DOCSLIB.ORG

Liszt, Thalberg, Heller, and the Practice of Nineteenth-Century Song Arrangement

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Liszt, Thalberg, Heller, and the Practice of Nineteenth-Century Song Arrangement Liszt, Thalberg, Heller, and the Practice of Nineteenth-Century Song Arrangement A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music 2011 by Yoon Sun Song B.M., Kyung Won University, 1999 M.M., North Carolina School of the Arts, 2003 Committee Chair: Jonathan Kregor, Ph.D. ABSTRACT This study explores the relationship between art song and its recomposition as a solo piano work by three nineteenth-century composers. While Franz Liszt is considered the most well-known arranger of art songs, other contemporaries excelled at the practice as well, such as Sigismond Thalberg and Stephen Heller. Though they lived in close proximity to one another, their arranging style shows significant variety, with each displaying different interpretations of their source material. Chapter 1 explains some of the most important differences between the techniques of paraphrase and transcription, with particular reference to works by Liszt. In Chapter 2, composers as arrangers in the nineteenth century are introduced with their biographical sketches and a survey of their arrangements. Analyzing song arrangements by three composers – Liszt, Thalberg, and Heller – comprises the largest part of the document. In Chapter 3, each composer’s compositional/arranging style is noted in detail, drawing from secondary sources as well as from some of their representative pieces. In the following chapter I compare different approaches to the same songs by pairing two composers at a time. A selected bibliography follows. In exploring the diverse styles of composers-arrangers of the nineteenth century, this document will also suggest that, in their hands, such works could become vehicles for homage to the source composer as well as vehicles for charting the direction of the music of the future. ii Copyright © 2011 Yoon Sun Song iii ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Jonathan Kregor for his thoughtful criticism, time, and support on improving and eventually finishing this document. I am very grateful for his encouragement and patience through every stage of its completion. I would like to express special gratitude to my piano teacher, Professor Awadagin Pratt. He has helped me to learn how to teach myself as a professional pianist. His effect on my musical life must be acknowledged. A special thanks goes to Professor Kenneth Griffiths for his invaluable knowledge and thoughtful consideration. I would like to thank Deborah Mishoe, who has polished my English of this project, for her thoughtful caring and encouragement when I needed it the most. I wish to acknowledge my family with deepest appreciation. In particular, my husband, Bin Pyon, has shown me enormous support, and Johanna, my precious girl, became an inspiration of my music. I would like to thank my parents and sisters, without whom my educational pursuits would not have been possible. Finally, my deepest gratitude goes to God, whose name I will glorify through my music and life. iv TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGEMENTS iv TABLE OF CONTENTS v LIST OF TABLES AND MUSICAL EXAMPLES vi INTRODUCTION 1 CHAPTER 1. Song Arrangement: Terminology 3 CHAPTER 2. Composers as Arrangers 8 CHAPTER 3. Analysis of Selected Song Arrangements by Liszt, Thalberg, and Heller 31 CHAPTER 4. Comparative Analysis 63 CONCLUSION 72 BIBLIOGRAPHY 73 v LIST OF TABLES AND MUSICAL EXAMPLES TABLES PAGE 1. Catalogue of Liszt’s Schubert Song Transcriptions 11 2. Catalogue of Liszt’s Beethoven Song Transcriptions 13 3. Catalogue of Liszt’s Schumann Song Transcriptions 14 4. Catalogue of Liszt’s Transcriptions of His Own Songs 14 5. Miscellaneous 15 6. Catalogue of Thalberg’s Song Arrangements 24 7. Catalogue of Heller’s Song Arrangements 29 EXAMPLES PAGE 1. Thalberg, Célèbre fantaisie pour le piano sur “Moïse,” Op. 33, mm. 297–99 19 2. Schubert, “Auf dem Wasser zu singen,” mm. 9–12 33 3. Liszt, “Auf dem Wasser zu singen,” mm. 7–12 33 4. Liszt, “Auf dem Wasser zu singen,” mm. 43–48 34 5. Liszt, “Auf dem Wasser zu singen,” mm. 61–66 35 6. Liszt, “Auf