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Interpreting Race and Difference in the Operas of Richard Strauss By
Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler. -
Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List)
Oliver Rathkolb Honours and Awards (Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List) A compilation of the bearers of rings of honour was produced in preparation for the Vienna Philharmonic's centennial celebrations.1 It can not currently be reconstructed when exactly the first rings were awarded. In the archive of the Vienna Philharmonic, there are clues to a ring from 19282, and it follows from an undated index “Ehrenmitglieder, Träger des Ehrenrings, Nicolai Medaillen“3 that the second ring bearer, the Kammersänger Richard Mayr, had received the ring in 1929. Below the list of the first ring bearers: (Dates of the bestowal are not explicitly noted in the original) Dr. Felix von Weingartner (honorary member) Richard Mayr (Kammersänger, honorary member) Staatsrat Dr. Wilhelm Furtwängler (honorary member) Medizinalrat Dr. Josef Neubauer (honorary member) Lotte Lehmann (Kammersängerin) Elisabeth Schumann (Kammersängerin) Generalmusikdirektor Prof. Hans Knappertsbusch (March 12, 1938 on the occasion of his 50th birthday) In the Nazi era, for the first time (apart from Medizinalrat Dr. Josef Neubauer) not only artists were distinguished, but also Gen. Feldmarschall Wilhelm List (unclear when the ring was presented), Baldur von Schirach (March 30, 1942), Dr. Arthur Seyß-Inquart (March 30, 1942). 1 Archive of the Vienna Philharmonic, Depot State Opera, folder on the centennial celebrations 1942, list of the honorary members. 2 Information Dr. Silvia Kargl, AdWPh 3 This undated booklet was discovered in the Archive of the Vienna Philharmonic during its investigation by Dr. Silvia Kargl for possibly new documents for this project in February 2013. 1 Especially the presentation of the ring to Schirach in the context of the centennial celebration was openly propagated in the newspapers. -
Music on the Eve of the Third Reich
17 Music on the Eve of the Third Reich MICHAEL MEYER Das Husikleben ist kein Leben flir die Husik. Theodor \l, Adornol Ohne eine traßende Gemeinschaft, die dahintersteht, ist das musikalische Kunstwerk--im eigentlichen Sinne ein Gemeinschaftswerk--nicht lebensfähig. llilhelm Furt\vlinßler2 In view of its probler.1s, tenuousness, and brevity, and its proximity and special relationship to the Third Reich, the Heimar Republic has commonly been called a crisis state. Humerous contemr>orary commentators and later historians have examined ti1e economics, politics, and culture of Germany between 1919 and 1933 in terms of liberal, democratic, socialist, and conservative principles that were instituted to varying degrees in the period, only to then be abolished or channeled into the totalitarian dictatorship of Hational Socialism in 1933. The ideals reemerged and were reinstituted in the nost-Horld lvar II era, aßain in various combinations in both German successor states, and became the ideological framework for the historical analyses of conditions in the 1/eimar Republic. In sympathy wi th select lveimar ideals and horrified over the Third Reich, postwar and Holocaust historiaas have not been able to deal with the lleimar Republic discretely. Cultural achievement, tiwugh acbwwledged, consistently has been seen through the shadow of Auschwitz. Yet, the sense of dool'l, crisis, and failure is not the exclusive product of retrospection; it is contained in self-conscious lleinar commentary and introspection. A creature of nomentous historical forces and circumstance, the lleimar Republic :1ad i ts Vernunftrepublikaner who entertairred reservations ab out the new order but accepted it. Proßressive intellectuals shared with them a historical perspective, one of 316 Towards the Holocaust comparison and contradiction; a v ie~• of existence that stressed change, to some, even considered to be its essential feature. -
Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old. -
Pfitzner Palestrina
