DOCSLIB.ORG

In Search of Beethoven

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Search of Beethoven A STUDY GUIDE BY KATE RAYNOR http://www.metromagazine.com.au ISBN-13-978-1-74295-039-6 http://www.theeducationshop.com.au ‘If we are to pick ten things that are great about humanity there would probably be several Beethoven works amongst them.’ ‘In a sense he’s defined what music means, what music is.’ n Search of Beethoven, acclaimed Grabsky is unrivalled in his ability to In Search of Beethoven examines the director Phil Grabsky’s feature- capture the power and essence of romantic myths that swirl around the Ilength biographical film about the life live performance. Alongside riveting titanic figure of Beethoven. We often and music of Ludwig van Beethoven, interviews with a host of historians and think of him as a heroic and tormented is quite simply – like the subject it musicians who have devoted their pro- man, cursed with a tragic fate – ren- chronicles – brilliant. Demonstrating an fessional lives to exploring Beethoven’s dered deaf when all his life was devot- astounding depth of research, coupled world and work, the filmmaker shot an ed to the creation of sound; passion- with a great feel for the music and a astounding fifty-five performances for ately devoted to his Immortal Beloved sense of how best to capture its spirit In Search of Beethoven. This is one and yet alone and loveless for most on film, Grabsky brings together the film definitely worth owning on DVD: of his days. Grabsky challenges the world’s leading performers and experts many performances that we see and popular idea of the genius composer on Beethoven to reveal new insights hear as extracts in the film appear as as a bitter and cantankerous figure in into this legendary composer. Fascinat- complete works in the DVD extras. (For a portrait that is detailed, authoritative, ing biographical information is united example, the Endellion String Quartet comprehensive and ultimately deeply with extracts from the composer’s let- gave Grabsky’s crew exclusive access moving. SCREEN EDUCATION ters and, of course, the music in a film to film a number of complete Beethoven that is never less than compelling. quartets.) 2 CURRICULUM LINKS This outstanding and inspiring film has particular relevance to middle and senior secondary Music Appreciation, Music Performance, History, SOSE/ HSIE and English. The main aim of this guide is to Background - City of Birmingham Symphony present a wide variety of teaching Orchestra conducted by Sir Simon and learning opportunities based on List of Performers and Rattle the film, ranging in sophistication and Interviewees - Orchestre de Paris conducted by complexity. Teachers are encouraged Christoph Eschenbach to pick and choose tasks that suit the particular interests and abilities Orchestras and Conductors - Orchestre National de France con- of their students and the timeframes - Mahler Chamber Orchestra, con- ducted by Kurt Masur within which they are operating – not ducted by Claudio Abbado in the to work through the guide systemati- production of Fidelio from I Teatri, Soloists and Chamber Artists cally. Reggio Emilia, directed by Chris - Violinists: Vadim Repin, Janine Most of the activities target literacy Kraus Jansen, Alexander Sitkovetsky, outcomes: speaking and listening, - Orchestra of the Eighteenth Cen- Urban Svensson reading and writing. tury conducted by Frans Brüggen - Pianists: Paul Lewis, Hélène There are also activities that address - Salzburg Camerata conducted by Grimaud, Ronald Brautigam, film/media analysis, ICT and creative thinking. The statements presented Sir Roger Norrington Jonathan Biss, Emanuel Ax, Lars in quotation marks are intended to be - Leipzig Gewandhaus Orchestra Vogt, Leif Ove Andsnes, Kristian thought provoking or controversial and conducted by Riccardo Chailly Bezuidenhout, Boris Berezovsky, can be used in a number of ways: as - Filarmonica della Scala conducted Julia Fedoseeva, Christoph Berner, a focus for discussion, debate or oral by Gianandrea Noseda Itamar Golan, Cecile Licad, Gerold presentations; and as a direction for further research, analysis or creative - Wiener Symphoniker conducted by Huber writing tasks. Fabio Luisi - Cellists: Alban Gerhardt, Richard Sections of the guide are labelled with - Swedish Chamber Orchestra con- Harwood, Roel Dieltiens, Mats the Key Learning Areas they most ducted by Thomas Dausgaard