dem Wasser zu singen,” mm. 73–78 36 7. Liszt, “Auf dem Wasser zu singen,” mm. 91–99 37 8. Liszt, “Liebestraum, No. 3,” mm. 24–27 39 9. Liszt, “Liebestraum, No. 3,” mm. 26–28 39 10. Liszt, “Liebestraum, No.3,” mm. 59–60 40 vi 11. Liszt, “Frühlingsnacht,” mm.1–2 42 12. Schumann, “Frühlingsnacht,” mm.1–2 42 13. Liszt, “Frühlingsnacht,” mm. 20–23 43 14. Liszt, “Frühlingsnacht,” mm. 32–33 44 15. Liszt, “Frühlingsnacht,” mm. 36–39 44 16. Liszt, “Frühlingsnacht,” mm. 41–42 44 17. Liszt, “Frühlingsnacht,” mm. 61–65 45 18. Schumann, “Widmung,” mm. 2–4 46 19. Liszt, Widmung,” mm. 4–7 48 20. Liszt, “Widmung,” mm. 51–52 48 21. Schubert, “Täuschung,” mm. 5–10 50 22. Thalberg, “Täuschung,” mm. 6–11 50 23. Thalberg, “Adelaide,” mm. 6–8 51 24-a. Beethoven, “Adelaide,” mm. 16–18 52 24-b. Thalberg, “Adelaide,” mm. 16–19 52 25. Thalberg, “Adelaide,” mm. 82–91 53 26. Heller, “Das Wandern,” mm. 5–8 54 27. Schubert, “Das Wandern,” mm. 1–10 54 28. Heller, “Das Wandern,” mm. 25–27 55 29-a. Schubert, “Das Wandern,” mm. 17–20 55 29-b. Heller, “Das Wandern,” mm. 59–61 56 30-a. Schubert, “Die junge Nonne,” mm. 21–24 57 30-b. Heller, “Die junge Nonne,” mm. 21–24 57 31. Heller, “Die junge Nonne,” m. 31 58 vii 32. Heller’s motives in “Wohin?” 59 33. Heller, “Wohin?” mm. 19–23 60 34. Heller, “Wohin?” mm. 32–35 60 35. Heller, “Wohin?” mm. 73–76 60 36. Heller, “Wohin?” mm. 145–148 61 37. Heller, “Wohin?” mm. 153–156 62 38. Liszt, “Adelaide,” mm. 33–35 64 39-a. Beethoven, “Adelaide,” m. 65 65 39-b. Liszt, “Adelaide,” mm. 70–73 65 40-a. Beethoven, “Adelaide,” mm. 41–46 66 40-b. Liszt, “Adelaide,” mm. 81–84 66 41-a. Thalberg, “Adelaide,” mm. 104–105 67 41-b. Liszt, “Adelaide,” mm. 158–159 67 42. Schubert, “Auf dem Wasser zu singen,” mm. 1–3 68 43. Liszt, “Auf dem Wasser zu singen,” mm. 9–12 69 44. Heller, “Auf dem Wasser zu singen,” mm. 9–10 69 45. Liszt, “Auf dem Wasser zu singen,” mm. 61–66 69 46. Heller, “Auf dem Wasser zu singen,” mm. 45–50 70 47. Heller, “Auf dem Wasser zu singen,” mm. 61–64 71 viii INTRODUCTION This study explores the relationship between art song and its recomposition as a solo piano work by three nineteenth-century composers. The characteristic of the Lied is often described as a marriage of text and music, whereby the latter enhances the former through a nuanced reading. The masters of Lieder, such as Schubert, Schumann, and Brahms, not only excelled in writing a melody for the voice, but also excelled in writing expressively for the piano. The importance of the piano part in Lieder has much to do with a composer’s interest in its improved sonorities, which was due to the evolution of the piano-building industry. These innovations enabled composers, pianists, and arrangers to explore more on the instrument and to find new sounds and techniques. The piano could now produce symphonic sonorities and more effectively convey the nuances of vocal works. It was during this time that nineteenth-century composers such as Liszt, Heller, and Thalberg began arranging works for piano, such as symphonies, opera, chamber music, and Lieder of past and contemporary composers. In a time of neither radio nor recordings, their arrangements reached those who never had the opportunity to go to concerts or operas or had the skill to perform these works in their original form. Despite the enormous output of these composers, their song arrangements have nevertheless been under-estimated and neglected by contemporary scholars–one reason pianists today have difficulty finding copies of Liszt’s arrangements. This document will examine the compositional styles of the song arrangements of Franz Liszt, Sigismond Thalberg, and Stephen Heller and how they recreated a solo piano work from a vocal art song. I will study the style of selected works by each composer respectively and will compare their different approaches to the same song. 1 In my document, I will consider the following questions: What is the relationship between music society and the rise of piano arrangements in the nineteenth century? What differences are evident between the afore-mentioned composers-arrangers? How is the poem rendered in the piano work? What techniques does each composer employ and how do they exemplify the text? Why is it valuable to consider song