Richard Wagner Sämtliche Briefe
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Rainer Schmitz, Professor Dr. Benno Ure Wie Mozart in Die Kugel Kam Kurioses Und Überraschendes Aus Der Welt Der Klassischen Musik
Leseprobe Rainer Schmitz, Professor Dr. Benno Ure Wie Mozart in die Kugel kam Kurioses und Überraschendes aus der Welt der klassischen Musik »Die Stichworte sind alle originell gewählt und verführen zum Lesen. Lohnenswert.« RBB, »Kulturradio am Morgen« Bestellen Sie mit einem Klick für 20,00 € Seiten: 1168 Erscheinungstermin: 23. April 2018 Mehr Informationen zum Buch gibt es auf www.penguinrandomhouse.de Inhalte Buch lesen Mehr zum Autor Zum Buch Macht Mozart klüger? Überraschende Antworten auf wirklich alle Fragen aus der Welt der Musik Wurde Mozart ermordet? Wie gelangte Bruckners Brillenglas in Beethovens Sarg? Und wer um alles in der Welt war Elise? Mit großer Lust am Abseitigen und Kuriosen haben Rainer Schmitz und Benno Ure in jahrelangen Recherchen viel Wissenswertes und Überraschendes ans Tageslicht gebracht. Ein Buch, das zum Schmökern, Staunden und Entdecken einlädt – im Siedler Verlag unter dem Titel »Tasten, Töne und Tumulte« erschienen. Autor Rainer Schmitz, Professor Dr. Benno Ure Rainer Schmitz, geboren 1950, war Kultur- und Literaturredakteur u. a. beim Magazin der »Süddeutschen Zeitung« und beim »Focus«. Er ist Autor und Herausgeber zahlreicher Bücher, darunter der Bestseller »Was geschah mit Schillers Schädel? Alles, was Sie über Literatur nicht wissen« (2006). Rainer Schmitz und Benno Ure WIE MOZART IN DIE KUGEL KAM Kurioses und Überraschendes aus der Welt der klassischen Musik Pantheon 3332_55371_Schmitz_Titelei.indd32_55371_Schmitz_Titelei.indd 3 006.03.186.03.18 14:2814:28 Die Originalausgabe erschien 2016 unter dem Titel Tasten, Töne und Tumulte. Alles, was Sie über Musik nicht wissen im Siedler Verlag, München. Sollte diese Publikation Links auf Webseiten Dritter enthalten, so übernehmen wir für deren Inhalte keine Haftung, da wir uns diese nicht zu eigen machen, sondern lediglich auf deren Stand zum Zeitpunkt der Erstveröffentlichung verweisen. -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
Wagner and the Erotic Impulse
WAGNER AND THE EROTIC IMPULSE WAGNER AND THE EROTIC IMPULSE LAURENCE DREYFUS harvard university press Cambridge, Massachusetts London, En gland 2010 Copyright © 2010 by Laurence Dreyfus All rights reserved Printed in the United States of America Library of Congress Cataloging- in- Publication Data Dreyfus, Laurence, 1952– Wagner and the erotic impulse / Laurence Dreyfus. p. cm. Includes bibliographical references and index. ISBN 978- 0- 674- 01881- 5 (alk. paper) 1. Wagner, Richard, 1813– 1883—Criticism and interpretation. 2. Opera— 19th century. 3. Sex in opera. I. Title. ML410.W13D74 2010 782.1092—dc22 2010011118 Need I add that Wagner also owes his success to his sensuality? Habe ich noch zu sagen, daß Wagner seiner Sinnlichkeit auch seinen Erfolg verdankt? —Friedrich Nietz sche, Nachlaß (1888) C ONTENTS Preface ix Abbreviations xv 1. Echoes 1 Music and Eros — Søren Kierkegaard — Suggestive Music — Peculiarities of Musical Erotics — Charles Baudelaire — Friedrich Nietz sche and Malwida von Meysenbug — Édouard Schuré and Hans von Bülow — Ludwig Schnorr von Carolsfeld — Gabriele D’Annunzio and Thomas Mann — Wagner’s critics — Clara Schumann 2. Intentions 40 Julius Kapp and Ernest Newman — Das Liebesverbot — Salvation from Arousal — Wilhelmine Schröder- Devrient — Arthur Schopenhauer — Opera, Not Philosophy 3. Harmonies 73 Der Fliegende Holländer — Tannhäuser — Erotics in the Literary Sources — A Tour of the Venusberg — Love in the Ring Poem — Die Walküre — Tristan und Isolde — The Tristan Chord — Musical Paradigms in the Tristan Prelude -
6. Philharmonisches Konzert SCHREKER · KORNGOLD · WEBERN · MOZART Progr PK6 29.+30.3.2008 18.03.2008 16:44 Uhr Seite 2 (Schwarz
