcomposer’s calm and confident grasp of the tools of his trade? Or did Schubert’s knowledge that he was dying propel an early flowering of a ‘late’ style? If so, then how can we define this style as distinct from maturity? While Schubert scholars generally agree that the composer’s style changed, there is a distinct division in how we approach such questions, the contentious issuebeingwhetheritisevenviabletospeakoflatestyleinacomposerwho died so young. Behind this debate lies the biblical belief in the timeliness of human life, where ‘lateness’ is perceived as the final phase. But is ‘lateness’ always an indication of lateness in life, or can it emerge through a recognition that the end is near? In attempting to answer this question it is important to problema- tize the ways in which biology and psychology are often co-opted to explain the imprint composers left on their art. Goethe is often recognized as the progenitor of Alterstil (old-age style) as a positive phenomenon that involved a gradual withdrawal from appearances and a consequent approach to the infinite and mystical.1 From him we derive the attributes of non-finito, subjectivity and the blending of formal with expressive ele- ments that are still widely accepted as markers of late style, as is the perception that old age can lead to transcendence. -
Franz Schubert Written and Narrated by Jeremy Siepmann with Tom George As Schubert
LIFE AND WORKS Franz Schubert Written and narrated by Jeremy Siepmann with Tom George as Schubert 8.558135–38 Life and Works: Franz Schubert Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear very substantial chunks, and in several cases whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works. Dismemberment of these for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann 8.558135–38 3 Life and Works: Franz Schubert © AKG Portrait of Franz Schubert, watercolour, by Wilhelm August Rieder 8.558135–38 Life and Works: Franz Schubert Franz Schubert(1797-1828) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Nineteenth Century 16 2 Schubert in His Time 26 3 The Major Works and Their Significance 41 4 A Graded Listening Plan 68 5 Recommended Reading 76 6 Personalities 82 7 A Calendar of Schubert’s Life 98 8 Glossary 132 The full spoken text can be found on the CD-ROM part of the discs and at: www.naxos.com/lifeandworks/schubert/spokentext 8.558135–38 5 Life and Works: Franz Schubert 1 Piano Quintet in A major (‘Trout’), D. -
Franz Schubert
FRANZ SCHUBERT Foreword . 3 About the Composer . 3 Contents Schubert’s Piano Music . 3 About This Edition . 4 About the Music . 5 Moments Musicaux, Op . 94 (D . 780) . 5 Impromptus, Op . 90 (D . 899) . 7 Impromptus, Op . 142 (D . 935) . 9 Recommended Reading . 12 Recommended Listening . 12 Acknowledgments . 12 MOMENTS MUSICAUX, Op . 94 (D . 780) No . 1 (C major) . 13 No . 2 (A-flat major) . 16 No . 3 (F minor) . 20 No . 4 (C-sharp minor) . 22 No . 5 (F minor) . 26 No . 6 (A-flat major) . 29 IMPROMPTUS, Op . 90 (D . 899) No . 1 (C minor) . 32 No . 2 (E-flat major) . 43 No . 3 (G-flat major) . 49 No . 4 (A-flat major) . 57 IMPROMPTUS, Op . 142 (D . 935) No . 1 (F minor) . 68 No . 2 (A-flat major) . 83 No . 3 (B-flat major) . 88 No . 4 (F minor) . 99 2 Moments Musicaux, Op. 94 Impromptus, Opp. 90 & 142 Edited by Murray Baylor SCHUBERT’S PIANO MUSIC Schubert’s music seems to fall between Classical and Foreword Romantic classifications—perhaps between that of Beethoven and Chopin . Although he first became known in Vienna as a composer of lieder, the piano was his instrument, and he wrote some of his finest music for piano solo and piano duet . The kind of instrument he played, however, usually called a fortepiano, was ABOUT THE COMPOSER very different from a modern Steinway . In the Kunsthis- torische Museum in Vienna, there is a well-maintained Of the many famous composers who lived and worked piano that he once owned . Its compass is from the F an in Vienna, Europe’s most musical city, Franz Schubert octave below the bass staff to the F two octaves above was the only one who made his home there from birth the treble—six octaves in all . -
Ludwig Van Beethoven Eine Sendereihe Von Eleonore Büning
Sonntag, 18. Oktober 2020 15.04 – 17.00 Uhr Ludwig van Beethoven Eine Sendereihe von Eleonore Büning 42. Folge: „Musik über Musik“ Willkommen, ich grüße Sie. „Musik über Musik“ – so heißt diese Folge. Das dürfen Sie wörtlich nehmen! Heute hören Sie hier nämlich nur erstklassige „Second- Hand“-Musik. „Musik über Musik“, das besagt: Ein Komponist schreibt ein Stück, indem er sich ein anderes, schon vorhandenes Stück ausborgt und es verändert, sich aneignet, es verdaut und etwas Neues daraus macht. Vergleichbares gibt es natürlich auch in der Literatur und der bildenden Kunst: Es gibt Romane über Romane, Bilder über Bilder. Doch das ist jeweils wohl eher die Ausnahme. „Musik über Musik“ dagegen umfasst eine Fülle von allen möglichen Formaten: Arrangements, Parodien, Improvisationen, Transkriptionen, Paraphrasen, Fantasien, Kontrafakturen und Variationen. Typisch für die flüchtige Luftkunst Musik, dass sie sich in diesem schöpferischen Zwischen-reich so stark hat verankern können! Hier, zum Auftakt, ein berühmtes Beispiel: Opus 111 1) Ludwig van Beethoven: Diabelli-Variationen op.120 0:45 OP 30384 Daraus: Variation Nr.22 Kein LC Grigori Sokolov (Klavier) Track <22> 1985/2000 „Notte e giorno faticar“/ „Keine Ruh bei Tag und Nacht…“. Grigori Sokolov spielte ein Klavierstück von Beethoven über eine Arie von Mozart UND über einen Walzer von Diabelli. Es handelt sich hier um eine Doppelvariation, einen verschärften Fall von „Second-Hand“-Musik. Erstens verarbeitet Beethoven hier die Auftrittsarie von Leporello aus „Don Giovanni“ (aus einer Oper, deren Sujet er angeblich unmoralisch fand). Zweitens verarbeitet Beethoven ein Walzerthema (das ihm, als ein billiges „Thema mit Schusterfleck“ angeblich ebenfalls nicht gefiel). Dieses Thema hatte der Wiener Musikverleger Anton Diabelli im Jahr 1819 an alle möglichen Komponisten verschickt, mit der Bitte, ihm dazu je eine Variation zu schreiben.