Rondin closely pertain to, although there - Norrköping Symphony Orchestra - Quartet: Endellion String Quartet is some overlap between different conducted by Andrew Parrott - Singers: Christian Gerhaher, Anja sections and activities can be readily - Orchestre National du Capitole Kampe, Albert Dohmen, Clifton modified to fit different curriculum areas. de Toulouse conducted by Tugan Forbis, Giorgio Surjan, Julia Kleiter Sokhiev - Dresden Staatskapelle with Historians and Commentators Vladimir Jurowski - Barry Cooper, Christine Köndgen, For a complete list of the perform- - Louis Langrée Bayan Northcott, Ilona Schmiel, ers and performances featured in In - Berliner Philharmoniker with Her- Cliff Eisen, Jonathan Del Mar, Search of Beethoven, see: <http:// bert von Karajan Giovanni Bietti, Hebe Jeffrey, Chris www.insearchofbeethoven.com/ SCREEN EDUCATION - Corydon Orchestra and Singers Kraus performers_and_interviewees.html>. conducted by Matthew Best 3 ACTIVITIES AND DISCUSSION POINTS KEY LEARNING AREAS: History & English A Portrait of the Times L–R: GIANANDREA NOSEda; ??? ‘The uniqueness of Beethoven and the attempt of composers, writers, critics and listeners afterwards to come to grips with this uniqueness inevitably A BRIEF TIMELINE OF VIENNA DURING BEETHOVen’s LIFE gave rise to a re-evaluation of the past, 1769 Schönbrunn Palace is completed. the present and the future.’ – Cliff Eisen, historian 1770 The marriage of Habsburg princess Marie Antoinette to Louis XVI of France cements relations between Austria and France. As well as bringing students to a rich 1780 Maria Theresa dies, and her liberal son, Joseph II, ascends to power. and deep appreciation of Beethoven’s music, this film provides an excellent 1789 Revolution in France leads to the beheading of Marie Antoinette. opportunity to engage students in a 1805 and Armies of Napoleon twice occupy Vienna. study of eighteenth and nineteenth 1809 century Europe. Beethoven was born in Bonn, Germany in 1770 and died in 1810 Napoleon marries Habsburg archduchess Marie-Louise. Vienna, Austria in 1827. Divide stu- 1811 Viennese treasury is bankrupted by military spending. dents into small groups to research topics on the historical context of 1814-15 Congress of Vienna rearranges the map of Europe following the defeat Beethoven’s life (religion, economics, of Napoleon. arts and culture, society, politics). 1832 First steamship company is organised to ply the Danube. Useful websites include: 1837 Austria’s first railway line is created. http://www.europecities.com/en/607/ (See <http://www.sacred-destinations.com/austria/vienna-timeline.htm>) austria/vienna/history/period3/ http://www.wien.gv.at/english/history/ overview/index.html Also see the Resources section at the about all sources consulted. http://www.planet-vienna.com/E/ end of this guide for further sugges- history.htm tions. • Locate Bonn and Vienna on a map Jeffrey Dane, ‘Tracing Beethoven In of Europe. and Around Vienna’: Have students present their research • How is the Bonn of Beethoven’s http://www.frugalfun.com/ and display it around the classroom for childhood described in the film? beethoven.html the duration of the unit. Encourage stu- (As a ‘rather cultivated place’. The Beethoven’s Vienna: dents to formulate questions to direct Elector, Maximilian Franz, believed SCREEN EDUCATION http://www.flonnet.com/fl2226/ and structure their research. Ensure in the ‘new philosophical ideas’ stories/20051230000106500.htm students accurately record information and was also extremely musical. 4 ‘He is not misanthropic or malevolent; he is wanting always to communicate beauty and warmth and love and hope’. – Jonathan Del Mar, Beethoven scholar and editor ‘He is not misanthropic or malevolent; he is wanting always to communicate beauty and warmth and love and hope.’ – Jonathan Del Mar, Beethoven scholar and editor L-R: GIANANDREA NOSEda; ‘I have two impressions of Beethoven: a large brain and an equally large heart. These two elements often fight ‘Bonn’s nobles took their lead against each other, but frequently they from this new Elector – who was love each other too. There is so much both their archbishop and prince. love, so much empathy and ability to Under his enlightened rule, musical endure suffering. All this comes from life flourished.’) What is Bonn like his heart.’ – Fabio Luisi, conductor today? How has it changed since Beethoven’s time? • Create a timeline showing the key • Plan a tour around Vienna to cel- events of Beethoven’s life. ebrate Beethoven’s significance to • Create a family tree for Beethoven. this city. Write up a monologue to • Compile a list of adjectives used deliver as if you were a tour guide. throughout the film to describe • In what ways was Beethoven a Beethoven’s character. (For ex- product of his times? In what ways ample: brusque, rude, forthright, did he challenge the conventions impatient, bad tempered, a dark and mores of the times? when Napoleon became a dictator character, profound, unlucky, • Of his arrival in Vienna in November and crowned himself, he was horri- somebody in constant struggle, 1792 at the age of twenty-one, the fied’.) Why is the Eroica Symphony serious, controlled, immensely film’s narration states:
Load more

Recommended publications
  • Women's and Gender History in Central Eastern Europe, 18Th to 20Th Centuries
    Forthcoming in: Irina Livezeanu, Arpad von Klimo (eds), The Routledge History of East Central Europe since 1700 (Routledge 2015) Women‘s and Gender History1 Krassimira Daskalova and Susan Zimmermann Since the 1980s, historians working on East Central Europe, as on other parts of the world, have shown that historical experience has been deeply gendered. This chapter focuses on the modern history of women, and on gender as a category of analysis which helps to make visible and critically interrogate ―the social organization of sexual difference‖2. The new history of women and gender has established, as we hope to demonstrate in this contribution, a number of key insights. First, gender relations are intimately related to power relations. Gender, alongside dominant and non-dominant sexualities, has been invoked persistently to produce or justify asymmetrical and hierarchical arrangements in society and culture as a whole, to restrict the access of women and people identifying with non-normative sexualities to material and cultural goods, and to devalue and marginalize their ways of life. Second, throughout history both equality and difference between women and men have typically resulted in disadvantage for women. Men and women have generally engaged in different socio-cultural, political and economic activities, and this gender-based division of labor, which has itself been subject to historical change, has tended to put women in an inferior position. Even when women and men appeared as equals in one sphere of life, this perceived equality often resulted in drawbacks or an increased burden for women in another area and women‘s contribution was still devalued as compared to men‘s.
    [Show full text]
  • Andrè Schuen’S Repertory Ranges from Early Music to Contemporary Music, and He Is Equally Comfortable in the Genres of Oratorio, Lied and Opera
    A NDRÈ S CHUEN - Baritone Born in 1984, he studied at the Mozarteum of Salzburg with Gudrun Volkert, Horiana Branisteanu, Josef Wallnig and Hermann Keckeis (opera), and with Wolfgang Holzmair (Lied and oratorio). He has appeared as soloist of Salzburg Concert Association, Collegium Musicum Salzburg, Salzburg Bach Society, and has already sung with such renowned orchestras as Wiener Philharmoniker, Mozarteum Orchestra and Camerata Salzburg, with such conductor as Nikolaus Harnoncourt, Philippe Jordan, Simon Rattle, Ivor Bolton, Roger Norrington and Ingo Metzmacher. Andrè Schuen’s repertory ranges from early music to contemporary music, and he is equally comfortable in the genres of oratorio, lied and opera. Concerts, festivals and tv appearances have taken him to Vienna, Berlin, Munich, Dresden, Zurich, Tokyo, Puebla (Mexico), Buenos Aires and Ushuaia (Argentina). At the Salzburg Festival in 2006, he sang the bass choral solo in Mozart’s Idomeneo under Roger Norrington. During the 2007/08 season, he performed the role of Ein Lakai in Ariadne auf Naxos under Ivor Bolton in a new production of Salzburg State Theater at the Haus für Mozart. He also performed the role of Figaro in Le nozze di Figaro at Mozarteum in Salzburg and at various theaters in Germany and Austria. In August of 2009, he sang as Basso I in Luigi Nono’s Al gran sole carico d’amore at Salzburg Festival, conducted by Ingo Metzmacher. In August of 2009 he was awarded the “Walter-und- Charlotte-Hamel-Stiftung” and the “Internationale Sommerakademie Mozarteum Salzburg”. In the summer of 2010 he took part in the Young Singers Project at Salzburg Festival.