arrangements as a re-creation and not a mere secondary production of a genre? Therefore, my methodology will primarily be the study of a song, its poem, and the comparison of the original musical work with its arrangement. As a reference, I will follow James M. George’s dissertation, “Franz Liszt’s Transcription of Schubert Songs for Solo Pianoforte: A Study of Transcribing and Keyboard Technique.”1 George’s classification of the Schubert-Liszt transcription will be used in my discussion of Liszt’s selected works. While George limited the classification to the Schubert song transcriptions, I will extend his application to deal with composers like Schumann, Beethoven, and Liszt himself in order to examine how Liszt interpreted his models using the transcribing techniques listed in George’s dissertation. Since there are few publications about the lives of Thalberg and Heller, this study cannot help but add to their annals. The aim of this document is to study the style of the song arrangements of selected composers; these arrangements should be regarded as a self-sufficient genre, not as a secondary production of the Lied.
Load more

Recommended publications
  • Romantic Listening Key
    Name ______________________________ Romantic Listening Key Number: 7.1 CD 5/47 pg. 297 Title: Symphonie Fantastique, 4th mvmt Composer: Berlioz Genre: Program Symphony Characteristics Texture: ____________________________________________________ Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: timp start, high bsn solo Number: 7.2 CD 6/11 pg 339 Title: The Moldau Composer: Smetana Genre: symphonic poem Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: flute start Sections: two springs, the river, forest hunt, peasant wedding, moonlight dance of river nymphs, the river, the rapids, the river at its widest point, Vysehrad the ancient castle Name ______________________________ Number: 7.3 CD 5/51 pg 229 Title: Symphonie Fantastique, 5th mvmt (Dream of a Witch's Sabbath) Composer: Berlioz Genre: program symphony Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: funeral chimes, clarinet idee fix, trills & grace notes Number: 7.4 website Title: 1812 Overture Composer: Tchaikovsky Genre: concert overture Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: soft beginning, hunter motive, “Go Napoleon”, the battle Name ______________________________ Number: 7.5 website Title: The Sorcerer's Apprentice
    [Show full text]
  • Music Director Riccardo Muti Appoints Jessie Montgomery As Cso Mead Composer-In-Residence for 2021-24
    For Immediate Release: Press Contacts: April 20, 2021 Eileen Chambers CSOA, 312-294-3092 Glenn Petry 21C Media, 212-625-2038 MUSIC DIRECTOR RICCARDO MUTI APPOINTS JESSIE MONTGOMERY AS CSO MEAD COMPOSER-IN-RESIDENCE FOR 2021-24 CHICAGO—The Chicago Symphony Orchestra Association (CSOA) is pleased to announce the appointment of composer, violinist and educator Jessie Montgomery as its next Mead Composer-in- Residence. A winner of both the Sphinx Medal of Excellence and the ASCAP Foundation’s Leonard Bernstein Award, Montgomery has emerged as one of the most compelling and sought-after voices in new music today. Appointed by Music Director Riccardo Muti, she will begin her three-year tenure on July 1, 2021, and will continue in the role through June 30, 2024. Described as “turbulent, wildly colorful and exploding with life” (Washington Post), Montgomery’s music includes such frequently performed works as Banner (2014), Starburst (2012) and Strum (2006; rev. 2012), which have collectively been programmed almost 500 times to date, with more than 100 live and virtual performances of Starburst in the past year alone. As Mead Composer-in-Residence, she will receive commissions to write three new orchestral works for the Chicago Symphony Orchestra, one to premiere during each of her three seasons in the role. In addition, she will curate MusicNOW, the CSO’s annual contemporary music series, and will receive commissions for a number of new chamber pieces to premiere in the series’ 2022-23 and 2023-24 seasons. MusicNOW will also present the Chicago premieres of some of her existing works. Founded in 1998, MusicNOW strives to bring Chicago audiences the widest possible range of today’s new music.
