DOCSLIB.ORG

Reconsidering the Legacy of Alma Mahler

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reconsidering the Legacy of Alma Mahler Illinois State University ISU ReD: Research and eData Faculty and Staff Publications – Milner Library Milner Library 5-2021 Taking Her at Her Work: Reconsidering the Legacy of Alma Mahler Rachel E. Scott Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/fpml Part of the Musicology Commons Recommended Citation Scott, Rachel E., "Taking Her at Her Work: Reconsidering the Legacy of Alma Mahler" (2021). Faculty and Staff Publications – Milner Library. 136. https://ir.library.illinoisstate.edu/fpml/136 This Dissertation is brought to you for free and open access by the Milner Library at ISU ReD: Research and eData. It has been accepted for inclusion in Faculty and Staff Publications – Milner Library by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. TAKING HER AT HER WORK: RECONSIDERING THE LEGACY OF ALMA MAHLER by Rachel Elizabeth Scott A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Major: Music The University of Memphis May 2021 Copyright© Rachel Elizabeth Scott All rights reserved ii Acknowledgements I am fortunate to have learned from the finest faculty members at the University of Memphis. Dr. Kenneth Kreitner, Dr. Jeremy Orosz, Dr. Janet Page, Dr. Daniel Unowsky, and Professor Mary Wilson were a Dream Team of a committee and offered helpful input throughout the process. Dr. Page’s insatiable curiosity and encyclopedic knowledge of music in Vienna recruited me to the program and have inspired me throughout. My interest in the compositions of Alma Mahler has been nurtured by Dr. Orosz, who generously offered coursework tailored to my academic needs and provided timely and insightful readings of my work. I am indebted to my chair, Dr. Kreitner, who ventured far beyond his comfort zones of Renaissance Spain, nineteenth-century American amateur bands, and other cool stuff, to keep the committee’s work on track and who offered his support on numerous occasions. I also offer my thanks to Dr. Charles Crawford, Dr. Christine Eisel, Dr. Antonio de Velasco, Dr. Leah Windsor, and Dr. Andrei Znamenski—y’all are wonderful! My former colleagues in the University Libraries at the University of Memphis provided essential encouragement as I pursued this degree. Thank you, Brigitte Billeaudeaux, Linde Brocato, Karen Brunsting, Jamie Corson, Sofiya Dahman, Mark Danley, Pam Dennis, Kenny Haggerty, Caitlin Harrington, Matt Jabaily, Steve Knowlton, Ashley Roach-Freiman, Joel Roberts, Jennifer Schnabel, Lisa Sikkink, Irma Singarella, and Brannen Varner for your input on drafts—music related or not—and kindness. My former colleague Anna Neal and her wife Elaine Blanchard both deserve a special acknowledgement. Anna and I had so much fun exploring the songs of Alma Mahler, Fanny Hensel, Josephine Lang, and Clara Schumann; thanks to Anna and Elaine for hosting these priceless musical moments. I am also grateful to my current colleagues at iii Milner Library for their warm welcome and indulgence of my tendency to turn any conversation towards Alma Mahler. Last, but certainly not least, I am indebted to my family. My mother completed her dissertation as a mother of young children and while working fulltime, a challenge that I can appreciate better now. Thank you, mama, for modeling tenacity, encouraging me to pursue my dreams, and giving so generously of your time, snarmkies, and patience. My sisters and dad have provided loving support and encouragement; thank you each and all. Thank you, Gary, for taking our boys on so many little adventures this fall so that I could write in peace. I owe you; I fully support your pursuing a PhD at the University of Chicago after you retire (at 65 or older). Howard and Jimmie, thank you for understanding that mommy needed to work on Alma Mahler during many naptimes, evenings, and weekends; your drawings, love