Recomposed Beethoven
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Elaine Fitz Gibbon
Elaine Fitz Gibbon »Beethoven und Goethe blieben die Embleme des kunstliebenden Deutschlands, für jede politische Richtung unantastbar und ebenso als Chiffren manipulierbar« (Klüppelholz 2001, 25-26). “Beethoven and Goethe remained the emblems of art-loving Germany: untouchable for every political persuasion, and likewise, as ciphers, just as easily manipulated.”1 The year 2020 brought with it much more than collective attempts to process what we thought were the uniquely tumultuous 2010s. In addition to causing the deaths of over two million people worldwide, the Covid-19 pandemic has further exposed the extraordinary inequities of U.S.-American society, forcing a long- overdue reckoning with the entrenched racism that suffuses every aspect of American life. Within the realm of classical music, institutions have begun conversations about the ways in which BIPOC, and in particular Black Americans, have been systematically excluded as performers, audience members, administrators and composers: a stark contrast with the manner in which 2020 was anticipated by those same institutions before the pandemic began. Prior to the outbreak of the novel coronavirus, they looked to 2020 with eager anticipation, provoking a flurry of activity around a singular individual: Ludwig van Beethoven. For on December 16th of that year, Beethoven turned 250. The banners went up early. In 2019 on Instagram, Beethoven accounts like @bthvn_2020, the “official account of the Beethoven Anniversary Year,” sprang up. The Twitter hashtags #beethoven2020 and #beethoven250 were (more or less) trending. Prior to the spread of the virus, passengers flying in and out of Chicago’s O’Hare airport found themselves confronted with a huge banner that featured an iconic image of Beethoven’s brooding face, an advertisement for the Chicago Symphony Orchestra’s upcoming complete cycle Current Musicology 107 (Fall 2020) ©2020 Fitz Gibbon. -
The Little Orchestra Society THOMAS SCHERMAN, Music Director
l (b~{ ozoog BROOKLYN ACADEMY OF MUSIC The Little Orchestra Society THOMAS SCHERMAN, Music Director ANNUAL SUBSCRIPTION SERIES-SEASON 1968-69 Second Concert Sunday Afternoon, December 15, 1968 at 2:30P.M. HERBERT BARRETT, Manager ALVARO CASSUTO, Guest Conductor RUGGIERO RICCI, Violinist WOLFGANG AMADEUS MOZART Symphony No. 34 inC major, K. 338 I Allegro vivace II Andante di molto III Allegro vivace PAUL HINDEMITH Kammermusik No. 4 for Violin and Chamber Orchestra, Op. 36, No.3 I Signal. Breite majestatische Halbe- 11 Sehr lebhaft III Nachtstiick. Massig schnelle Achtel IV Lebhafte Viertel- V So Schnell, wie moglich RUGGIERO RICCI, Soloist INTERMISSION JOSEF ALEXANDER Duo Concertante for Trombone, String Orchestra, and Percussion (World premiere) JOHN GRAMM, Trombone WALLACE DEYERLE, Percussion JOLY BRAGA SANTOS Sinfonietta for String Orchestra (American premiere) I Adagi~Allegro II Adagio III Allegro ben marcato, rna non tropp~ Larg~Tempo I ROBERT SCHUMANN Overture, Scherzo, and Finale Op. 52 I Overture: Andante con mot~Allegro II Scherzo: Vivo Ill Finale: Allegro molto vivace NOTES ON THE PROGRAM by BERNARD JACOBSON Wolfgang Amadeus Mozart Symphony No. 34 in C maJor, K. 338 (17 5 6-1791 ) I Allegro Vlvace II Andante di molto III A /legro vivace Mozart's 34th Symphony was the last one he wrote m Salzburg. It was composed in August, 1780, and like its predecessor by a year-No. 33 m B flat major, K. 319-was ongmally performed v.1th only three movements. In the case of No 34, however, the composer's autograph core contams, between the first two movements, the beginning of a mmuet Th1s was subsequently deleted. -
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
Programm 24.–27
ESSENTIALS 2012 Kammer musik festival Thun Programm 24.–27. Mai Wir haben uns bewusst dafür entschieden, Welcome to GAIA im Jahr 2012 den ursprünglichen Traum des Essentials 2012 – Herzlich Festivals wieder aufleben zu lassen und zu dem zurückzukehren, woraus es entstan- we look forward to being with you den ist – der Vision, grossartige Musik zu willkommen präsentieren, die von einer kleinen Gruppe and sharing every moment! herausragender Musiker an atemberauben- bei GAIA Essentials 2012 – den Orten für ein warmherziges Publikum dargeboten wird; ein Publikum, das neugie- In 2012, we have consciously decided to reco - wir freuen uns darauf, rig auf inspirierende Begegnungen ist. Alle, ver this Festival’s first dream and to revisit die bei GAIA mitwirken, lieben die Musik that of which it was born – a vision to offer Sie bei uns zu haben und und das, was sie uns zu enthüllen vermag. sublime music, performed by a small group Die Planung dieses Festivals beschwingt uns of outstanding musicians in breathtaking ve- jeden Augenblick jedes Jahr aufs Neue: ein Fest voller Kunst, nues to an open-hearted audience curious to Sinnenfreude, Austausch, Emotionen und experience more. We at GAIA love music and mit Ihnen zu teilen! Freundschaft. Diese Wechselbeziehung ist all that it can reveal. We are fulfilled each nur ein kleiner Teil unseres Spektrums ... year anew when we conceive this Festival: Die Welt ist schön – voller Magie und a celebration of art, senses, exchange, emo- Wunder, erfüllt durch ihre eigene Existenz tions, and friendship. This interrelationship und in sich vollkommen. Die Menschheit is just a small piece of our spectrum… baut auf diese Wahrheit, und je mehr wir ver- The world is a beautiful place – full of suchen, die Essenz des Lebens zu ergründen, magic and wonder, fulfilled by its own exis - desto stärker wächst in uns wieder das Ver - tence, complete within itself. -
