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WEINER 247 .(9h. 77.) . f2.3cp Z1)11 145' 3)adItne Ruritoerlevr , 402 Catabfli J. $71, im toufe ter rut Deftest. epdseoffe, ifi nen leftienen, nub oneo ben 6 eittl in Ttpq , fo niie beo Xecteet nab Deoctituf In rdrao , la babes . Zrauer.(s.3cfauq imp Ocet*ofb? Zeicl)enbcgatigniffe. titer ftimmiger liiianneeMote, mit roittritbsi. vier 3.11erminen ebe, bee Ipionefoto u O ibeetOoren.5)14inureliPte einacriOttt Don 2q11.?)iitt:r v. k:13,o)fricb. &pure. t fl. Figure 9 Notice announcing the publication of the Trauer-Gesang bey Beethoven's Leichenbegangnisse, i.e., Miserere/Amplius — Equali 1 and 3. (Wiener Zeitung, 21 June 1827). The vocal versions of all three equali were soon reprinted elsewhere in Europe. Alexandre Choron published the Miserere and Amplius (Equali 1 and 3) in Paris in 1828; for four voices and piano (or organ), Choron's version disposes with the trombones and the German text (Figure 11). In November 1830 an arrangement of Seyfried's arrangement of the Miserere and Amplius was published with English texts in London in the Harmonicon (Figure 12); this edition was accompanied by an abridged (and rather faulty) translation of Seyfried's description of Beethoven's funeral." Already a few months earlier, in August 1830, the Harmonicon had published Du, dem nie im Leben (re-engraved on two staves) underlaid with Grillparzer's German text, with an appended English translation." The Musikalischer Haus-Freund: 1829 and 1830, a musical almanac published by Schott in Mainz, included the vocal version of equale 2 in its 1929-30 issue.' 248 HISTORIC BRASS SOCIETY JOURNAL riltMJERKLANGE bei Vierstimmiger MANNER-CHAR, nach einer Original—Melodic aes. FERMIGTEN. NOWWW. Sea/WM•AM,",,,IONV1.010 Wlebry.Y1f. I ►eOrte • Orl Franz Grillparzer 2 le • (}:igetkrhum den Verlegem) WIEN i bei Tobias Haariu6er, neylage vora'a lige 146; mu.' k a 11 ze gr. r" Figure 10a First edition of Du, dem nie im Leben — Equale 2 (Vienna, 1829). WEINER 249 0 drin no Aaagin. Thin re ......=....111•■■■•=2 21111= ,.20.212112 im 2 L en . I u h Riatt Tenon II° 1lu,slenp nie :el Le x tint !naafi Basso I?• tient air irn Le, hen Itiolimm ol. 1F3 asso II! flu ojeni„nie Ian Ix hen Auhwtatl Pialinfurt-tr. !=racer &gin. Rohe Tux p rnlie word Lind peril un.lnaum. 1111,The nun in iirah rube 22■■■■•.2.222112■ 7•2121272==•120•122.4". ••••••••••■••••••••■, ,,s■••••••■ mbar I,■•••or mama. • .••• ■■•••••••■■••* •■• ■■••-••■••••• nand, n Heeed unit Haul+ udie nun int al Men urail rube Figure 10b First edition of Du, dem nie im Leben — Equale 2 (Vienna, 1829). 250 HISTORIC BRASS SOCIETY JOURNAL _ 3 PP nun int im 44, pa r unriwenn PP nun ins I 01114.. &LP. 4ma i _ unit Werli, n4F nun im ToNde int Attlitn cri,Le &do, — undIxenn ••""..=■■ Alm sNa-w.=....."'"" nun int Toide aun, Atii GraAr aus i _ undw ■ or'',"•==''. =MI=•■■■■ ra'' ■■■'°""‘■ ■■il=====C■■ ■ ■■■ Mi; ••••,..,-,11=Mie •• •• 1.0• • •••• •••111 F' undea a = ge, t re,un+IeiKLige.. Frrkinde4 g SimmiliIMMIIM. Y.E=. ma &Emma Gm. mmi........441•MMINMINM MN vow mow imwMaii•••=r 1.