    [Show full text]
  • Bakalářská Práce
    UNIVERZITA PALACKÉHO V OLOMOUCI FILOSOFICKÁ FAKULTA BAKALÁŘSKÁ PRÁCE Olomouc 2014 Michal Kadlec UNIVERZITA PALACKÉHO V OLOMOUCI FILOSOFICKÁ FAKULTA Katedra divadelních, filmových a mediálních studií POPULÁRNÍ OBRAZ LUDWIGA VAN BEETHOVENA VE FILMU POPULAR IMAGE OF LUDWIG VAN BEETHOVEN IN MOVIES (Bakalářská diplomová práce) Autor: Michal Kadlec Vedoucí práce: doc. Mgr. Zdeněk Hudec, Ph.D. Olomouc 2014 Univerzita Palackého v Olomouci Filosofická fakulta Tímto prohlašuji, že jsem bakalářskou diplomovou práci na téma Populární obraz Ludwiga van Beethovena ve filmu vypracoval samostatně pod odborným vedením vedoucího práce. V Olomouci, dne...................... Podpis:...................... Univerzita Palackého v Olomouci Filosofická fakulta Poděkování Rád bych poděkoval vedoucímu bakalářské práce doc. Mgr. Zdeňku Hudcovi, Ph.D. za od- borné vedení a pomoc při nalézání konečného tvaru práce. OBSAH OBSAH ...................................................................................................................................... 5 ÚVOD ........................................................................................................................................ 7 1. Téma ............................................................................................................................... 7 2. Cíl práce ......................................................................................................................... 7 2. VYHODNOCENÍ LITERATURY .....................................................................................
    [Show full text]
  • VIENNA Gets High Marks
    city, transformed Why VIENNA gets high marks Dr. Eugen Antalovsky Jana Löw years city, transformed VIENNA 1 Why VIENNA gets high marks Dr. Eugen Antalovsky Jana Löw Why Vienna gets high marks © European Investment Bank, 2019. All rights reserved. All questions on rights and licensing should be addressed to [email protected] The findings, interpretations and conclusions are those of the authors and do not necessarily reflect the views of the European Investment Bank. Get our e-newsletter at www.eib.org/sign-up pdf: QH-06-18-217-EN-N ISBN 978-92-861-3870-6 doi:10.2867/9448 eBook: QH-06-18-217-EN-E ISBN 978-92-861-3874-4 doi:10.2867/28061 4 city, transformed VIENNA Austria’s capital transformed from a peripheral, declining outpost of the Cold War to a city that consistently ranks top of global quality of life surveys. Here’s how Vienna turned a series of major economic and geopolitical challenges to its advantage. Introduction In the mid-1980s, when Vienna presented its first urban development plan, the city government expected the population to decline and foresaw serious challenges for its urban economy. However, geopolitical transformations prompted a fresh wave of immigration to Vienna, so the city needed to adapt fast and develop new initiatives. A new spirit of urban development emerged. Vienna’s remarkable migration-driven growth took place in three phases: • first, the population grew rapidly between 1989 and 1993 • then it grew again between 2000 and 2006 • and finally from 2010 until today the population has been growing steadily and swiftly, by on average around 22,000 people per year • This means an addition of nearly 350,000 inhabitants since 1989.
    [Show full text]
  • Novi-Sad 2021 Bid Book
    CREDITS Published by City of Novi Sad Mayor: Miloš Vučević City Minister of Culutre: Vanja Vučenović Project Team Chairman: Momčilo Bajac, PhD Project Team Members: Uroš Ristić, M.Sc Dragan Marković, M.Sc Marko Paunović, MA Design: Nada Božić Logo Design: Studio Trkulja Photo Credits: Martin Candir KCNS photo team EXIT photo team Candidacy Support: Jelena Stevanović Vuk Radulović Aleksandra Stajić Milica Vukadinović Vladimir Radmanović TABLE OF CONTENT 7 BASIC PRINCIPLES 7 Introducing Novi Sad 9 Why does your city wish to take part in the I competition for the title of European Capital of CONTRIBUTION TO THE Culture? LONG-TERM STRATEGY 14 Does your city plan to involve its surrounding 20 area? Explain this choice. Describe the cultural strategy that is in place in your city at the Explain the concept of the programme which 20 18 time of the application, as well as the city’s plans to strengthen would be launched if the city designated as the capacity of the cultural and creative sectors, including European Capital of Culture through the development of long term links between these sectors and the economic and social sectors in your city. What are the plans for sustaining the cultural activities beyond the year of the title? How is the European Capital of Culture action included in this strategy? 24 If your city is awarded the title of Europian Capital of Culture, II what do you think would be the long-term cultural, social and economic impact on the city (including in terms of urban EUROPEAN development)? DIMENSION 28 25 Describe your plans for monitoring and evaluating the impact of the title on your city and for disseminating the results of the evaluation.
