DOCSLIB.ORG

Chromatic Evolution of the Pre-Recapitulatory Harmony in Felix Mendelssohn's Songs Without Words

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chromatic Evolution of the Pre-Recapitulatory Harmony in Felix Mendelssohn's Songs Without Words Chromatic Evolution of the Pre-Recapitulatory Harmony in Felix Mendelssohn's Songs without Words Item Type text; Electronic Thesis Authors Abdalla Abarca, Faez Ismael 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 23:19:57 Link to Item http://hdl.handle.net/10150/622842 CHROMATIC EVOLUTION OF THE PRE-RECAPITULATORY HARMONY IN FELIX MENDELSSOHN’S SONGS WITHOUT WORDS by Faez Ismael Abdalla Abarca ____________________________ Copyright © Faez Ismael Abdalla Abarca 2016 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2016 2 STATEMENT BY AUTHOR The thesis titled Chromatic Evolution of the Pre-Recapitulatory Harmony in Felix Mendelssohn’s Songs Without Words prepared by Faez Ismael Abdalla Abarca has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Faez Ismael Abdalla Abarca APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date show below: _____________________________________ ___12 / 01 / 2016___ Dr. David Boyd Pomeroy Date Associate Professor of Music Theory 3 ACKNOWLEDGMENTS I would like to thank my family—in particular my mother, my father, and my sister—for their love, support, and especially for the sacrifices they made to give me the opportunities that I enjoy today. I owe special gratitude to my professor and advisor, Dr. Boyd Pomeroy, for his kindness, encouragement, and instruction. Because of him I am now a better scholar, a more sensitive musician, and a more proficient (baby) Schenkerian. I am deeply grateful to my theory professors Dr. Donald Traut and Dr. John Muniz for their guidance, and for helping me make this a better thesis. I would also like to thank the faculty at the Fred Fox School of Music, in particular Dr. Dawn Corso, Dr. Jay Rosenblatt, Dr. John Brobeck, and Dr. Janet Sturman. I am also grateful to my friend, future colleague, music mentor, and partner in mischief Gabriel Venegas, his comments and suggestions helped me greatly during the analytical stages of this work. To my dear neighbor and library buddy José Luis Puerta who, from day one, made me feel welcome in Tucson. To my friends Juan Carlos Merello and Marjorie Choque for their unconditional support and kindness. To my writing advisor Leslie Dupont for helping me become a better writer. And to my friends Verónica, Natalia, Ingvi, Arlene, Rolando, Miguel, Cecilio, Olman, and Mariana for making this a more agreeable experience. Finally, I am grateful to the faculty at the University of Costa Rica for helping me pursue my master studies. I am particularly indebted to María Clara Vargas, Fernando 4 Zúñiga, Alonso Canales, Álvaro Artávia, Marvin Camacho, Gerardo Duarte, Guillermo Rosabal, Alex Murillo, Manuel Matarrita, and the staff of the Office of International Affairs. 5 DEDICATION A Ma, Pa, Tu, y Luna, por su amor y apoyo a lo largo de este proceso. 6 TABLE OF CONTENTS STATEMENT BY AUTHOR ............................................................................................ 2 ACKNOWLEDGMENTS .................................................................................................. 3 DEDICATION .................................................................................................................... 5 TABLE OF CONTENTS .................................................................................................... 6 LIST OF FIGURES ............................................................................................................ 9 LIST OF PLATES ............................................................................................................ 10 LIST OF TABLES ............................................................................................................ 11 LIST OF GRAPHS ........................................................................................................... 12 LIST OF ABBREVIATIONS ........................................................................................... 15 ABSTRACT ...................................................................................................................... 16 INTRODUCTION ............................................................................................................ 17 CHAPTER ONE: Preliminaries........................................................................................ 19 1. Intent and Scope of the Study ................................................................. 19 2. Review of Scholarly Literature ............................................................... 22 3. Mendelssohn’s SWWs: An Overview .................................................... 26 7 Table of Contents — Continued CHAPTER TWO: Theoretical Framework ...................................................................... 31 1. Ternary Form........................................................................................... 32 a. Exposition ............................................................................................ 