•■■ Frentillex ills • ge Freu it rlei IUa s ge Frrumi toriturs Freunilea Fi1a Freundrw Wag Frtuni1en 1 IsKe ....,.........,===.40.4.,...= ___- -m -=..-„... .. = , Figure 10c First edition of Du, dem nie im Leben — Equale 2 (Vienna, 1829). WEINER 251 •:t i 1,rr• [ilal, it au* ,barch r Worn J'ierA* P t ,. trill! ii r ;rid. hin :Am., linreli rig'nen Sang& ..... ........, =s-_al.":2 ■- ="...." ,..1`' —"°"" rtirld a . hers firxip hin r arer., horrh eig.n.41 Sang^ ■ P .." ......... -....-11.'" ••.... ....= •=r041aa reirini it .lura, dra c aaa,Iinrchrig'nen Malign _,-------....„ W***'"---.--- .'' ■-%"---""—• ,.......'....I..——= ... ........*4 Pr r ===Ls=rmik.16,tim— = .1. P —• Armilmor a Cmra Ame r. OCIPMMOONOO111. me Mil..........=zi= ,..... ilell.1 gin , .Nt . In Klill-K hi I IF 4 . ovartit in, AI i I Elen,A4 i1.1•11, Fla w.; del ...— — ..........—• ocomoire •••■•■■=q ....., *ii..ent Kiang 114111, erwavtli iltr sullen, ti tkirn Illompa 4.1. pp .11,,i.ent Kling WI, towarItt im atil:lenr e;IiIrlea ilia Ilii0 ILA yp. 01.. 9,1, ....... 17.1."'il*/.111■111•••• MO NM ocoaon....".. ZIEro=====.0="."'=..'■ =•*9-.- — =1=11 4111, .arm k Pan hall, ervraehl icll tililen, all !Arm Hall.! F, ...., 11•111■11 P0111 ............... io. 1---- • ',Err %.....ae• d 11 I a on, OC Yo•—■•• i5lit — 6.= t mil NC. Oc it , Figure 10d First edition of Du, dem nie im Leben — Equale 2 (Vienna, 1829). 252 HISTORIC BRASS SOCIETY JOURNAL Tobias Haslinger also republished the vocal versions of all three equali; newly engraved, they are to be found in the appendix to Iganz von Seyfried's Ludwig van Beethoven's Studien im Generalbasse, Contrapuncte and in der Compositions-Lehre, which appeared in Vienna in 1832.42 The description of Beethoven's funeral is to be found there on pp. 50-53, the Miserere on pp. 55-59 (Figure 13), Amplius on pp. 60-61 (Figure 14), and Du, dem nie im Leben on pp. 99-101 (Figure 15). Seyfried's book was edited and published in a new edition in 1853 by Henry Hugh Pierson,43 where the description of the funeral is on pp. 46-48, the Miserere on pp. 74-78, Amplius on pp. 79-80, and Du, dem nie im Leben on pp. 88-91 (Figure 16). Parallel to this new edition, Pierson also published an English translation of the book under the title of Louis van Beethoven's Studies in Thorough-Bass, Counterpoint and the Art of Scientific Composition44 in which the description of the funeral is on pp. 39-41, the Miserere on pp. 56-60, Amplius on pp. 61-62, and the "Choral-Melody" Du, dem nie im Leben on pp. 70-75.45 Ignaz Ritter von Seyfried Ignaz von Seyfried was born on 15 August 1776 in Vienna. As a youngster he studied piano with Mozart and Kozeluch. After studying philosophy in Prague, he returned to Vienna to study law. According to his own testimony, he abandon his law studies in favor of a musical career just before earning his doctorate. He had instruction in composition withAlbrechsberger and Peter von Winter. In 1797 he became a conductor at Schikaneder's Freihaustheater auf der Wieden, later at the Theater an der Wien. In 1805 he