    [Show full text]
  • Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 This Dissertation 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES A Monograph 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 Doctor of Musical Arts in The School of Music by Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840
    [Show full text]
  • Mardi 26 Juin 2018 Expert Thierry Bodin Syndicat Français Des Experts Professionnels En Œuvres D’Art Les Autographes 45, Rue De L’Abbé Grégoire 75006 Paris Tél
    ALDE 185 mardi 26 juin 2018 Expert Thierry Bodin Syndicat Français des Experts Professionnels en Œuvres d’Art Les Autographes 45, rue de l’Abbé Grégoire 75006 Paris Tél. 01 45 48 25 31 - Facs 01 45 48 92 67 [email protected] Arts et Littérature nos 1 à 148 Histoire et Sciences nos 149 à 249 Exposition privée chez l’expert Uniquement sur rendez-vous préalable Exposition publique à l’ Hôtel Ambassador le mardi 26 juin de 10 heures à midi Abréviations : L.A.S. ou P.A.S. : lettre ou pièce autographe signée L.S. ou P.S. : lettre ou pièce signée (texte d’une autre main ou dactylographié) L.A. ou P.A. : lettre ou pièce autographe non signée En 1re de couverture no 125 : Niki de SAINT PHALLE (1930-2002). L.A.S. « Niki », avec dessin original, à Mme Claude Pompidou. En 4e de couverture no 40 : Théophile GAUTIER (1811-1872). Quatre poèmes autographes montés dans Émaux et Camées. ALDE Maison de ventes spécialisée Livres-Autographes-Monnaies Lettres & Manuscrits autographes Vente aux enchères publiques Mardi 26 juin 2018 à 14 h 15 Hôtel Ambassador Salon Mogador 16, boulevard Haussmann 75009 Paris Tél. : 01 44 83 40 40 Commissaire-priseur Jérôme Delcamp ALDE Belgique ALDE Philippe Beneut Maison de ventes aux enchères Boulevard Brand Withlock, 149 1, rue de Fleurus 75006 Paris 1200 Woluwe-Saint-Lambert Tél. 01 45 49 09 24 - Fax 01 45 49 09 30 [email protected] - www.alde.be [email protected] - www.alde.fr Tél. +32 (0) 479 50 99 50 Agrément 2006-587 6 8 13 19 Arts et Littérature 2 1.
