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The Beliefs and Reality Behind Beethoven's Behavior
Augustana College Augustana Digital Commons Festschrift: Beethoven's Symphony No. 3, Op. 55 Festschriften 2017 Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior Olivia M. Weismann Augustana College, Rock Island Illinois Abigail L. Smith Augustana College, Rock Island Illinois Moira R. Dunn Augustana College, Rock Island Illinois Kathryn E. Krajewski Augustana College, Rock Island Illinois Follow this and additional works at: http://digitalcommons.augustana.edu/muscbeethoven Part of the Musicology Commons Augustana Digital Commons Citation Weismann, Olivia M.; Smith, Abigail L.; Dunn, Moira R.; and Krajewski, Kathryn E.. "Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior" (2017). Festschrift: Beethoven's Symphony No. 3, Op. 55. http://digitalcommons.augustana.edu/muscbeethoven/4 This Student Paper is brought to you for free and open access by the Festschriften at Augustana Digital Commons. It has been accepted for inclusion in Festschrift: Beethoven's Symphony No. 3, Op. 55 by an authorized administrator of Augustana Digital Commons. For more information, please contact [email protected]. Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior Moira Dunn Kathryn Krajewski Abigail Smith Olivia Weismann Augustana College MUSC 313—Styles and Literature of Music II February 10, 2017 1 Abstract: This paper will explore the relationships which Beethoven had during the years he composed and premiered his Eroica Symphony. Some of the individuals who will be discussed in this paper include Prince Lobkowitz, Ferdinand Ries, and Franz Wegeler. After learning about the nature of these relationships, the reader should begin to realize that Beethoven’s notoriously irrational or ill-tempered behavior was only one facet of his life. -
IMAGO MUSICAE Edenda Curavit Björn R
International•Yearbook•of•Musical•Iconography Internationales•Jahrbuch•für•Musikikonographie Annuaire•International•d’Iconographie•Musicale XXIX Annuario•Internazionale•di•Iconografia•Musicale Anuario•Internacional•de•Iconografía•Musical Founded by the International Repertory of Musical Iconography (RIdIM) IMAGO MUSICAE Edenda curavit Björn R. Tammen cum Antonio Baldassarre, Cristina Bordas, Gabriela Currie, Nicoletta Guidobaldi atque Philippe Vendrix Founding editor 1984–2013 Tilman Seebass IMAGO MUSICAE XXIX INSTITUT FÜR KUNST- UND MUSIKHISTORISCHE FORSCHUNGEN Österreichische Akademie der Wissenschaften Wien CENTRE D’ÉTUDES SUPÉRIEURES DE LA RENAISSANCE ISSN • 0255-8831 Université François-Rabelais de Tours € 80.00 ISBN • 978-7096-897-2 LIM Libreria•Musicale•Italiana Centre National de la Recherche Scientifique, UMR 7323 IMAGO MUSICAE International•Yearbook•of•Musical•Iconography Internationales•Jahrbuch•für•Musikikonographie Annuaire•International•d’Iconographie•Musicale Annuario•Internazionale•di•Iconografia•Musicale Anuario•Internacional•de•Iconografía•Musical Edenda curavit Björn R. Tammen cum Antonio Baldassarre, Cristina Bordas, Gabriela Currie, Nicoletta Guidobaldi atque Philippe Vendrix Founding editor 1984–2013 Tilman Seebass IMAGO MUSICAE XXIX Libreria•Musicale•Italiana Founded by the International Repertory of Musical Iconography (RIdIM) Graphic design and Layout: Vincent Besson, CNRS-CESR ISSN: 0255-8831 ISBN: 978-88-7096-897-2 © 2017, LIM Editrice, Lucca Via di Arsina 296/f – 55100 Lucca All rights reserved – Printed in -
EPTA Conference Germany 2020 Beethoven As
EPTA Conference Germany 2020 Beethoven as student and teacher Nils Franke Dean of Higher Education, University Centre Colchester, UK [email protected] 1. Beethoven as keyboard student Until just after the beginning of the 21st century, musicological studies of Beethoven as a student have focused predominantly on two elements: the first is the likely influence that Beethoven’s father Johann, himself a professional musician, may have had on his son’s artistic development. The second component was concerned with Christian Gottlob Neefe’s teaching of the young Beethoven, for which on very few surviving sources remain. The significance of young Beethoven’s parental home tended to focus on his father’s occupation as a professional singer, and, given the practices at the time, private music tutor. In contrast, Neefe’s output as a court musician was more tangible in its relevance to Beethoven’s subsequent achievements by ranging from conducting to playing the organ and composition. What was shared by both scenarios was a lack of academically credible sources that offered sufficient information for a more detailed picture of Beethoven’s initial studies to emerge. This changed in 2006 when the diaries of Gottfried Fischer (1780-1864) became available in an annotated scholarly edition, a master baker in Bonn whose family owned the house in which Beethoven’s parents rented an apartment. Fischer compiled his diaries between 1837 and 1857, but drew heavily on observations written down by his sister Cäcilie (1762-1845), who was eighteen years his senior and would thus have been in a position to witness some of the musical activities that formed part of the lives of the Beethoven family in the late 1770s and early 1780s. -