conducted the premiere of Beethoven's Fidelio, his close friendship with Beethoven dating from this time. Seyfried was also a prolific composer, whose stage works were very popular during the first quarter of the nineteenth century, and author. Articles and reviews from his pen appeared in the Leipzig Allgemeine musikalische Zeitung, the Vienna Allgemeine musikalische Zeitung, Caecilia, the Musikalischer Anzei ger, and Schumann's Neue Zeitschrift fur Music. Of Seyfried's many pupils the most famous is Franz von Suppe.46 Ignaz von Seyfried died in Vienna on 27 August 1841. Appropriately, Seyfried's arrangement of the Miserere (and most likely the Amplius, too) was played and sung during his own funeral procession. The Osterreichisches Morgenblatt reported on 1 September 1841: The solemn funeral of Ignaz Chevalier v. Seyfried, Professor of Music, Kapellmeister, celebrated opera director, honorary and corresponding member of many musical societies at home and abroad, took place this past Sunday at half past five in the afternoon.... During the procession [from Seyfried's residence to the church] a `Miserere' composed [sic.1 by the deceased for the funeral of L. van Beethoven (which took place on the same day [i.e., the 29th] in the month of March 1827) was sung by a large choir of men's voices, accompanied by four trombones.47 "WEINER 253 t'llANTS FUNEIIRES IAecute, rienne }mule le tier% ice de L. V. HI. FTlIttt KS VISVNFRF vcie Yeti # are 4— rr 514 f., t'sert r" t. 4'01'f Lt.. Prs s t 311../,'' A 1.mi? etierRofti, 14,- 4. v..g.,..rA N'69. N ■16.,F 1.1111161 • Af• K, Cr n Mil " reorr we: Dr - 1 t v14114.). 1&A.ti it •tr• ct)%1441. Iv IN( ) Fr.kgrE Figure 11 Miserere (Paris, 1828). Bayerische Stadtbibliothek, Musikabteinlung, 4 Mus.pr. 62261. 254 HISTORIC BRASS SOCIETY JOURNAL OtV EVE, COMPOSED BY BEETHOVEN, MR/011,148➢ AS 619 FONEILLL,IMIL 9, 18:17. AohaTID TO ENGLISH WORDS BY ALFRED PETTET. 1/01441%111...•1911111111= 11•1=1•1■11 NIMIPIONEINWMINI■ aling...IMLJM Figure 12 Miserere (London, 1830). WEINER 255 2[116 Zretinneit't Tilmsectilite 6u bent oFigen Oiefirmidie mit Xcrt einrycricOlet ion 36it. 9titter Dolt earpfrieb., Andante. • ....-. ......-__ Tenare tries all - m-re- re me - i, . 1111- te- 11d4t trttiiirme tam = Der.,i4tr. P '.. ' Tennre l'I'^ •,--• • —...., • MI - sa-re-vn me ,- i , mi- se- 40. CTR0011•• erba . pfce, ontl, Cr. • P• .'.. Hem. tm —CI-1- .._ -fir=. r mi-ne-re- re met - i , , mi-ie - re . re . ltdb mbar= 6eb6 , Oa, Ad, es= bonnie P *., 00.0 2,1. ...--6....R- '- _ :-1-5---rr—^';'---s Mi -se-re- re rice - I, vni- se. Ict, crrt.arme GO r ofer g , tie; erg le r-0 m. • g-- detvim t) 9r Figure 13 Miserere (Vienna, 1832). 256 HISTORIC BRASS SOCIETY JOURNAL 60 Amplina, Pow saiienate. , , --rs-- Tenors I.. dui. A tn-pli-us la , vs nom oh i - tei - qui-- to ',to %et r !Urge Za r ter nuebotinun s on Mir Mt tdgi lb tier Tenon; I ?Gt).,0-,..,-.,&-cp, ---- ia—a---r_il l'--__,....._ — Aus-pli-ns trt - am ma ab i - ni - qui -ts -. to %el • at, ne 13p r tar mertNnitnnt vont:11s Die eekultd Der . I - nano MN= .01•11..1.