    [Show full text]
  • The University of Chicago Objects of Veneration
    THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
    [Show full text]
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation 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 Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
    [Show full text]
  • Pianopalooza 4-27-08.Indd
    Upcoming Events at CCM: CCM Concert Orchestra Annunziata Tomaro, conductor Shostakovich, Respighi, Saint-Saëns College-Conservatory Wednesday, April 30, 2008 of Music Corbett Auditorium presents 8:00 p.m. Admission: free CCM Chamber Choir and Chorale Earl Rivers and L. Brett Scott, conductors Wednesday, May 21, 2008 2007-08 Robert J. Werner Recital Hall 8:00 p.m. Admission: free CCM Philharmonia and Wind Symphony Mark Gibson and Rodney Winther, directors PIANOPALOOZA III: Friday, June 6, 2008 IXTY EARSOME INGERS Corbett Auditorium S F F 8:00 p.m. Admission: free Michael Chertock, Awadagin Pratt, Elizabeth Pridonoff , Eugene Pridonoff , James Tocco, and Frank Weinstock, piano For tickets and the latest performance information, please call the CCM Box Offi ce at 513-556-4183. Marc Wolfl ey, percussion Jack Atherton, master of ceremonies Sunday, April 27, 2008 Corbett Auditorium 4:00 p.m. Performing Arts Series PROGRAM Rondo a capriccio in G Major, Op. 129 Ludwig van Beethoven Passacaglia and Fugue in C Minor Johann Sebastian Bach (“Th e Rage Over the Lost Penny”) (1770-1827) (1685-1750) trans. Awadagin Pratt Frank Weinstock, piano Awadagin Pratt, piano Etude Tableaux in Eb Minor, Op. 39, No. 5 Sergei Rachmaninoff (1873-1943) Klavierstücke, Op. 119 Johannes Brahms Intermezzzo in B Minor (1833-1897) from Tristan und Isolde Richard Wagner Intermezzo in E Minor Liebestod (1813-1883) Intermezzo in C Major trans. Franz Liszt Rhapsodie in Eb Major Michael Chertock, piano Eugene Pridonoff , piano Excursions, Op. 20 Samuel Barber Turkish March: Ruins of Athens, Op. 113 Ludwig van Beethoven Un poco allegro (1910-1981) In slow blues tempo from Rodeo Aaron Copland Allegretto Hoe-Down (1900-1990) Allegro molto Th e Ensemble James Tocco, piano Marc Wolfl ey, percussion Memphisto Waltz No.
    [Show full text]
  • Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca". Nam Yeung Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1997 Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca". Nam Yeung Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Yeung, Nam, "Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca"." (1997). LSU Historical Dissertations and Theses. 6648. https://digitalcommons.lsu.edu/gradschool_disstheses/6648 This Dissertation 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 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 afreet 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 comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Unit 7 Romantic Era Notes.Pdf
    The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music.
    [Show full text]
  • January – February 2018 Concert Diary
    JAN/ FEB 2017/18 SEASON www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office TICKETS 36 Wigmore Street, London W1U 2BP Unless otherwise stated, tickets are divided into five prices ranges: In Person Stalls C – M Highest price 7 days a week: 10am – 8.30pm. Stalls A – B, N – P 2nd highest price Days without an evening concert 10am – 5pm. Balcony A – D 2nd highest price No advance booking in the half hour prior to Stalls BB, CC, Q – S 3rd highest price a concert. Stalls AA, T – V 4th highest price Stalls W – X Lowest price By Telephone: 020 7935 2141 7 days a week: 10.00am–7.00pm. AA AA Days without an evening concert: AA STAGE AA AA AA 10.00am–5.00pm. BB BB There is a non-refundable £3.00 administration CC CC A A charge for each transaction. B B C C D D Online: www.wigmore-hall.org.uk E E F FRONT FRONT F STALLS STALLS 7 days a week; 24 hours a day. G G There is a non-refundable £2.00 administration H H I I charge. J J K K L L Standby Tickets M M N N Standby tickets for students, senior citizens and O O P P the unemployed are available from one hour Q Q before the performance (subject to availability) R R S S with best available seats sold at the lowest price. REAR REAR T STALLS STALLS T U U NB standby tickets are not available for V V Lunchtime and Coffee Concerts.
    [Show full text]
  • Julius Stockhausen's Early Performances of Franz Schubert's
    19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16.
    [Show full text]
  • Leopold and Wolfgang Mozart's View of the World
    Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage.
    [Show full text]