Beethoven's Fourth Symphony: Comparative Analysis of Recorded Performances, Pp
BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Mark Christopher Ferraguto August 2012 © 2012 Mark Christopher Ferraguto BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY Mark Christopher Ferraguto, PhD Cornell University 2012 Despite its established place in the orchestral repertory, Beethoven’s Symphony No. 4 in B-flat, op. 60, has long challenged critics. Lacking titles and other extramusical signifiers, it posed a problem for nineteenth-century critics espousing programmatic modes of analysis; more recently, its aesthetic has been viewed as incongruent with that of the “heroic style,” the paradigm most strongly associated with Beethoven’s voice as a composer. Applying various methodologies, this study argues for a more complex view of the symphony’s aesthetic and cultural significance. Chapter I surveys the reception of the Fourth from its premiere to the present day, arguing that the symphony’s modern reputation emerged as a result of later nineteenth-century readings and misreadings. While the Fourth had a profound impact on Schumann, Berlioz, and Mendelssohn, it elicited more conflicted responses—including aporia and disavowal—from critics ranging from A. B. Marx to J. W. N. Sullivan and beyond. Recent scholarship on previously neglected works and genres has opened up new perspectives on Beethoven’s music, allowing for a fresh appreciation of the Fourth. Haydn’s legacy in 1805–6 provides the background for Chapter II, a study of Beethoven’s engagement with the Haydn–Mozart tradition. -
The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations. -
Beethoven's Expanding Orchestral Horizons, 1795-1800 Theodore Albrecht Haydn's Concert in the Kleiner Redoutensaal, December
Beethoven’s Expanding Orchestral Horizons, 1795-1800 Theodore Albrecht Once Beethoven had tasted his initial success before the Viennese Tonkünstler-Societät’s public (as opposed to salon concerts of the nobility) on March 29-30, 1795, he began planning an Akademie of his own. For a typical potpourri program, he would need a new concerto, a symphony, plus works by other composers, and at least one or two vocal works. Even though he would need to get further use from his Piano Concerto in B-flat, he already had a Concerto in C Major in the works. He was also sketching a Symphony, likewise in C major. He worked on it, periodically, through 1795 and 1796, but it never progressed very far.1 Haydn’s Concert in the Kleiner Redoutensaal, December 18, 1795 Beethoven’s next public appearance playing his Concerto in B-flat was at a concert given by Joseph Haydn, primarily to introduce three of the six Symphonies (recently composed in London) to Viennese audiences on December 18, 1795. The concert took place in the Kleiner Redoutensaal, the smaller of the Imperial Ballrooms, often used for chamber music performances. The identity of the orchestra was not specified,2 but given the location---that is, not in the Burgtheater itself---and Griesinger’s mention that the Kärntnertor Theater’s orchestra under Wranitzky had performed Haydn symphonies,3 it is possible that this ensemble was in fact the orchestra employed. If so, Beethoven would probably again have had a positive experience in making music with Wranitzky. 1Beethoven did not use bound sketchbooks before the so-called “Grasnick 1 Sketchbook,” begun in the middle of 1798. -
Kurz Beethoven Wegeler E.Qxd