33 b. Contrasting Middle .............................................................................. 35 i. Dominant Prolongation........................................................................ 36 ii. Third Divider....................................................................................... 38 c. Recapitulation ...................................................................................... 39 2. Pre-Recapitulatory Harmony................................................................... 40 a. Type 1: Root-position Dominant ......................................................... 41 b. Type 2: First-inversion Dominant Seventh ......................................... 42 c. Type 3: Dominant of the Mediant ....................................................... 44 d. Displaced Pre-Recapitulatory Dominants ........................................... 47 CHAPTER THREE: Chromatic Evolution....................................................................... 53 Phase 1 (1829–1832): Initial Type 1 Phase ...................................................... 58 Phase 2 (1833–1835): Exploratory Phase ........................................................ 62 Phase 3 (1836–1839): Intermediary Type 2 Phase ........................................... 72 Phase 4 (1841–1843): Displaced Type 1 Phase ............................................... 76 8 Table of Contents — Continued Phase 5 (1843–1844): Combinatory, Third-Divider Phase .............................. 84 Phase 6 (1845): Final Type 3 Phase ................................................................. 89 CLOSING REMARKS ..................................................................................................... 95 REFERENCES ................................................................................................................. 97 APPENDIX A: Tables .................................................................................................... 102 APPENDIX B: Graphs ................................................................................................... 112 APPENDIX C: Plates ..................................................................................................... 144 APPENDIX D: Evolutionary Diagram ........................................................................... 150 9 LIST OF FIGURES Figure 2.1. Fux’s Gradus ad Parnassum, Figures 63 and 64 ........................................... 49 Figure 2.2. Harmonic-Thematic Displacement ................................................................. 50 Figure 3.1. Deep-middleground voice-leading models of three hypothetical pieces in ternary form .......................................................................................................... 54 Figure 3.2. Chromatic spectrum........................................................................................ 56 Figure 3.3. Example of the tonic/leading-tone complex in C major. ................................ 63 10 LIST OF PLATES Plate 1. Carl Schachter’s analysis of op. 19b no. 1 in E ................................................. 144 Plate 2. William Rothstein’s analysis of op. 30 no. 6 in f♯............................................. 145 Plate 3. Carl Schachter’s analysis of op. 102 no. 4 in g .................................................. 145 Plate 4. Felix-Eberhard von Cube’s analysis of op. 67 no. 4 in C .................................. 146 Plate 5. Allen Cadwallader’s analysis of op.
Load more

Recommended publications
  • Rncm Chamber Music Festival Songs Without Words Rncm Chamber Music Festival Songs Without Words
    Friday 04 – Sunday 06 March 2016 RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS WELCOME The RNCM Chamber Music Festival plays an enormous role in the story of the College and is a major event in our calendar. Chamber music is at the core at what we do - the RNCM has a proud tradition of chamber ensemble training and our alumni appear with high profile ensembles such as the Elias, Heath and Navarra String Quartets plus the Gould Piano Trio to name but a few. Every year, the Chamber Music Festival goes from strength to strength, presenting the opportunity to see our wonderful students, internationally renowned staff and special guests perform beautiful music across a jam-packed weekend. This year is no exception, as we explore German Romanticism in Songs Without Words. We focus particularly on the music of Mendelssohn and Schumann and our students will be involved in a major composition project, as they are asked to create responses to Mendelssohn’s Songs Without Words. So the Festival will include works from across the 19th century but will also dip into the 20th century with composers such as Richard Strauss. This year’s line-up features some of the finest musicians performing today including the Talich Quartet, Elias Quartet, Michelangelo Quartet, plus RNCM Junior Fellows the Solem Quartet and our International Artist chamber ensemble the Diverso String Quartet. We also welcome chamber groups from Chetham’s, St Mary’s, Junior RNCM, the Royal Irish Academy of Music and Sheffield Music Academy. So please join us and immerse yourself in this weekend of lush musical landscapes.