PFITZNER PALESTRINA Liner notes, sung texts English (p.6), German (p.21), full tracklist (p.37) LINER NOTES Introduction composed a Scherzo in C minor for Orchestra, incidental music to "I have heard Hans Pfitzner's musical legend 'Palestrina' three Ibsen's "Feast af Solhaug" and a Cello Sonata, Op.1, first performed times so far, and it seems strange how effortless this austere and in Frankfurt in 1891. He spent the period 1892-93 teaching at the bold work has managed to find a niche for itself amongst my Conservatory in Koblenz, completing his first opera, "Der arme personal possessions. This work, intended as the embers of the Heinrich", a work heavily indebted to Wagner, in 1893. Later that romantic world of Schopenhauer and Wagner with its Düreresque year Pfitzner successfully conducted a concert of the Berlin and Faustian overtones, its metaphysical aura, its ethos of Philharmonic Orchestra entirely devoted to works from his pen. crucifixion, death and entombment, and its amalgam of music, Having become kapellmeister of the Municipal Theatre in Mainz pessimism and humour, is far from insignificant. Its appearance at without receiving a salary in the autumn of 1894, he went on to this point of time gives me solace and a pleasant sense of total direct the premiere of "Der arme Heimich" there on 2 April 1895. affinity; reflecting my own notion of humanity, it makes me feel During that year he began to take an interest in the theme of more positive, delivering me from polemics. Here is a great subject Palestrina. which I can gratefully embrace, until my feelings have calmed and I In 1897 the Stern Conservatory in Berlin engaged him as professor am my normal self again, and which allows me to dismiss he more of composition, a post he was to occupy for the next ten years. -
Neuerscheinungsdienst 2016 ND 08
Neuerscheinungsdienst Jahrgang: 2016 ND 08 Stand: 24. Februar 2016 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2016 ISSN 1611-0153 urn:nbn:de:101-201512111092 2 Hinweise Der Neuerscheinungsdienst ist das Ergebnis der Ko- blikation in der Deutschen Nationalbibliografie; de- operation zwischen der Deutschen Nationalbibliothek und taillierte bibliografische Daten sind im Internet über der MVB Marketing- und Verlagsservice des Buchhandels http://dnb.dnb.de abrufbar. GmbH. Ziel dieser Kooperation ist zum einen die Hebung Bibliographic information published by the Deut- des Qualitätsstandards des Verzeichnisses lieferbarer sche Nationalbibliothek Bücher (VLB) und zum anderen die Verbesserung der The Deutsche Naitonalbibliothek lists this publication in Aktualität und Vollständigkeit der Deutschen Nationalbi- the Deutsche Nationalbibliografie; detailed bibliographic bliografie. In der Titelaufnahme wird der entsprechende data are available in the Internet at http://dnb.dnb.de. Link zu den Verlagsangaben direkt geschaltet; ebenso Information bibliographique de la Deutsche Natio- alle anderen möglichen Links. nalbibliothek Die Verleger melden ihre Titel in einem einzigen Vor- La Deutsche Nationalbibliothek a répertoiré cette publi- gang für das VLB und den Neuerscheinungsdienst der cation dans la Deutsche Nationalbibliografie; les données Deutschen Nationalbibliothek. Dieser zeigt somit alle bibliographiques détaillées peuvent être consultées sur Neumeldungen von Titeln an, die auch in das VLB ein- Internet à l’adresse http://dnb.dnb.de gehen. Die VLB-Redaktion leitet die Meldungen an die Deutsche Nationalbibliothek weiter. Die Titel werden oh- Die Verleger übersenden gemäß den gesetzlichen Vor- ne weitere Änderungen im Neuerscheinungsdienst der schriften zur Pflichtablieferung zwei Pflichtexemplare je Deutschen Nationalbibliothek angezeigt. Die Titelanzei- nach Zuständigkeit an die Deutsche Nationalbibliothek gen selbst sind, wie auf der Sachgruppenübersicht an- nach Frankfurt am Main oder nach Leipzig. -
Download Booklet
!"#$%&%$'()*+,-.+/01)234567)89:;.6)<6=:/;<6)>))%#?1?11))!4@&)AB))A;.6)1 Shakespeare songs strophic form predominates and hardly aware of it. Yet even these calculated irregularities Britta Stallmeister Korngold alternates between exact and altered repetitions disappear noticeably in Op. 27, so that in the Shakespeare Britta Stallmeister studied at the Hanover Hochschule for Music and Theatre with Carl-Heinz Müller. Her first guest of the verse. songs classical regularity is avowedly to the fore. Likewise appearances took her to the Schloss Rheinberg Chamber Opera, where she sang the title rôle in E.T.A. Hoffmann’sUn- KORNGOLD Harmonically Korngold leaves us in absolutely no doubt Korngold gradually reins in his predilection for using large dine. In the same year she was a prizewinner of the German Music Council and the German Musikleben Institute, that he has no intention of abandoning tonality, even though intervals, so that in Opp. 29 and 31 they scarcely appear. finally joining the Hamburg Staatsoper International Opera Studio. In 1998 she joined Frankfurt Opera, where she