Two Important Men of Bonn - outstanding physician and, as a civil servant first in the medicine), in pathology, practical medicine, police medicine indeed they were the targeted group. Lorenz von Breuning Lichnowsky. The situation of both Rombergs in Vienna was Franz Gerhard Wegeler French and after 1814 in the Prussian administration, he was and the writing of prescriptions, the privy councillor Peter probably brought his sister Eleonore an orphica to Bonn not good. They had also left Bonn, where they had been able thanks to his wisdom and great perseverance to bring Wilhelm de Gynetti in physiology, semiotics and botany, and when he returned home in October 1797, having finished his Beethoven’s colleagues in the court music ensemble, because and Ludwig van Beethoven about important improvements in the medical care of the the highly esteemed anatomist and surgeon Joseph Claude medicine studies in Vienna. As a leaving present Beethoven of the French occupation. “Only the ever unwaivering, firm principles of Good Rhineland. In particular the training of qualified midwives Rougemont, who in 1783 was appointed by the Prince gave him two pieces, in C major and F major, specially com- Showcase 5: It is an absolute stroke of luck that two silhou- held us nevertheless always bound closely together”. cannot be overestimated, in a time of high infant mortality Elector Max Friedrich as his court physician in Bonn. In posed for Eleonore, which took into account the specific ettes have resurfaced, which for decades was thought to have which had affected the Beethoven family as well as so many addition, the new Prince Elector Max Franz brought with him capabilities of this instrument. -
Faltblatt Wegeler Englisch
Special Exhibition 51 was probably also composed in Bonn. „Beethoven and his Bonn Circle of Friends. Case 2 gives a wonderful insight into Beethoven’s Selected Objects from the Wegeler Collection“ circle of friends in Bonn. The New Year’s greeting and album leaves which reveal the spirit of friendship among On May 7, 1998, the 150th anniversary of the death of the friends of youth are addressed to Eleonore von Breu- Franz Gerhard Wegeler, the board of directors of the Julius ning, who later became Wegeler’s wife. The von Breuning Wegeler Foundation presented its valuable collection to the family was a haven of concerned care and friendship for the Beethoven House as a permanent loan. The core of the young Beethoven. Helene von Breuning (portrait on the “Wegeler Collection“ owes its existence to the friendly wall) became a motherly friend to Beethoven after the contact between Franz Gerhard Wegeler (1769-1848) and death of his own mother and the declaration of legal inca- Ludwig van Beethoven over the course of many years. pacity of his father. Beethoven gave her children Eleonore and Lorenz piano lessons. Beethoven remained very close Beethoven’s friend of his youth in Bonn, Franz Ger- to their brother, Stephan, his whole life. They both studied hard Wegeler, was born there in 1769, studied medicine in violin under Franz Anton Ries, to whom Wegeler and Ries’ Bonn and went then with a stipend from the Elector Maxi- son, Ferdinand, dedicated their “Biographical Notes about milian Franz to Vienna for further education, as did Beetho- Ludwig van Beethoven“ which were published in 1838. -
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. -
Christus Am Ölberge the Mount of Olives Oratorium/Oratorio Op
Ludwig van BEETHOVEN Christus am Ölberge The Mount of Olives Oratorium/Oratorio op. 85 Soli, Coro ed Orchestra herausgegeben von/edited by Clemens Harasim Beethoven vocal Urtext Partitur/Full score C Carus 23.020 Besetzung / Scoring Flauto I, II Oboe I, II Clarinetto I, II in Si/B, La/A, Do/C Fagotto I, II Corno I, II in Mi/Es, Re/D, Do/C, Si/B, Sol/G Tromba I, II in Mi/Es, Re/D, Do/C Timpani Trombone alto, tenore, basso Seraph (Soprano) Christus (Tenore) Petrus (Basso) Coro Chor der Engel (SATB) Chor der Jünger (TT) Chor der Krieger (TBB) Violino I Violino II Viola Violoncello Contrabbasso Zu diesem Werk liegt folgendes Aufführungsmaterial vor: Partitur (Carus 23.020), Studienpartitur (Carus 23.020/07), Klavierauszug (Carus 23.020/03), Klavierauszug XL Großdruck (Carus 23.020/04), komplettes Orchestermaterial (Carus 23.020/19). The following performance material is available: full score (Carus 23.020), study score (Carus 23.020/07), vocal score (Carus 23.020/03), vocal score XL in larger print (Carus 23.020/04), complete orchestral material (Carus 23.020/19). Zu diesem Werk ist , die Chor-App, erhältlich. Sie enthält die Noten, eine Einspielung des Werkes und einen Coach zum Üben der eigenen Chorstimme. www.carus-music.com For this work , the choir app, is available. In addition to the score and a recording, the app offers a coach to learn the choral parts. www.carus-music.com II Carus 23.020 Inhalt / Contents Vorwort IV Foreword VIII 1a. Introduzione 1 1b. Recitativo (Christus) 8 Jehova, du, mein Vater! / My Father, O my Father 1c. -
The Beethoven Question: Can Art Make Life Worth Living?