    [Show full text]
  • Musmeds&Notes-October 21, 2020
    MUSICAL MEDITATIONS: CELEBRATING CLASSICAL MUSIC Wednesday, October 21, 2020 * * * Songs without Words………………………………………...….Felix Mendelssohn Op. 19, No. 1: Andante con moto Op. 19, No. 4: Moderato Op. 102, No. 3: Presto Sonata Op. posth. 164, D. 537…………………..…………………Franz Schubert Allegro, ma non troppo Allegretto, quasi Andantino Allegro vivace Karen Harvey, piano * * * Thank you for tuning in to today’s musical meditation. Please consider joining us next week, which will feature music of Bach, Copland, Satie and Griffes. Notes on today’s music Jakob Ludwig Felix Mendelssohn Bartholdy (February 3, 1809 – November 4, 1847), a.k.a. Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn's compositions incluDe symphonies, concertos, piano music, organ music and chamber music. His best-known works incluDe the overture and incidental music for A Midsummer Night's Dream (containing the famous Wedding March), the Italian Symphony, the Scottish Symphony, the oratorio St. Paul, the oratorio Elijah, the overture The Hebrides, the mature Violin Concerto and the String Octet. The meloDy for the Christmas carol "Hark! The HeralD Angels Sing" is also his. Songs Without Words are his most famous solo piano compositions. A grandson of the philosopher Moses MenDelssohn, Felix MenDelssohn was born into a prominent Jewish family, anD though he was recogniseD early as a musical proDigy, his parents were cautious and did not seek to capitalise on his talent. MenDelssohn enjoyeD early success in Germany, anD singlehandedly reviveD interest in the music of Johann Sebastian Bach with his performance of the St. Matthew Passion in 1829.
    [Show full text]
  • Words Without Music Free
    FREE WORDS WITHOUT MUSIC PDF Philip Glass | 432 pages | 02 Apr 2015 | FABER & FABER | 9780571323722 | English | London, United Kingdom WORDS WITHOUT MUSIC | Kirkus Reviews An award-winning team of journalists, designers, and videographers who tell brand stories through Fast Company's distinctive lens. Leaders who are shaping the future of business in creative ways. New workplaces, new food sources, new medicine--even an entirely new economic system. Want to stream Heroes, read the interactive novel, then bid online for artwork from the show? Thank Comstock for all that, too. The economics of television used to be simple. Do you understand how to make money today, when I can watch 30 Rock pretty much Words Without Music We understand it a lot better than we used to. Digital media allow us to open up new windows without the cannibalization you might expect. So yes, we can offer 30 Rock in preview, then on-air, then streaming, then iTunesthen mobile, and then syndication. Some know what they want, some less so. They expect us to Words Without Music in on targeted consumers: What do we know about them, and how do we reach them? A lot of those are repeat viewers. Others are time-shifting. It has to. We have to find the right solution. Words Without Music personal expression [by viewers], the desire to be involved in the storytelling. With success, you get a bit more confident. But we still have to be more focused and more Words Without Music. This business is hypersensitive like that. You have to pick a path, keep to it, and feel good about it.
    [Show full text]
  • September 1918) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1918 Volume 36, Number 09 (September 1918) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 36, Number 09 (September 1918)." , (1918). https://digitalcommons.gardner-webb.edu/etude/650 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE PRESSERS MUSICAL MAGAZINE SEPTEMBER 1918 NINE MUSES AND APOLLO MUSIC WILL HELP WIN THE WAR THE MUSIC-LOVERS OF AMERICA PROUDLY POINT TO THE IMMENSE ACCOMPLISHMENTS OF THE ART IN THIS HOUR OF NATIONAL CRISIS BY STIMULATING PATRIOTISM MAINTAINING GOOD CHEER AROUSING RECRUITING RAISING WAR MILLIONS INSPIRITING FIGHTERS ENTERTAINING “OUR MEN” COMFORTING THE WOUNDED MUSIC IN OUR HOMES KEEPS COURAGE IN OUR HEARTS PRICE 20 CENTS $1.50 A YEAR THE ETUDE SEPTEMBER 1918 Page 557 "Just Out! New and Important publications An Absolutely New RECENT MUSIC PUBLICATIONS OF MERIT_ SELECTED Teaching Aid BE CONVINCED THAT THE JJWJM- VOCAL MATERIAL PIANOSCRIPT BOOK^ i ALBUMS of PIANO MUSIC j TIONS OF THEO.