Dissertation FINAL 5 22
ABSTRACT Title: BEETHOVEN’S VIOLINISTS: THE INFLUENCE OF CLEMENT, VIOTTI, AND THE FRENCH SCHOOL ON BEETHOVEN’S VIOLIN COMPOSITIONS Jamie M Chimchirian, Doctor of Musical Arts, 2016 Dissertation directed by: Dr. James Stern Department of Music Over the course of his career, Ludwig van Beethoven (1770–1827) admired and befriended many violin virtuosos. In addition to being renowned performers, many of these virtuosos were prolific composers in their own right. Through their own compositions, interpretive style and new technical contributions, they inspired some of Beethoven’s most beloved violin works. This dissertation places a selection of Beethoven’s violin compositions in historical and stylistic context through an examination of related compositions by Giovanni Battista Viotti (1755–1824), Pierre Rode (1774–1830) and Franz Clement (1780–1842). The works of these violin virtuosos have been presented along with those of Beethoven in a three-part recital series designed to reveal the compositional, technical and artistic influences of each virtuoso. Viotti’s Violin Concerto No. 2 in E major and Rode’s Violin Concerto No. 10 in B minor serve as examples from the French violin concerto genre, and demonstrate compositional and stylistic idioms that affected Beethoven’s own compositions. Through their official dedications, Beethoven’s last two violin sonatas, the Op. 47, or Kreutzer, in A major, dedicated to Rodolphe Kreutzer, and Op. 96 in G major, dedicated to Pierre Rode, show the composer’s reverence for these great artistic personalities. Beethoven originally dedicated his Violin Concerto in D major, Op. 61, to Franz Clement. This work displays striking similarities to Clement’s own Violin Concerto in D major, which suggests that the two men had a close working relationship and great respect for one another. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart. -
Violin Sonata No. 2 in a Major JOSEPH BOULOGNE, CHEVALIER DE SAINT-GEORGES (1745-1799) Composed in 1781
Page 1 (1/31/20) Violin Sonata No. 2 in A major JOSEPH BOULOGNE, CHEVALIER DE SAINT-GEORGES (1745-1799) Composed in 1781. Joseph Boulogne, Chevalier de Saint-Georges, one of music history’s most fascinating figures, was born on Christmas Day 1745 on the Caribbean island of Guadeloupe, where his father, a French civil servant, was stationed as comptroller-general; his mother was a black islander. The family moved to Paris when the boy was ten. Joseph was enrolled in the academy of Nicolas Texier de La Boëssière, one of France’s most renowned fencing masters, and there received a good general education as well as rigorous training in swimming, boxing, horse riding and other physical and social skills; he became one of the finest fencers in Europe. Saint-Georges’ musical education was less well documented, though he apparently had shown talent as a violinist even before leaving Guadeloupe and seems to have been a student of the celebrated composer François Gossec for several years. sHe joined Gossec’s orchestra at the Concert des Amateurs in 1769, made his debut there as a soloist three years later (in two of his own violin concertos), and became concertmaster and conductor of the group shortly thereafter. In 1777, Saint-Georges entered the employ of the Duke of Orléans, and four years later took on the additional position of concertmaster of the Concert de la Loge Olympique, for which Claude-François-Marie Rigoley, Comte d’Ogny commissioned Haydn’s “Paris” symphonies. Saint-Georges acted as intermediary in finalizing the arrangements with Haydn, and he presumably directed the premieres of the works. -
Flyer Sean Lee Masterclass
Presents VIOLIN GROUP MASTERCLASS WITH CONCERT ARTIST SEAN LEE Saturday, March 23, 2019 2:00-4:00 pm The Lyceum 201 S. Washington St. Alexandria, Virginia Registration for participants and teacher observers via www.sagwa.org Two group classes open to Suzuki violin students (class sizes very limited): 2-3 pm: Book 2/3 Level Students 3-4 pm: Advanced Students (Book 4 and above) PARTICIPANT FEES (parent attendance is included in this fee) SAGWA members: $40/student Non-SAGWA members: $60/student OBSERVER FEES SAGWA teachers: FREE Non-SAGWA teachers: $30 Register at www.sagwa.org Mr. Lee will present two hour long masterclasses focusing on scales and arpeggios and technique building. Sean will begin with a short presentation, continue with a student involved masterclass, and he will end the class with a short performance. http://www.seanleeviolin.com/ Violinist Sean Lee has captured the attention of audiences around the world with his lively performances of the classics. A recipient of the 2016 Avery Fisher Career Grant, Lee is one of few violinists who dare to perform Niccolò Paganini’s 24 Caprices in concert, and his YouTube series, Paganini POV, continues to draw praise for the use of technology in sharing unique perspectives and insight into violin playing. As an artist at the Chamber Music Society of Lincoln Center, Lee continues to perform regularly at Lincoln Center, as well as on tour. Originally from Los Angeles, Lee studied with Robert Lipsett of the Colburn Conservatory and legendary violinist Ruggiero Ricci before moving at the age of seventeen to study at the Juilliard School with his longtime mentor, violinist Itzhak Perlman. -