notes, and hugs gave me a big boost! May you grow up to respect women and their ambitions. iv ABSTRACT Scott, Rachel Elizabeth. PhD. The University of Memphis. May, 2021. “Taking Her at Her Work: Reconsidering the Legacy of Alma Mahler.” Major Professor: Kenneth Kreitner, PhD. Alma Mahler (1879–1964) grew up surrounded by artists in late nineteenth- century Vienna. Despite her musical training, demonstrated passion for music, and publication of several Lieder, Mahler’s identity as a composer has remained overshadowed by narratives surrounding her personal life and those of her husbands and lovers, not to mention the artistic work of her husbands and lovers. Increasingly, however, interest in Alma Mahler as a composer has been nurtured through creative engagement with that legacy, and frequently by women authors and artists. This dissertation explores the existing literature written by and related to Alma Mahler and identifies some approaches for reevaluating her legacy as a composer. Those writing about the life and legacy of Alma Mahler in the twenty-first century typically follow one of two established paths; that of the rational author writing the irrational female subject or that of creative, and frequently feminist, approaches to Mahler’s life and work. I propose a third path, one that acknowledges both of the aforementioned approaches, but that focuses on Mahler’s work instead of her words. By drawing attention to Mahler works—that is, her songs and the performance thereof—and considering how reception and recording of these songs has shifted over the past several decades, I am poised to assert that Mahler is a composer. The proliferation of diverging primary source materials surrounding her life and musical activities has prompted some to discount the narrative of Alma Mahler as a legitimate composer. This dissertation acknowledges the varied and often conflicting approaches to and perspectives on the idea of Alma Mahler as a composer and v investigates how her music and its performance have been received in light of, and sometimes despite, her own writings. My work reconciles diverse facets of the composer by exploring her own words, the words of others, and, perhaps most importantly, her musical work in contemporary performance. It is my contention that by investigating Mahler through all of these frames, we can identify and contextualize the hidden but significant musical contributions of a young, female song composer in turn-of-the- century Vienna. vi Table of Contents Chapter Page List of Figures viii List of Examples ix Introduction. Alma Mahler in the 21st Century: Words Versus Works 1 1. Alma Mahler as Composer: Gender and Creativity in fin-de-siècle Vienna 7 2. In Her Own Words: The Alma Problem and Life Writing in Music Historiography 45 3. In His Words: Alma Mahler in the Male Imagination 79 4. Taking Her at Her Work: Text Selection and Musical Characteristics of Mahler’s Songs 110 5. Shot into the Air Like a Rocket: Exploring Climax in Mahler’s Lieder 152 6. Take Their Work for It: Establishing Mahler’s Legacy Through Performance 175 7. Capturing Alma Mahler: In the Middle of Life 207 Bibliography 228 Copyright Permissions 246 vii List of Figures Figure Page 3.1. Alma Mahler’s dating app image by Andrew Crust 90 4.1. Rilke’s “Leise weht ein erstes Blühn” in graphic notation 140 5.1. Musical climax in Mahler Lieder 164 5.2. Musical Climax in Zemlinsky Lieder 169 6.1. OCLC records for recordings featuring Alma Mahler, by decade 182 6.2. Alma Mahler Recordings by decade and type 183 6.3. Alma Mahler songs by voice type and decade 185 6.4. YouTube results list with Data Miner Recipe Creator 189 6.5. Data Miner’s “Crawl Scrape” 190 6.6. Alma Mahler songs uploaded to YouTube, by year 192 6.7. Licensed Alma Mahler songs uploaded to YouTube in 2014-2018, by provider 193 6.8. Licensed and unlicensed recordings of Mahler songs 2014-2020 193 6.9. Mahler songs by singer’s voice