    [Show full text]
  • 1 Rockport Chamber Music Festival 2018 Opening Night
    1 ROCKPORT CHAMBER MUSIC FESTIVAL 2018 (r)Evolution June 15-July 15, 2018 BARRY SHIFFMAN, artistic director OSVALDO GOLIJOV, composer-in-residence Location: Shalin Liu Performance Center Friday, June 15, 2018 8 PM OPENING NIGHT Miriam Khalil, soprano | Barry Shiffman, violin/viola | Danny Koo, violin | Roberto Diaz, viola | Milena Pajaro-van de Stadt, viola | Andres Díaz, cello | Clive Greensmith, cello | Roberto Occhipinti, bass | Tara Helen O’Connor, flute | Todd Palmer, clarinet | James Sommerville, horn | Claudio Ragazzi, guitar | Ina Zdorovetchi, harp | Michael Ward- Bergemann, hyper accordion | Dave Burns, percussion | Jeremy Flower, laptop Joel Ivany, director | Jason Hand, lighting designer String Sextet in D minor, Op. 70 (Souvenir de Florence) (1887-92) Pyotr Il’Yich Tchaikovsky (1840-1893) Ayre, for soprano and ensemble (2004) Osvaldo Golijov (b. 1960) Saturday, June 16, 2018 4 PM KAFKA AND SON Alon Nashman, actor and creator ENSEMBLE Danny Koo, violin | Barry Shiffman, viola | Andres Diaz, cello Roberto Occhipinti, bass | Tara Helen O'Connor, flute | Todd Palmer, clarinet LULLABY AND DOINA, FOR FLUTE, CLARINET, VIOLIN, VIOLA, CELLO AND DOUBLE-BASS (2001) Osvaldo Golijov (b. 1960) KAFKA AND SON (one-act play) Musical Accompaniment: YIDDISHBBUK (1992) Osvaldo Golijov (b. 1960) Saturday, June 16, 2018 8 PM MONTROSE TRIO Jon Kimura Parker, piano | Martin Beaver, violin | Clive Greensmith, cello With Barry Shiffman, viola Pre-concert talk, 7 PM Piano Trio No. 2, in B minor, Op. 76 (1933) Joaquín Turina (1882-1949) Piano Trio No. 2, in C minor, Op. 66 (1845) Felix Mendelssohn (1809-1847) Piano Quartet No. 1, in G minor, Op. 25 (1861) Johannes Brahms (1833-1897) 2 Sunday, June 17, 2018 5 PM Frederic Chiu, piano | Andres Diaz, cello | Todd Palmer, clarinet Percussion: Dave Burns, Matt Sharrock, Aaron Trant, Michael Williams Pre-concert talk, 4 PM Snow in June Erbarme dich, mein Gott from St.
    [Show full text]
  • November 1916) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1916 Volume 34, Number 11 (November 1916) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 34, Number 11 (November 1916)." , (1916). https://digitalcommons.gardner-webb.edu/etude/630 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. presser’s musical magazine THE ETUDE 1 THE ETUDE 761 Choicest dates of the Arabian date crop, Dromedary Dates come to you as fresh and dean as if you picked them yourself in the mellowing sunlight of the East. After being carefully selected, they are packed three layers deep in air-tight, dust-proof packages. Eat Dromedary Dates. They are appetizing as a food, as a confection, as a dainty. Better than candy for children. Send for Free Cook Book Containing 100 Prize Recipes for Date Dishes THE HILLS BROTHERS COMPANY, Dept. 37, 375 Washington Street, New York Dromedary And wonderful in tone. An instrument that will endure and become more cherished as the years go by.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the t®rt 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, be^nning at the upper left-hand comer 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 Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 FELIX MENDELSSOHN-BARTHOLDY ' S MUSIC FOR MEN'S VOICES INCLUDING A DETAILED ANALYSIS OF FESTGESAMS: AN DIE KÔNSTLER, OPUS 68 AND ZNEI GEISTLICHE MÂNNERCHÔRE, OPUS 115 WITH SUGGESTIONS FOR REHEARSAL AND PERFORMANCE DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University by Joseph H.