San Diego Symphony Orchestra a Jacobs Masterworks Concert
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT December 4, 5 and 6, 2015 LUDWIG VAN BEETHOVEN Leonore Overture No. 3, Op. 72b JEAN SIBELIUS Violin Concerto in D minor, Op. 47 Allegro moderato Adagio di molto Allegro; ma non tanto Karen Gomyo, violin INTERMISSION IGOR STRAVINSKY Le sacre du printemps (The Rite of Spring) PART I: Adoration of the Earth Introduction The Augurs of Spring – Dances of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage The Sage Dance of the Earth PART II: The Sacrifice Introduction Mystic Circle of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance (The Chosen One) Leonore Overture No. 3, Op. 72b LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna (Approx. 14 minutes) No other work gave Beethoven more trouble than his only opera, Leonore, which he retitled Fidelio during its final revision. This tale of political idealism, resistance to tyranny and marital fidelity comes to a climax when the heroine Leonore prepares to sacrifice her life to protect her imprisoned husband Florestan from the evil Pizarro. The couple is saved at the last minute by the arrival of the good minister Don Fernando, who has Pizarro arrested. Beethoven’s problems with the opera, which occupied him over a span of 11 years and took him through three different versions, are reflected in his problems devising a suitable overture: Fidelio is doubtless the only opera in existence to have four different overtures. -
Aspects of Jazz and Classical Music in David N. Baker's Ethnic Variations
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2002 Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini Heather Koren Pinson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Pinson, Heather Koren, "Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini" (2002). LSU Master's Theses. 2589. https://digitalcommons.lsu.edu/gradschool_theses/2589 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. ASPECTS OF JAZZ AND CLASSICAL MUSIC IN DAVID N. BAKER’S ETHNIC VARIATIONS ON A THEME OF PAGANINI A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Heather Koren Pinson B.A., Samford University, 1998 August 2002 Table of Contents ABSTRACT . .. iii INTRODUCTION . 1 CHAPTER 1. THE CONFLUENCE OF JAZZ AND CLASSICAL MUSIC 2 CHAPTER 2. ASPECTS OF MODELING . 15 CHAPTER 3. JAZZ INFLUENCES . 25 BIBLIOGRAPHY . 48 APPENDIX 1. CHORD SYMBOLS USED IN JAZZ ANALYSIS . 53 APPENDIX 2 . PERMISSION TO USE COPYRIGHTED MATERIAL . 54 VITA . 55 ii Abstract David Baker’s Ethnic Variations on a Theme of Paganini (1976) for violin and piano bring together stylistic elements of jazz and classical music, a synthesis for which Gunther Schuller in 1957 coined the term “third stream.” In regard to classical aspects, Baker’s work is modeled on Nicolò Paganini’s Twenty-fourth Caprice for Solo Violin, itself a theme and variations. -
Ludwig Van Beethoven: Triumph Over a Life of Tragedy
Ludwig van Beethoven: Triumph Over a Life of Tragedy Madeline Brashaw Senior Division Historical Paper Paper Length: 2,448 words “It seemed unthinkable for me to leave the world forever before I had produced all that I felt Heiligenstadt Testament called upon to produce,” Ludwig van Beethoven wrote in shortly before he passed away. Ludwig van Beethoven practiced music his entire life. He told people that he did not know what he would do without music. Beethoven was brought up during the Classical Period which was defined and determined by its clear characteristics such as its emphasis on beauty, elegance, and balance, and by the variety and contrast within the musical pieces. It is said that his music altered the course of musical history and that it modified the Classical Period (Classical Music). Sadly, Beethoven’s career came to a halt when he began to lose his hearing, and it became nearly impossible for him to compose and conduct his works. The tragic loss of Beethoven’s hearing led to his triumph in changing musical history. Beethoven was brought into this world in December of 1770. As a child, Ludwig van Beethoven often had a sad life. He had no friends and had nobody to care for him. The one thing that he did have, and he used almost every day, was his music. Beethoven’s main instruments were the piano and the violin. As a child, he even composed his own music at times. His father, Johann van Beethoven, was young Beethoven’s first music teacher. As a child, his father harshly pushed him in his musical studies. -
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.