type 197 6.10. Mahler songs on Youtube by title 199 6.11. Voyant Tools word cloud of descriptions in Alma Mahler YouTube Videos 201 6.12. Voyant Tools word cloud of comments for Alma Mahler YouTube Videos 203 7.1. HathiTrust record for “Lulu Galop,” incorrectly attributed to Alma Mahler 208 7.2. HathiTrust scan of “Lulu Galop” 208 7.3. “Hälfte des Lebens,” dated 1925 210 7.4. “Hälfte des Lebens,” dated 1927 211 7.5. Dedication from Alma Mahler to “my beloved” Helene Berg 213 7.6. “Einsamer Gang,” autograph manuscript, dated 16 September 1899 214 7.7. “Der Erkennende,” 1915 215 viii List of Examples 4.1. Intervallic leaps in the vocal line in “Ansturm” 128 4.2. Ascending chromatic passage in “Laue Sommernacht” 129 4.3. Ascending scalar passage in “In meines Vaters Garten” 130 4.4. Static chordal opening of “Ekstase” 131 4.5. Accompaniment evoking crashing waves in “Lobgesang” 131 4.6. Tonally ambiguous opening to “Waldseligkeit” 135 4.7. Obscured tonality in “Laue Sommernacht” 136 4.8. Four-square phrases in “In meines Vaters Garten” 137 4.9. Four-square with instance of 4+2 in “In meines Vaters Garten” 138 4.10. Zemlinsky, “Ansturm,” measures 1–3 144 4.11. Mahler, “Ansturm,” measures 1–3 144 4.12. Mahler, “Ansturm,” measures 8–14 145 4.13. Mahler, “Ansturm,” measures 15–18 145 4.14. Zemlinsky, “Ansturm,” measures 17 and 18 146 4.15. Mahler, “Ansturm,” measures 16 and 17 147 4.16. Zemlinsky, “Ansturm,” measures 17–29 149 5.1. Mahler’s song “Laue Sommernacht,” measures 14–22 163 7.1. “Hälfte des Lebens,” 1927, initial statement of the row 221 ix INTRODUCTION: ALMA MAHLER IN THE 21ST CENTURY: WORDS VERSUS WORKS I make you up from the lines of a few songs you wove: I wander among flowers and blossom myself along.1 Alma Mahler (1879–1964) grew up surrounded by artists in late nineteenth century Vienna.2 Despite her musical training, demonstrated passion for music, and publication of several Lieder, Mahler’s identity as a composer has remained overshadowed by narratives surrounding her personal life and those of her husbands, not to mention the artistic work of her husbands and lovers.
Load more

Recommended publications
  • 029I-HMVCX1924XXX-0000A0.Pdf
    This Catalogue contains all Double-Sided Celebrity Records issued up to and including March 31st, 1924. The Single-Sided Celebrity Records are also included, and will be found under the records of the following artists :-CLARA Burr (all records), CARUSO and MELBA (Duet 054129), CARUSO,TETRAZZINI, AMATO, JOURNET, BADA, JACOBY (Sextet 2-054034), KUBELIK, one record only (3-7966), and TETRAZZINI, one record only (2-033027). International Celebrity Artists ALDA CORSI, A. P. GALLI-CURCI KURZ RUMFORD AMATO CORTOT GALVANY LUNN SAMMARCO ANSSEAU CULP GARRISON MARSH SCHIPA BAKLANOFF DALMORES GIGLI MARTINELLI SCHUMANN-HEINK BARTOLOMASI DE GOGORZA GILLY MCCORMACK Scorn BATTISTINI DE LUCA GLUCK MELBA SEMBRICH BONINSEGNA DE' MURO HEIFETZ MOSCISCA SMIRN6FF BORI DESTINN HEMPEL PADEREWSKI TAMAGNO BRASLAU DRAGONI HISLOP PAOLI TETRAZZINI BI1TT EAMES HOMER PARETO THIBAUD CALVE EDVINA HUGUET PATTt WERRENRATH CARUSO ELMAN JADLOWKER PLANCON WHITEHILL CASAZZA FARRAR JERITZA POLI-RANDACIO WILLIAMS CHALIAPINE FLETA JOHNSON POWELL ZANELLIi CHEMET FLONZALEY JOURNET RACHM.4NINOFF ZIMBALIST CICADA QUARTET KNIIPFER REIMERSROSINGRUFFO CLEMENT FRANZ KREISLER CORSI, E. GADSKI KUBELIK PRICES DOUBLE-SIDED RECORDS. LabelRed Price6!-867'-10-11.,613,616/- (D.A.) 10-inch - - Red (D.B.) 12-inch - - Buff (D.J.) 10-inch - - Buff (D.K.) 12-inch - - Pale Green (D.M.) 12-inch Pale Blue (D.O.) 12-inch White (D.Q.) 12-inch - SINGLE-SIDED RECORDS included in this Catalogue. Red Label 10-inch - - 5'676 12-inch - - Pale Green 12-inch - 10612,615j'- Dark Blue (C. Butt) 12-inch White (Sextet) 12-inch - ALDA, FRANCES, Soprano (Ahl'-dah) New Zealand. She Madame Frances Aida was born at Christchurch, was trained under Opera Comique Paris, Since Marcltesi, and made her debut at the in 1904.