    [Show full text]
  • Ludwig Van Beethoven Im Film. Mit Filmographie 2018
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff Ludwig van Beethoven im Film. Mit Filmographie 2018 https://doi.org/10.25969/mediarep/12813 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Ludwig van Beethoven im Film. Mit Filmographie. Westerkappeln: DerWulff.de 2018 (Medienwissenschaft: Berichte und Papiere 179). DOI: https://doi.org/10.25969/mediarep/12813. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0179_18.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: eeichte:und:Papieee 179,:2018t:Ludwig:van: eethoven. Redaktion und Copyright dieser Ausgabe: Hans J. Wulf. ISSN 2 !!"!#$#. %R&: h'p:((beri)hte.der*ulf.de($+,-.+/.pdf. &et1te Änderung: 3+.+.2$+/. Hans J. Wulff: Ludwig van Beethoven im Film Wild und leidenscha3li)h. 4in 5etriebener. Rastlos, Was ist erfunden6 *as 7erb:rgt?: S)hon die biogra> )holerisch. %nd 7erz*ei0elt6 *eil ihn das S)hi)ksal phische &iteratur ist 7on trügerischer Pualit8t. Weil au0 die h8rteste aller 9roben stellte. %nglü)kli)hste si)h phantasierende Bythenbilder des ?:nstler-5e> &iebesbe1iehungen. %nb8ndig, schon der Haarschop0 nies in das Na)hdenken :ber den Bann hineindrän> ist ni)ht 1u b8ndigen. 4in ;emokrat und =reiheitslie> gen. Weil die 4rfahrung des 4rtaubens in der Ilüte> bender.
    [Show full text]
  • Beethoven Deaf: the Beethoven Myth and Nineteenth-Century Constructions of Deafness
    BEETHOVEN DEAF: THE BEETHOVEN MYTH AND NINETEENTH-CENTURY CONSTRUCTIONS OF DEAFNESS By DEVIN MICHAEL PAUL BURKE Submitted in partial fulfillment of the requirements For the degree of Master of Arts Thesis Adviser: Dr. Francesca Brittan Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of ______________________________________________________ candidate for the ________________________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents LIST OF FIGURES ................................................................................................ 2 Abstract ................................................................................................................... 3 Introduction ............................................................................................................. 4 Chapter 1: The Heiligenstadt Testament, the Emerging Social Category of “Deafness,” and the Dual Nature of Disability ......................................... 20 Private and Public Deafness and the
    [Show full text]
  • Handel's Messiah Freiburg Baroque Orchestra
    Handel’s Messiah Freiburg Baroque Orchestra Wednesday 11 December 2019 7pm, Hall Handel Messiah Freiburg Baroque Orchestra Zürcher Sing-Akademie Trevor Pinnock director Katherine Watson soprano Claudia Huckle contralto James Way tenor Ashley Riches bass-baritone Matthias von der Tann Matthias von There will be one interval of 20 minutes between Part 1 and Part 2 Part of Barbican Presents 2019–20 Please do ... Turn off watch alarms and phones during the performance. Please don’t ... Take photos or make recordings during the performance. Use a hearing aid? Please use our induction loop – just switch your hearing aid to T setting on entering the hall. The City of London Corporation Programme produced by Harriet Smith; is the founder and advertising by Cabbell (tel 020 3603 7930) principal funder of the Barbican Centre Welcome This evening we’re delighted to welcome It was a revolutionary work in several the Freiburg Baroque Orchestra and respects: drawing exclusively on passages Zürcher Sing-Akademie together with four from the Bible, Handel made the most of outstanding vocal soloists under the his experience as an opera composer in direction of Trevor Pinnock. The concert creating a compelling drama, with the features a single masterpiece: Handel’s chorus taking an unusually central role. To Messiah. the mix, this most cosmopolitan of figures added the full gamut of national styles, It’s a work so central to the repertoire that from the French-style overture via the it’s easy to forget that it was written at a chorale tradition of his native Germany to time when Handel’s stock was not exactly the Italianate ‘Pastoral Symphony’.