has there are moments in Op. 22 when he appears to be on the Should the impression be given that the Shakespeare sung a varied repertoire, including Mozart’s Pamina and Susanna, Drusilla (L’incoronazione di Poppea), Dalinda (Ar- Songs • 1 verge of doing so. The second song in particular includes songs contain somewhat naive simplicities, that charge iodante), Oscar (Un ballo in maschera), Marzelline (Fidelio), Cordelia (Lear) and Zdenka (Arabella). Guest engage- tonal layers and episodes of the sort which with other should be energetically repudiated. In spite of all the folk- ments have taken her to the Dresden Semper Opera, to festivals in Bayreuth and Salzburg, and to the Vienna Theater composers prepared the way for atonality – but not so with song-like traits and intentional simplicity Korngold writes an der Wien. -
New on Naxos | October 2013
NEW ON The World’s Leading ClassicalNAX MusicOS Label OCTOBER 2013 © Mark McNulty This Month’s Other Highlights © 2013 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | october 2013 © Mark McNulty Vasily Petrenko Dmitry SHOSTAKOVICH (1906–1975) Symphony No. 4 in C minor, Op. 43 Royal Liverpool Philharmonic Orchestra • Vasily Petrenko Completed in 1936 but withdrawn during rehearsal and not performed until 1961, the searing Fourth Symphony finds Shostakovich stretching his musical idiom to the limit in the search for a personal means of expression at a time of undoubted personal and professional crisis. The opening movement, a complex and unpredictable take on sonata form that teems with a dazzling profusion of varied motifs, is followed by a short, eerie central movement. The finale opens with a funeral march leading to a climax of seismic physical force that gives way to a bleak and harrowing minor key coda. The Symphony has since become one of the most highly regarded of the composer’s large-scale works. Vasily Petrenko was appointed Principal Conductor of the Royal Liverpool Philharmonic Orchestra in 2006 and in 2009 became Chief Conductor. He is also Chief Conductor of the Oslo Philharmonic Orchestra, Principal Guest Conductor of the Mikhailovsky Theatre of his native St Petersburg, 8.573188 Playing Time: 64:59 and Principal Conductor of the National Youth Orchestra of Great Britain. 7 47313 31887 2 Companion Titles 8.572082 8.572167 8.572392 8.572461 © Mark McNulty 8.572396 8.572658 8.572708 8.573057 Royal Liverpool Philharmonic Orchestra 2 NEW ON NAXOS | OCTOBER 2013 © Grant Leighton Marin Alsop Sergey PROKOFIEV (1891–1953) Symphony No. -
Proquest Dissertations
The saxophone in Germany, 1924-1935 Item Type text; Dissertation-Reproduction (electronic) Authors Bell, Daniel Michaels Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 07:49:44 Link to Item http://hdl.handle.net/10150/290020 THE SAXOPHONE IN GERMANY 1924-1935 by Daniel Michaels Bell Copyright © Daniel Michaels Bell 2004 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC THE UNIVERSITY OF ARIZONA 2004 UMI Number: 3131585 Copyright 2004 by Bell, Daniel Michaels All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3131585 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. -
Heft 1 Januar 1995
VIERTELJAHRSHEFTE FÜR Zeitgeschichte Im Auftrag des Instituts für Zeitgeschichte München herausgegeben von KARL DIETRICH BRACHER HANS-PETER SCHWARZ HORST MÖLLER in Verbindung mit Theodor Eschenburg, Rudolf v. Albertini, Dietrich Geyer, Hans Mommsen, Arnulf Baring und Gerhard A. Ritter Redaktion: Hellmuth Auerbach, Norbert Frei, Udo Wengst Chefredakteur: Hans Woller Stellvertreter: Andreas Wirsching Institut für Zeitgeschichte, Leonrodstr. 46 b, 80636 München, Tel. 12 68 80, Fax 123 17 27 43. Jahrgang Heft 1 Januar 1995 INHALTSVERZEICHNIS AUFSÄTZE MichaelH. Kater Carl Orff im Dritten Reich 1 Jürgen Pagel Souveränität oder Bevormundung? Die baltischen Staaten zwischen Deutschland, Polen und der Sowjetunion 1933/34 37 Sebastian Schoepp Das Argentinische Tageblatt 1933-1945. Eine „bürgerliche Kampfzeitung" als Forum der Emigration 75 Sybil Milton Vorstufe zur Vernichtung. Die Zigeunerlager nach 1933 115 Carlos Collado Seidel Zufluchtsstätte für Nationalsozialisten? Spanien, die Alliierten und die Behandlung deutscher Agenten 1944-1947 131 II Inhaltsverzeichnis DOKUMENTATION Hansjakob Stehle Zufälle auf dem Weg zur neuen Ostpolitik. Aufzeichnungen über ein geheimes Treffen Egon Bahrs mit einem polnischen Diplomaten 1968 .... 159 NOTIZEN Die Außenstelle Potsdam des Instituts für Zeitgeschichte (Horst Möller/Hartmut Mehringer) . 173 Das Deutsche Problem in der neueren Geschichte (Manfred Kittel) 187 ABSTRACTS 191 MITARBEITER DIESES HEFTES 193 Verlag und Anzeigenverwaltung: R. Oldenbourg Verlag GmbH, Rosenheimer Straße 145, 81671 München. Für den Inhalt verantwortlich: Horst Möller; für den Anzeigenteil: Anke Thulke. Erscheinungsweise: Vierteljährlich. Bezugspreise 1995: Jahresabonnement Inland DM 91,20 (DM 78,-+ DM 13,20 Versand spesen); Österreich öS 727,- (609,- + 118,- Versandspesen); Schweiz sFr 93,20 (78,- + 15,20 Versandspesen); Binnenmarktländer Empfänger mit UST.-ID-Nr. DM 88,20 (73,- + 15,20 Versandspesen); Binnenmarktländer Empfänger ohne UST.-ID-Nr. -