    [Show full text]
  • Gustav Mahler : Conducting Multiculturalism
    GUSTAV MAHLER : CONDUCTING MULTICULTURALISM Victoria Hallinan 1 Musicologists and historians have generally paid much more attention to Gustav Mahler’s famous career as a composer than to his work as a conductor. His choices in concert repertoire and style, however, reveal much about his personal experiences in the Austro-Hungarian Empire and his interactions with cont- emporary cultural and political upheavals. This project examines Mahler’s conducting career in the multicultural climate of late nineteenth-century Vienna and New York. It investigates the degree to which these contexts influenced the conductor’s repertoire and questions whether Mahler can be viewed as an early proponent of multiculturalism. There is a wealth of scholarship on Gustav Mahler’s diverse compositional activity, but his conducting repertoire and the multicultural contexts that influenced it, has not received the same critical attention. 2 In this paper, I examine Mahler’s connection to the crumbling, late nineteenth- and early twentieth-century depiction of the Austro-Hungarian Empire as united and question whether he can be regarded as an exemplar of early multiculturalism. I trace Mahler’s career through Budapest, Vienna and New York, explore the degree to which his repertoire choices reflected the established opera canon of his time, or reflected contemporary cultural and political trends, and address uncertainties about Mahler’s relationship to the various multicultural contexts in which he lived and worked. Ultimately, I argue that Mahler’s varied experiences cannot be separated from his decisions regarding what kinds of music he believed his audiences would want to hear, as well as what kinds of music he felt were relevant or important to share.
    [Show full text]
  • Report to the Friends of Music
    Summer, 2020 Dear Friends of the Music Department, The 2019-20 academic year has been like no other. After a vibrant fall semester featur- ing two concerts by the Parker Quartet, the opening of the innovative Harvard ArtLab featuring performances by our faculty and students, an exciting array of courses and our inaugural department-wide throwdown–an informal sharing of performance projects by students and faculty–we began the second semester with great optimism. Meredith Monk arrived for her Fromm Professorship, Pedro Memelsdorff came to work with the Univer- sity Choir as the Christoph Wolff Scholar, Esperanza Spalding and Carolyn Abbate began co-teaching an opera development workshop about Wayne Shorter’s Iphigenia, and Vijay Iyer planned a spectacular set of Fromm Players concerts and a symposium called Black Speculative Musicalities. And then the world changed. Harvard announced on March 10, 2020 that due to COVID-19, virtual teaching would begin after spring break and the undergraduates were being sent home. We had to can- cel all subsequent spring events and radically revise our teaching by learning to conduct classes over Zoom. Our faculty, staff, and students pulled together admirably to address the changed landscape. The opera workshop (Music 187r) continued virtually; students in Vijay Iyer’s Advanced Ensemble Workshop (Music 171) created an album of original mu- sic, “Mixtape,” that is available on Bandcamp; Meredith Monk created a video of students in her choral class performing her work in progress, Fields/Clouds, and Andy Clark created an incredible performance of the Harvard Choruses for virtual graduation that involved a complicated process of additive recording over Zoom.