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  • Young Nietzsche and the Wagnerian Experience

    Young Nietzsche and the Wagnerian Experience

    Young Nietzsche and the Wagnerian Experience From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Young Nietzsche and the Wagnerian Experience frederick r. love UNC Studies in the Germanic Languages and Literatures Number 39 Copyright © 1963 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Love, Frederick R. Young Nietzsche and the Wagne- rian Experience. Chapel Hill: University of North Carolina Press, 1963. doi: https://doi.org/10.5149/9781469657837_Love Library of Congress Cataloging-in-Publication Data Names: Love, Frederick R. Title: Young Nietzsche and the Wagnerian experience / by Frederick R. Love. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 39. Description: Chapel Hill : University of North Carolina Press, [1963] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 63063585 | isbn 978-0-8078-8039-5 (pbk: alk. paper) | isbn 978-1-4696-5783-7 (ebook) Subjects: Nietzsche, Friedrich Wilhelm, 1844-1900.
  • A Sonata Para Guitarra Na Viena De Beethoven E Schubert

    A Sonata Para Guitarra Na Viena De Beethoven E Schubert

    UNIVERSIDADE DO ESTADO DE SANTA CATARINA - UDESC CENTRO DE ARTES - CEART CURSO DE PÓS-GRADUAÇÃO EM MÚSICA - PPGMUS MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT FLORIANÓPOLIS, SC ANO 2013 MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT Dissertação apresentada ao Programa de Pós- graduação em Música/Mestrado da Universidade do Estado de Santa Catarina - UDESC, como requisito parcial para a obtenção do título de Mestre em Música, área de concentração Musicologia/Etnomusicologia. Orientador: Acácio Tadeu de Camargo Piedade FLORIANÓPOLIS, SC 2013 MARCOS PABLO DALMACIO A SONATA PARA GUITARRA NA VIENA DE BEETHOVEN E SCHUBERT Dissertação apresentada ao Programa de Pós-graduação em Música/Mestrado da Universidade do Estado de Santa Catarina - UDESC, como requisito parcial para a obtenção do título de Mestre em Música, área de concentração Musicologia/Etnomusicologia. Banca Examinadora Orientador: _____________________________________ Prof. Dr. Acácio Tadeu de Camargo Piedade UDESC Membro: _____________________________________ Prof. Dr. Marcos Tadeu Holler UDESC Membro: _____________________________________ Prof. Dr. Gilson Antunes UFPB Florianópolis, SC, 02/04/2013 AGRADECIMENTOS Ao Prof. Dr. Acácio Piedade pelo ensino atencioso e objetivo, e pelos preclaros conselhos que em todo momento impediram digressões tanto desnecessárias quanto prejudiciais. Ao Prof. Dr. Marcos Holler, sem cuja ajuda e conselho teria sido impossível sequer pensar em um mestrado, também pelos ensinamentos e pela dedicação de seu tempo na contribuição com precioso material de consulta para este trabalho. Ao Prof. Dr. Gilson Antunes, pelo interesse nesta pesquisa e sua generosa contribuição com valioso material de consulta. Agradeço especialmente ao Prof. Pedro Martelli, quem acreditou neste projeto ainda antes de ter algum elemento concreto, e cuja confiança e amizade estimularam meus melhores esforços.
  • Ludwig Van Beethoven: the Heard and the Unhearing

    Ludwig Van Beethoven: the Heard and the Unhearing

    Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Translated by Andrew Horsfield ® MIX Papier aus verantwor- tungsvollen Quellen ® www.fsc.org FSC C083411 © Verlag Herder GmbH, Freiburg im Breisgau 2020 All rights reserved www.herder.de Cover design by University Hospital Bonn Interior design by SatzWeise, Bad Wünnenberg Printed and bound by CPI books GmbH, Leck Printed in Germany ISBN 978-3-451-38871-2 Words of welcome from Nike Wagner Bonn is not only the birthplace of Beethoven. The composer spent the first two decades of his life here, became a professional musician in this city and absorbed here the impulses and ideas of the Enlightenment that shaped his later creative output, too. To this extent, it is logical that Bonn is preparing to celebrate Beethoven with a kind of “Cultural Capital Year” to mark his 250th birthday. In this special year, opportunities have been cre- ated in abundance to engage with the “great mogul,” as Haydn called him. There is still more to be discovered in his music, as in his life, too. In this sense, a symposium that approaches the phenomenon of Beethoven from the music-medicine perspective represents an additional and necessary enrichment of the anni- versary year. When I began my tenure as artistic director of the Beethoven- feste Bonn in 2014, I set out to bring forth something that was always new, special and interdisciplinary.