    [Show full text]
  • Open Government Data Austria - Organisation, Procedures and Uptake
    Open Government Data Austria - Organisation, Procedures and Uptake Johann Höchtl, Peter Parycek, Center for E­Governance, Danube University Krems, Dr. Karl­Dorrek­Straße 30, 3500 Krems, Austria. {johann.hoechtl|peter.parycek}@donau­uni.ac.at Brigitte Lutz, Office of the CIO City of Vienna, Rathausstraße 8, 1010 Vienna, Austria. [email protected] Stefan Pawel, City of Linz, project manager of OPEN COMMONS_LINZ, Gruberstraße 42, 4020 Linz, Austria. [email protected] Abstract. Open Government Data in Austria is characterized by a collaboration of the willing and capable, as well as direct community involvement which happens at various levels along the data publication line. Early and direct community involvement is regarded as one substantial key success factor of OGD in Austria. This paper describes some of the noteworthy measures to spark open data usage as well as first visible effects of changed administrative and external processes and procedures since the inception of OGD. Organisation of Open Government Data in Austria Unlike the administrations of the UK, the USA or France, there is no pro­active freedom of information law which would govern the release of Open Government Data (OGD) in Austria. At the time when the EU directive on the re­use of public sector information of 2003 got implemented into national law, no single portal provided access to information of the public administration. In short, when the OGD movement was brought from bottom­up to the administration, no good practice was in place how legally or organisational­wise should be dealt with requests for data. While there is a long­lasting tradition in Austria of legally framed eGovernment, concerns were raised that for OGD to be effective, a much faster pace of development and less formalisation than currently would be necessary.
    [Show full text]
  • Global Austria Austria’S Place in Europe and the World
    Global Austria Austria’s Place in Europe and the World Günter Bischof, Fritz Plasser (Eds.) Anton Pelinka, Alexander Smith, Guest Editors CONTEMPORARY AUSTRIAN STUDIES | Volume 20 innsbruck university press Copyright ©2011 by University of New Orleans Press, New Orleans, Louisiana, USA. All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without prior permission in writing from the publisher. All inquiries should be addressed to UNO Press, University of New Orleans, ED 210, 2000 Lakeshore Drive, New Orleans, LA, 70119, USA. www.unopress.org. Book design: Lindsay Maples Cover cartoon by Ironimus (1992) provided by the archives of Die Presse in Vienna and permission to publish granted by Gustav Peichl. Published in North America by Published in Europe by University of New Orleans Press Innsbruck University Press ISBN 978-1-60801-062-2 ISBN 978-3-9028112-0-2 Contemporary Austrian Studies Sponsored by the University of New Orleans and Universität Innsbruck Editors Günter Bischof, CenterAustria, University of New Orleans Fritz Plasser, Universität Innsbruck Production Editor Copy Editor Bill Lavender Lindsay Maples University of New Orleans University of New Orleans Executive Editors Klaus Frantz, Universität Innsbruck Susan Krantz, University of New Orleans Advisory Board Siegfried Beer Helmut Konrad Universität Graz Universität
    [Show full text]
  • Ludwig Van Beethoven Hdt What? Index
    LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father.
    [Show full text]
  • London's Symphony Orchestra
    London Symphony Orchestra Living Music Thursday 12 May 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT: LEIF OVE ANDSNES Schumann Piano Concerto INTERVAL Beethoven Symphony No 9 (‘Choral’) Michael Tilson Thomas conductor Leif Ove Andsnes piano Lucy Crowe soprano London’s Symphony Orchestra Christine Rice mezzo-soprano Toby Spence tenor Iain Paterson bass London Symphony Chorus Simon Halsey chorus director Concert finishes approx 9.50pm Supported by Baker & McKenzie 2 Welcome 12 May 2016 Welcome Living Music Kathryn McDowell In Brief A very warm welcome to tonight’s LSO performance BMW LSO OPEN AIR CLASSICS 2016 at the Barbican. This evening we are joined by Michael Tilson Thomas for his first concert since the The fifth annual BMW LSO Open Air Classics announcement of his appointment as LSO Conductor concert will take place on Sunday 22 May at 6.30pm. Laureate from September 2016, in recognition of Conducted by Valery Gergiev, the LSO will perform his wonderful music-making with the LSO and his an all-Tchaikovsky programme in London’s Trafalgar extraordinary commitment to the Orchestra. We are Square, free and open to all. delighted that his relationship with the LSO will go from strength to strength. lso.co.uk/openair This evening is the second concert in our LSO Artist Portrait series, focusing on pianist Leif Ove Andsnes. LSO AT THE BBC PROMS 2016 Following his performance of Mozart’s Piano Concerto No 20 on Sunday, he returns to play Schumann’s The LSO will be returning to this year’s BBC Proms at Piano Concerto. The Orchestra is also joined this the Royal Albert Hall for a performance of Mahler’s evening by the London Symphony Chorus, led by Symphony No 3 on 29 July.
    [Show full text]