    [Show full text]
  • Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
    Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett:
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • Modeling Radar Rainfall Estimation Uncertainties: Random Error Model A
    Modeling Radar Rainfall Estimation Uncertainties: Random Error Model A. AghaKouchak1; E. Habib2; and A. Bárdossy3 Abstract: Precipitation is a major input in hydrological models. Radar rainfall data compared with rain gauge measurements provide higher spatial and temporal resolutions. However, radar data obtained form reflectivity patterns are subject to various errors such as errors in reflectivity-rainfall ͑Z-R͒ relationships, variation in vertical profile of reflectivity, and spatial and temporal sampling among others. Characterization of such uncertainties in radar data and their effects on hydrologic simulations is a challenging issue. The superposition of random error of different sources is one of the main factors in uncertainty of radar estimates. One way to express these uncertainties is to stochastically generate random error fields and impose them on radar measurements in order to obtain an ensemble of radar rainfall estimates. In the present study, radar uncertainty is included in the Z-R relationship whereby radar estimates are perturbed with two error components: purely random error and an error component that is proportional to the magnitude of rainfall rates. Parameters of the model are estimated using the maximum likelihood method in order to account for heteroscedasticity in radar rainfall error estimates. An example implementation of this approached is presented to demonstrate the model performance. The results confirm that the model performs reasonably well in generating an ensemble of radar rainfall fields with similar stochastic characteristics and correlation structure to that of unperturbed radar estimates. DOI: 10.1061/͑ASCE͒HE.1943-5584.0000185 CE Database subject headings: Rainfall; Simulation; Radars; Errors; Models; Uncertainty principles. Author keywords: Rainfall simulation; Radar random error; Maximum likelihood; Rainfall ensemble; Uncertainty analysis.
    [Show full text]
  • Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
    Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years.
    [Show full text]
  • Tape ID Title Language Type System
    Tape ID Title Language Type System 1361 10 English 4 PAL 1089D 10 Things I Hate About You (DVD) English 10 DVD 7326D 100 Women (DVD) English 9 DVD KD019 101 Dalmatians (Walt Disney) English 3 PAL 0361sn 101 Dalmatians - Live Action (NTSC) English 6 NTSC 0362sn 101 Dalmatians II (NTSC) English 6 NTSC KD040 101 Dalmations (Live) English 3 PAL KD041 102 Dalmatians English 3 PAL 0665 12 Angry Men English 4 PAL 0044D 12 Angry Men (DVD) English 10 DVD 6826 12 Monkeys (NTSC) English 3 NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian 4 PAL 6016 13 Conversations About One Thing (NTSC) English 1 NTSC 0189DN 13 Going On 30 (DVD 1) English 9 DVD 7080D 13 Going On 30 (DVD) English 9 DVD 0179DN 13 Moons (DVD 1) English 9 DVD 3050D 13th Warrior (DVD) English 10 DVD 6291 13th Warrior (NTSC) English 3 nTSC 5172D 1492 - Conquest Of Paradise (DVD) English 10 DVD 3165D 15 Minutes (DVD) English 10 DVD 6568 15 Minutes (NTSC) English 3 NTSC 7122D 16 Years Of Alcohol (DVD) English 9 DVD 1078 18 Again English 4 Pal 5163a 1900 - Part I English 4 pAL 5163b 1900 - Part II English 4 pAL 1244 1941 English 4 PAL 0072DN 1Love (DVD 1) English 9 DVD 0141DN 2 Days (DVD 1) English 9 DVD 0172sn 2 Days In The Valley (NTSC) English 6 NTSC 3256D 2 Fast 2 Furious (DVD) English 10 DVD 5276D 2 Gs And A Key (DVD) English 4 DVD f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French 4 PAL X059D 20 30 40 (DVD) English 9 DVD 1304 200 Cigarettes English 4 Pal 6474 200 Cigarettes (NTSC) English 3 NTSC 3172D 2001 - A Space Odyssey (DVD) English 10 DVD 3032D 2010 - The Year
    [Show full text]
  • Westminsterresearch the Artist Biopic
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
    [Show full text]
  • Anna Bahr-Mildenburg in Den Augen Gustav Mahlers (Mit Dem Sie Auch Eine Längere Liebesbeziehung Verband) Die