    [Show full text]
  • Fingal's Cave Grade 12 2020 FINGAL's CAVE 1
    Fingal’s Cave Grade 12 2020 FINGAL’S CAVE 1. Composer 2. Dates and Style 3. The Concert Overture 4. Composition: Titles, dates, form, notes, etc. 5. Description 6. Exam questions and answers 1. Composer Full names: Felix Mendelssohn-Bartholdy, commonly known as Mendelssohn. German pianist and composer of the early Romantic period. 2. Dates: 1809-1847 General: Mendelssohn’s compositions include symphonies, concertos, piano music and chamber music. His best-known works include his Overture and Incidental music to A Midsummer Night’s Dream, the Italian Symphony, the Scottish Symphony, the oratorio Elijah, the overture The Hebrides, his mature Violin Concerto, and his Octet for Strings. The melody for the Christmas carol “Hark! The Herald Angels Sing” is also his. Mendelssohn’s Songs Without Words (character pieces) are his most famous solo piano compositions. Contemporaries: Chopin, Schumann, Liszt, Berlioz, Weber. 3. The Concert Overture (definition) i. A concert overture has one movement and a descriptive title. ii. It is usually in sonata/first part form and may contain an introduction. The exposition is not necessarily repeated. It may be compared to the first movement of a symphony. iii. The romantic concert overture was modelled after the opera overture, a one-movement composition that establishes the mood of an opera. But the concert overture is not intended to usher in a stage work; it is an independent composition performed independently, often used to open the programme of a symphony concert. iv. It was most commonly based on some literary theme, painting, or legend, etc. v. Well-known concert overtures include Mendelssohn’s Hebrides Overture (also known as Fingal’s Cave) and Tchaikovsky’s 1812 Overture and Romeo and Juliet Overture.
    [Show full text]
  • Composer of the Month Units for Fifth and Sixth Grade Music
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1958 Moments with the masters: Composer of the month units for fifth and sixth grade music G. Newton. Buker The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Buker, G. Newton., "Moments with the masters: Composer of the month units for fifth and sixth grade music" (1958). Graduate Student Theses, Dissertations, & Professional Papers. 7712. https://scholarworks.umt.edu/etd/7712 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. MOMENTS WITH THE MASTERS Composer of the Month Units for FIFTH AND SIXTH GRADE MUSIC by G. NEWTON BUKER B, M. Montana State University, 1951 Presented in partial fulfillment of the requirements for the degree of Master of Music in Music Education MONTANA STATE UNIVERSITY 195Ô Approved by: Chairman, Board of Ex Dean, Graduate Schoor^ AUG 1 81958 Date Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: EP38513 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction Is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • Schubert Forever, 1829–1995
    concert program vi: Schubert Forever, 1829–1995 FELIX MENDELSSOHN (1809–1847) August 4 and 5 Selected Lieder ohne Worte (Songs without Words) Book 1, Opus 19b, no. 1 in E Major: Andante con moto (1830) Tuesday, August 4, 8:00 p.m., Stent Family Hall, Menlo School Book 4, Opus 53, no. 3 in g minor: Gondellied (1839) Book 2, Opus 30, no. 1 in E-flat Major: Andante espressivo (1830) MS Wednesday, August 5, 8:00 p.m., The Center for Performing A Gloria Chien, piano Arts at Menlo-Atherton R ANDRÉ PREVIN (b. 1929) G Vocalise for Soprano, Piano, and Cello (1995) Joélle Harvey, soprano; Hyeyeon Park, piano; Keith Robinson, cello Program Overview As our festival nears the end of Schubert’s life on Earth, we pause JOHANNES BRAHMS (1833–1897) our journey to celebrate his unparalleled posthumous career. A Zwei Gesänge for Voice, Viola, and Piano, op. 91 (1884) few prominent musicians recognized Schubert’s potential dur- Gestillte Sehnsucht (Rückert) (1884) Geistliches Wiegenlied (Lope de Vega) (1863–1864) ing his lifetime (Robert Schumann was one of them), but it fell to PRO ERT Sara Couden, contralto; Arnaud Sussmann, viola; Gilbert Kalish, piano composers and performers of later generations to discover and C popularize most of Schubert’s music. Concert Program VI pays JOHN HARBISON (b. 1938) tribute to an array of distinguished composers whose music con- November 19, 1828 for Piano, Violin, Viola, and Cello (1988) nects to Schubert in powerful ways—through lyricism, magical I. Introduction: Schubert Crosses into the Next World ON harmonies, drama, and, above all, a reverence for the vocal line as II.