Newsletter from the Section for the Arts of Eurythmy, Speech and Music
Newsletter from the Section for the Arts of Eurythmy, Speech and Music Michaelmas 2008 1 TABLE OF CONTENTS Topical forum Meeting for Composers II at the Goetheanum (Dr Wolfram Graf) . 36 The situation of the Speech School at the Goetheanum . 3 The 2nd “Toward Genuine Tuning Conference” Thomas Parr – (Laura Langford Schnur) . 37 new manager of the Goetheanum Stage . 3 The integrative Orchestra (Danielle Volkart) . 38 Announcements / Events of the Section . 3 Concert Review (Ruth Dubach) . 38 Courage for the Soft Tone (Verena Zacher Züsli) . 39 Articles Obituaries The Eurythmical Gesture for “Reverence” (Beth Usher) . 5 “The most essential thing in eurythmical movement” Frank Michael Beyer (Michael Kurtz) . 40 Stimuli for fashioning rests, Part II Maria Jenny-Schuster (Daniel Marston) . 6 (Wilfried Hammacher, Ea Koster-Jenny) . 41 What does the Spirit of the Age demand of the arts today? (Werner Barfod) . 8 From spatial to time-orientated movement (Ursula Zimmermann) . 10 Announcements Speech (Hans-Jürgen Gorenflo) . 13 Classical and Romantic Musical Styles – Eurythmy . 44 (Julian Clarke) . 20 – Speech . 48 The Importance of Puppetry in Therapy for Children – Music . 49 with Special Disturbances (Gabriele Pohl) . 23 – Puppetry . 50 Reports Publication Toward a new eurythmy training Werner Barfod – Planetengebärden und (David-Michael and Glenda Monasch) . 26 Menschenwesen Reports on the World Eurythmy-Therapy Conference [Planetary gestures and the human being] . 51 (Heike Houben, Erika Leiste) . 28 Eurythmy Training in Spain (Elisa Betancor) . 28 Fostering Speech Development through Elementary Eurythmy in the Kindergarten? (Sabine Deimann) . 28 Miscellaneous Passing on the Sceptre (Svlvia Bardt) . 30 Two reports on the Light Eurythmy Seminar, Discussion with Maria Jenny on questions concerning Chestnut Ridge, New York, May 8—10, 2008 the work with Rudolf Steiner in music eurythmy (Maria Ver Eecke, Elizabeth Linda (Stefan Hasler, Päivi Lappalainen, Gardner Lombardi) . -
Scholarship and Vandalism
ISSN 1759-1201 www.brucknerjournal.co.uk Issued three times a year and sold by subscription FOUNDING EDITOR: Peter Palmer (1997-2004) Editor: Ken Ward [email protected] 23 Mornington Grove, London E3 4NS Subscriptions and Mailing: Raymond Cox [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME SEVENTEEN, NUMBER ONE, MARCH 2013 Associate Editors Dr Crawford Howie & Dr Dermot Gault In this issue: Scholarship and Vandalism Anton Bruckner: a non-pathological view Not many letters and emails are addressed to the editor, and angry on his personality and implications for his ones are indeed a rarity. But one of a few received from those approach to the task of composing. who are unhappy about recent published criticisms of the editorial by Malcolm Hatfield Page 3 work of Robert Haas, and of Deryck Cooke and Robert Versions and Editions: Simpson’s writings about editions, was phrased in such heated Deryck Cooke’s Contribution Clarified (Part two) passion that it verged upon the libellous. The writer perceives in by Dermot Gault Page 13 some of our contributors “incontinent personal dislike” of Cooke, Eckstein, Steiner - and Bruckner sustained by “repulsive prejudices”, “nauseating views”, they are by Raymond Cox Page 23 part of a “Mafia”, an “anti-everyone-else clique” conducting a Bruckner on the Terraces “vendetta”, to quote just a selection from the ample repertoire of by Raymond Cox Page 25 invective employed. This would seem a little intemperate and, given the lack of supporting evidence, unpublishable. Book Reviews Frederick Edward Harris Jr. But what it does display is the strength of gratitude, Seeking the Infinite: The Musical Life of appreciation and emotional attachment there is for the work of Stanisław Skrowaczewski review by Ken Ward Page 27 those three great Brucknerians, Haas, Cooke and Simpson.