Schubert and the Guitar
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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 -
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«. -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time. -
Franz Schubert: Inside, out (Mus 7903)
FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E. -
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, -
Connected by Music Dear Friends of the School of Music
sonorities 2021 The News Magazine of the University of Illinois School of Music Connected by Music Dear Friends of the School of Music, Published for the alumni and friends of the ast year was my first as director of the school and as a member School of Music at the University of Illinois at of the faculty. It was a year full of surprises. Most of these Urbana-Champaign. surprises were wonderful, as I was introduced to tremendously The School of Music is a unit of the College of Lcreative students and faculty, attended world-class performances Fine + Applied Arts and has been an accredited on campus, and got to meet many of you for the first time. institutional member of the National Association Nothing, however, could have prepared any of us for the of Schools of Music since 1933. changes we had to make beginning in March 2020 with the onset of COVID-19. Kevin Hamilton, Dean of the College of Fine + These involved switching our spring and summer programs to an online format Applied Arts with very little notice and preparing for a fall semester in which some of our activi- Jeffrey Sposato, Director of the School of Music ties took place on campus and some stayed online. While I certainly would never Michael Siletti (PhD ’18), Editor have wished for a year with so many challenges, I have been deeply impressed by Design and layout by Studio 2D the determination, dedication, and generosity of our students, faculty, alumni, and On the cover: Members of the Varsity Men’s Glee friends. -
Beethoven's Fourth Symphony: Comparative Analysis of Recorded Performances, Pp
BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Mark Christopher Ferraguto August 2012 © 2012 Mark Christopher Ferraguto BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY Mark Christopher Ferraguto, PhD Cornell University 2012 Despite its established place in the orchestral repertory, Beethoven’s Symphony No. 4 in B-flat, op. 60, has long challenged critics. Lacking titles and other extramusical signifiers, it posed a problem for nineteenth-century critics espousing programmatic modes of analysis; more recently, its aesthetic has been viewed as incongruent with that of the “heroic style,” the paradigm most strongly associated with Beethoven’s voice as a composer. Applying various methodologies, this study argues for a more complex view of the symphony’s aesthetic and cultural significance. Chapter I surveys the reception of the Fourth from its premiere to the present day, arguing that the symphony’s modern reputation emerged as a result of later nineteenth-century readings and misreadings. While the Fourth had a profound impact on Schumann, Berlioz, and Mendelssohn, it elicited more conflicted responses—including aporia and disavowal—from critics ranging from A. B. Marx to J. W. N. Sullivan and beyond. Recent scholarship on previously neglected works and genres has opened up new perspectives on Beethoven’s music, allowing for a fresh appreciation of the Fourth. Haydn’s legacy in 1805–6 provides the background for Chapter II, a study of Beethoven’s engagement with the Haydn–Mozart tradition. -
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. -
Piano Variations
Schubert Piano Variations Yevgeny Yontov Franz Schubert (1797–1828) spent in part at Zseliz in Hungary as music tutor to the two its quality as for its quantity, with settings of poems by major Piano Variations daughters of Count Johann Karl Esterházy von Galánta, and minor poets, a reflection of literary interests of the before returning to Vienna to lodge with a new friend, the period. His gift for the invention of an apt and singable 13 Variations on a theme by Anselm Hüttenbrenner ) Variation No. 5: Andante con moto 1:16 poet Johann Mayrhofer, an arrangement that continued melody is reflected in much else that he wrote. in A minor, D576 (1817) 14:23 ¡ Variation No. 6 1:15 until near the end of 1820, after which Schubert spent some Schubert enjoyed a close friendship with Anselm 1 Theme: Andantino 1:13 ™ Variation No. 7: Scherzando 1:15 months living alone, now able to afford the necessary rent. Hüttenbrenner in Vienna between 1815 and 1821. From a 2 Variation No. 1 0:49 £ Variation No. 8 1:46 By this period of his life it seemed that Schubert was on land-owning family in Graz, Hüttenbrenner, the eldest of 3 Variation No. 2 0:52 ¢ Variation No. 9: Adagio 1:37 the verge of solid success as a composer and musician. three brothers, studied with Antonio Salieri and was prolific 4 Variation No. 3 0:53 ∞ Variation No. 10: Allegro 3:11 Thanks to his friends, in particular the older singer Johann enough as a composer, although his career lay eventually 5 Variation No. -