    [Show full text]
  • Felix Mendelssohn – Symphony No
    Object 1 Felix Mendelssohn – Symphony No. 3 (Scottish) Felix Mendelssohn Born February 3, 1809, Hamburg, Germany. Died November 4, 1847, Leipzig, Germany. Composition History Mendelssohn began sketching the Scottish Symphony in 1829. In 1831, he stopped work on the score for a decade, and the symphony was not completed until 1842. Mendelssohn conducted the first performance on March 3, 1842, in Leipzig. The score calls for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings. Performance time is approximately forty-three minutes. Performance History The Chicago Symphony Orchestra’s first subscription concert performances of Mendelssohn’s Third Symphony were given at the Auditorium Theatre on January 1 and 2, 1892, with Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on October 8, 9, 10, 11, and 13, 1998, with Yaron Traub conducting. The Orchestra first performed this symphony at the Ravinia Festival on July 5, 1942, with Dimitri Mitropoulos conducting, and most recently on August 14, 2009, with James Conlon conducting. Symphony No. 3 in A Minor, Op. 56 ( Scottish ) Among Mendelssohn’s earliest teachers was Johann Gottlob Samuel Rosel, a landscape painter who thought his bright young pupil might make his living painting and drawing rather than writing and performing music. From an early age, Mendelssohn displayed many talents; he wrote poetry, sketched madly, and, as we more readily remember, began composing early enough to write two enduring masterpieces as a teenager (the Octet and the Overture to Shakespeare’s A Midsummer Night’s Dream ). Mendelssohn did not lose his fondness for landscape painting once his musical talent began to overshadow his other gifts, although he drew his most famous pictures in music.
    [Show full text]
  • Grieg Lyric Pieces Mendelssohn Lieder Ohne Worte Denis Kozhukhin Felix Mendelssohn Bartholdy (1809-1847)
    Grieg Lyric Pieces Mendelssohn Lieder ohne Worte Denis Kozhukhin Felix Mendelssohn Bartholdy (1809-1847) Lieder ohne Worte, Op. 19 1 no. 1: Andante con moto in E Major 2. 58 2 no. 2: Andante espressivo in A Minor 2. 38 3 no. 3: Molto allegro e vivace in A Major 2. 33 4 no. 5: Piano agitato in F-sharp Minor 3. 33 Lieder ohne Worte, Op. 30 5 no. 2: Allegro di molto in B Minor 2. 13 6 no. 6: Allegretto tranquillo in F-sharp Minor 2. 52 (Venetianisches Gondellied) Lieder ohne Worte, Op. 38 7 no. 2: Allegro non troppo in C Minor 2. 13 8 no. 6: Andante con moto in A-flat Major (Duett) 3. 17 Lieder ohne Worte, Op. 62 9 no. 3: Andante maestoso in E Minor 2. 56 Lieder ohne Worte, Op. 67 10 no. 2: Allegro leggiero in F-sharp Minor 2. 38 11 no. 4: Presto in C Major 2. 00 Lieder ohne Worte, Op. 102 Lyric Pieces, Op. 54 12 no. 3: Presto in C Major (Kinderstück) 1. 17 22 no. 3: March of the Trolls 3. 07 23 no. 4: Notturno 3. 02 24 no. 5: Scherzo 3. 10 Edvard Grieg (1843-1907) Lyric Pieces, Op. 62 Lyric Pieces, Op. 12 25 no. 4: Brooklet 1. 53 13 no. 1: Arietta 1. 10 14 no. 2: Waltz 1. 40 Lyric Pieces, Op. 65 15 no. 4: Elves’ dance 0. 58 26 no. 6: Wedding Day at Troldhaugen 6. 09 Lyric Pieces, Op. 38 Total playing time: 65. 37 16 no.
    [Show full text]