2012 conference The Beethoven Question: Can Art Make Life Worth Living? Saturday 27th/Sunday 28th October 2012 Purcell Room at Queen Elizabeth Hall, Southbank Centre, London Media partner 1 CHRONOLOGY of key dates in Beethoven’s life and times Conference Leader he Heiligenstadt Testament, which appears on page 4 Stephen Johnson in a new translation by Professor Richard Stokes, was written 1770 Birth of Ludwig van Beethoven in Bonn, about 16th December. T 1775 Beethoven begins music lessons with his father, a severe teacher. by Beethoven in October 1802 when, at the age of 31, he realised Artistic Director 1778 Piano recital in Cologne. that his increasing deafness was an irreversible condition and that c.1779 Composition lessons with Christian Gottlob Neefe. Ian Ritchie he might lose his hearing altogether. 1782 Beethoven leaves school and becomes unsalaried court organist under Neefe. “Dressler” Variations for Piano WoO 63 his first published work. Speakers Guided by some of the world’s leading Beethoven scholars and our 1783 Publication of three “Kurfurst” Piano Sonatas, WoO 47. Professor Barry Cooper other distinguished speakers, The Musical Brain’s 2012 Conference 1787 Travels to Vienna and possibly plays for Mozart. Beethoven’s mother dies; his father’s long-standing alcohol problem becomes Lindsey Dryden incapacitating. Robert Fulford will explore how Beethoven, who at this point in his life was yet to compose most of his great works, rose above this crushing 1789 Fall of the Bastille and beginnings of the French Revolution. Beethoven matriculates at University of Bonn. Assumes responsibility Nigel Osborne for his family. Plays viola in court theatre orchestra. -
DETERMINING the AUTHENTICITY of the CONCERTO for TWO HORNS, Woo. 19, ATTRIBUTED to FERDINAND RIES
DETERMINING THE AUTHENTICITY OF THE CONCERTO FOR TWO HORNS, WoO. 19, ATTRIBUTED TO FERDINAND RIES Amy D. Laursen, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: William Scharnberg, Major Professor Kris Chesky, Related Field Professor Brian Bowman, Committee Member Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Laursen, Amy D. Determining the Authenticity of the Concerto for Two Horns, WoO. 19, Attributed to Ferdinand Ries. Doctor of Musical Arts (Performance), December 2015, 100 pp., 1 table, 27 figures, 57 musical examples, references, 108 titles. Ferdinand Ries is credited as the composer of the Concerto for Two Horns, WoO. 19 preserved in the Berlin State Library. Dated 1811, ostensibly Ries wrote it in the same year as his Horn Sonata, Op. 34, yet the writing for the horns in the Concerto is significantly more demanding. Furthermore, Ries added to the mystery by not claiming the Concerto in his personal catalog of works or mentioning it in any surviving correspondence. The purpose of this dissertation is to study the authorship of the Concerto for Two Horns and offer possible explanations for the variance in horn writing. Biographical information of Ries is given followed by a stylistic analysis of Ries’s known works. A stylistic analysis of the Concerto for Two Horns, WoO. 19 is offered, including a handwriting comparison between the Concerto for Two Horns and Ries’s Horn Sonata. Finally, possible explanations are proposed that rationalize the variance in horn writing between the Concerto for Two Horns, WoO.