1 the (50) Variations (Not by Beethoven) on a Theme by Diabelli – Monstrosity Or Monument? Professor Peter J. Roennfeldt
The (50) Variations (not by Beethoven) on a Theme by Diabelli – Monstrosity or Monument? Professor Peter J. Roennfeldt, Queensland Conservatorium Griffith University Diabelli’s Vaterländischer Künstlerverein (Patriotic Artists’ Association) project resulted in a two volume publication that appeared in 1823-1824. The more famous Part One comprises Beethoven’s final piano work Opus 120, but its companion volume has received relatively little artistic or scholarly attention. As an enterprising pedagogue, composer and publisher, Diabelli brought together a virtual kaleidoscope of composers then active in Vienna and the Austrian Imperial states. While not exactly without precedent or sequel, this unusual collective work could be described as a musical monstrosity. The 50 variations based on Diabelli’s Waltz in C were published purely in alphabetical order, thus exhibiting no overriding structural logic other than the implicit unity that his fecund theme provides. Further investigation reveals a work containing many points of interest, and one that invites various pedagogical and performance approaches. It is also a starting point for investigation into the careers and contributions of an extraordinarily diverse composers’ collective, including a host of lesser-known musicians that modern pianists and audiences might enjoy exploring further. A virtual ‘who’s who’ of Austrian music c.1820, Diabelli’s unusual conception and his extensive network of colleagues and acquaintances resulted in the creation of what is indeed a rare and valuable musical monument. Anton Diabelli (1781-1858) is best known today for three types of output: as a composer of pedagogical pieces for piano; as Schubert’s first publisher; and most notably as the instigator of the project based on his epigrammatic waltz theme that resulted in Beethoven’s final piano work. -
Introduction Schubert Familiar and Unfamiliar
Nineteenth-Century Music Review, 13 (2016), pp 3–9. © Cambridge University Press, 2016 doi:10.1017/S1479409815000488 Introduction Schubert Familiar and Unfamiliar: Continuing Conversations Lorraine Byrne Bodley Maynooth University Email: [email protected] James William Sobaskie Mississippi State University Email: [email protected] Two decades ago, the bicentenary celebrations of Franz Schubert’s birth in Duisberg, Graz, Oxford, Paris and Vienna confirmed that a warm spirit of collegiality, one rare among musicians today, had arisen and begun to flourish. Perhaps tired by the irresolvable controversy regarding Schubert’s sexuality, or taken with the newly emerging portrait of the composer and his art, many embraced the collaborative process of developing that image, engaging in cordial conversation regarding their shared fascination in print, in public and in private. The result was a burgeoning of literature in the field of Schubert studies, evidenced and furthered by the founding of five Schubert-centred journals, 1 including Cahiers Franz Schubert: Revue de musique classique et romantique, the 2 3 4 Schubert-Jahrbuch, The Schubertian, Schubert durch die Brille and Schubert: 5 Perspektiven. The wealth of research published in these and other journals has greatly enhanced our understanding of Schubert’s social circle, addressed histor- ical and biographical issues, drawn attention to neglected repertoire and changed 1 Cahiers Franz Schubert: Revue de musique classique et romantique 1–17 (Paris: Societé Franz Schubert, 1992–2009), edited by Xavier Hascher. 2 Schubert–Jahrbuch (Duisberg: Deutsche Schubert-Gesellschaft, 1996–), edited by Christiane Schumann. 3 The Schubertian (Leeds: Schubert Institute [UK], 1996–) edited by Crawford Howie. 4 Schubert durch die Brille (Vienna [1988/89,vols.1–3], then Tutzing [1990–2003,vols.4–30]: Internationales Franz Schubert Institut, 1988–2003), edited by Ernst Hilmar.