    Bahr-Mildenburg, Anna Mannes und in Inszenierungen von Max Reinhard) „Anna von Mildenburg war die erste, durch deren Künst- lerschaft Mahler die großen Frauengestalten des Musik- dramas in ihrer ganzen erschütternden Macht zeigen konnte: Brünnhilde und Isolde, Ortrud und Elisabeth, Fi- delio, Glucks Klytämnestra und die Donna Anna; und auch Amneris und Amelia, die Milada des Dalibor, Pfitz- ners Minneleide und die Santuzza. Das Leid der Frau ist von keiner Schauspielerin, auch von der Duse nicht, in solcher Größe gestaltet worden wie von dieser Sängerin, in der alle dunklen Gewalten der Tragödie lebendig ge- worden sind. Unsere Zeit hat keine größere tragische Künstlerin als sie.“ (Richard Specht. Gustav Mahler. Berlin 1913, zitiert nach Franz Willnauer. Gustav Mahler. „Mein lieber Trotzkopf, meine süße Mohnblume“. Briefe an Anna von Milden- burg. Wien: Zsolnay, 2006, S. 439 f.) Profil Aufgrund ihrer fulminanten Stimme (hochdramatischer Sopran), ihrer sängerischen und persönlichen Ausdrucks- kraft und ihrer darstellerischen Intelligenz war Anna Bahr-Mildenburg in den Augen Gustav Mahlers (mit dem sie auch eine längere Liebesbeziehung verband) die Die Sängerin Anna Bahr-Mildenburg, Rollenbild von Julius ideale „singende Tragödin“, die seine Forderung nach Weisz, o. J. emotionalem Tiefgang der musikdramatischen Interpre- tation erfüllte. Im Bayreuth der Ära Cosima Wagner bril- Anna Bahr-Mildenburg lierte sie als überzeugende Interpretin des von Richard Geburtsname: Marie Anna Wilhelmine Elisabeth Wagner übernommenen Ideals des „deutschen Belcan- Bellschan von Mildenburg to“. Großen Ruhm erwarb sie sich auch als Lehrerin mit der damals völlig neuen Methode, die übliche Gesangs- * 29. November 1872 in Wien, Österreich ausbildung durch musikdramatischen Unterricht zu er- † 27. Januar 1947 in Wien, Österreich gänzen und ihre Schüler zu wahrhaftiger Bühnendarstel- lung anzuhalten.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. 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 bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI 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. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L.
    [Show full text]
  • La Phil and Gustavo Dudamel Announce 2020/21 Season That Celebrates the Music of the Americas, Expands the Musical World with Mo
    LA PHIL AND GUSTAVO DUDAMEL ANNOUNCE 2020/21 SEASON THAT CELEBRATES THE MUSIC OF THE AMERICAS, EXPANDS THE MUSICAL WORLD WITH MORE THAN TWO DOZEN COMMISSIONS, AND BRINGS EXCITING NEW VOICES TO BELOVED MASTERWORKS Dudamel launches multi-year Pan-American Music Initiative celebrating the vision and creativity of artists from across the Americas; inaugural year curated by composer Gabriela Ortiz features commissions and multi-disciplinary collaborations America: The Stories We Tell, a season-long musical journey into the ways in which narrative shapes American identity Seoul Festival, curated by composer Unsuk Chin, links South Korea’s cultural scene to the city with America’s largest Korean population The return of the landmark Tristan Project led by Esa-Pekka Salonen, with direction by Peter Sellars and visuals by Bill Viola, featuring Nina Stemme, Stephen Gould, Michelle DeYoung and Franz Josef Selig Katia and Marielle Labèque in an immersive multimedia journey, Supernova, with Barbara Hannigan and director Netia Jones, and concerts featuring new music by Nico Muhly and The National’s Bryce Dessner Season Subscription Series Available Now Single Ticket Sales Begin Sunday, August 23, 2020 Los Angeles, CA (February 5, 2020) – Los Angeles Philharmonic Music & Artistic Director Gustavo Dudamel and David C. Bohnett Chief Executive Officer Chair Chad Smith today announced the 2020/21 Walt Disney Concert Hall season featuring three trailblazing new projects: Pan-American Music Initiative and America: The Stories We Tell led by Gustavo Dudamel and Seoul Festival curated by Unsuk Chin; the premieres of 27 LA Phil commissions; the revival of LA Phil productions including the landmark Tristan Project Page 1 of 11 collaboration of Esa-Pekka Salonen, Peter Sellars and Bill Viola; and performances by world- renowned guest artists including Yuja Wang, Hélène Grimaud, Lang Lang, Itzhak Perlman, Yefim Bronfman, Leila Josefowicz, Katia and Marielle Labèque and Barbara Hannigan.
    [Show full text]