Progr_PK6_29.+30.3.2008 18.03.2008 16:44 Uhr Seite 1 (Schwarz/ 2007| 2008 137. SPIELZEIT 6. Philharmonisches Konzert SCHREKER · KORNGOLD · WEBERN · MOZART Progr_PK6_29.+30.3.2008 18.03.2008 16:44 Uhr Seite 2 (Schwarz/ Der neue BMW 1er. Doppelte Freude. Der neue BMW 1er 3-Türer kombiniert puren Fahrspaß, ausgeprägtes Temperament und einzigartiges Design. Deutlich längere, rahmenlose Türen und das formvollendete Interieur betonen seinen sportlichen Charakter. Dazu bietet er Innovationen, die in diesem Segment einzigartig sind. So sorgen der BMW typische Hinterradantrieb und die optionale Aktivlenkung für mehr Dynamik. Die moderne Technik, wie direkte Kraftstoffeinspritzung, Bremsenergie- rückgewinnung sowie die Auto Start Stop Funktion, reduziert den Verbrauch und damit auch den CO2-Ausstoß. Erleben Sie bei uns die faszinierende Sportlichkeit des neuen BMW 1er 3-Türer. BMW Niederlassung Dresden Dohnaer Str. 99-101 01219 Dresden Tel. (0351)285250 Fax (03 51)2 85 25 92 www.bmwdresden.de Freude am Fahren Progr_PK6_29.+30.3.2008 18.03.2008 16:44 Uhr Seite 3 (Schwarz/ 3 Samstag, 29. März 2008 19.30 Uhr Sonntag, 30. März 2008 19.30 Uhr Festsaal im Kulturpalast 6. Philharmonisches Konzert Lothar Koenigs | Dirigent Vadim Gluzman | Violine ete et - ß. Progr_PK6_29.+30.3.2008 18.03.2008 16:44 Uhr Seite 4 (Schwarz/ 4 Der 1892 erschienene Roman »Das tote Brügge« des belgischen Symbolisten Georges Rodenbach traf offenbar genau die Stimmung im Europa jener Zeit. Das Buch inspirierte Egon Schiele zu meh- reren Städtebildern (Abb.: Die tote Stadt, um 1910), lag Gabriele D’Annunzios Tragödie »La città morta« zugrunde (UA 1898 in Paris mit Sarah Bernhardt) und lieferte Erich Wolfgang Korngold das Libretto zu seiner Oper »Die tote Stadt«. -
Ferdinand Praeger, Esq., Wagner and Liszt
APRIL 2, 1888. FERDINAND PRAEGER, ESQ., IN THE CHAIR. WAGNER AND LISZT CORRESPONDENCE. By J. S. SHEDLOCK, B.A. THERE is a great charm about private letters. When one friend writes to another, he expresses his thoughts as freely as if he were talking with him. There is no fear as to what the world will say. Men write letters to newspapers, and many such are perfectly honest letters, yet the writers have to be cautious, and often the reader has to look between the lines. But in private letters—especially between two men who thoroughly understand and sympathise with each other —there is no need of restraint. They say what they have to say in plain, unvarnished language. Everything is au naturel. Private letters of great men are of inestimable advantage to writers of biography: from them portraits true to the life can be drawn. They are of value to historians who seek to know the hidden causes of things. They are of value to friends and relations, who treasure up every line written by one whom they respect or admire. But viewed in another light, the giving of private letters to the world may be considered a disadvantage. They may be used for party purposes. In a correspondence of twenty years—such -as the one before us—men are apt to show many sides of their character; and it is easy to pick and choose so as to present a man either all that is great and noble, or the reverse. Again, they may fall into the hands of careless readers, readers who will merely glance at a page here and there, and form most erroneous ideas. -
WAGNER, MINNA and COSIMA. %?I
Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. WAGNER,MINNA AND COSIMA. BY GUSTAV KOBB?, AUTHOR OF "WAGNER'S LIFE AND WORKS," ETC. Wagner, Minna and Cosima; and?poor Minna! Thrown into the shade by the bright luminary that succeeded you, how are many there who realize that for nearly a quarter of a century you tried to smooth the pathway of one of the greatest and most ever contrary geniuses that lived, sharing -
Richard Wagner Sämtliche Briefe
RICHARD WAGNER SÄMTLICHE BRIEFE Band 13 Briefe des Jahres 1861 herausgegeben von Martin Dürrer und Isabel Kraft v<r-..': i.'•:•• *'-0f • BREITKOPF & HARTEL WIESBADEN • LEIPZIG • PARIS Inhaltsverzeichnis Vorwort 17 Benutzerhinweise 21 Briefe 1. Hans von Bülow, 1. Januar 1861 29 2. Pauline von Metternich, 8. Januar 1861 29 3. Königliche Theater-Hauptkasse Berlin, 11. Januar 1861 30 4. Luise Dustmann-Meyer, 14. Januar 1861 30 5. Neree Desarbres, 16. Januar 1861 30 6. Ernst Benedikt Kietz, 22. Januar 1861 30 7. *Neree Desarbres, 25. Januar 1861 31 8. Unbekannt, 26. Januar 1861 31 9. Otto Wesendonck, 31. Januar 1861 31 10. Pauline von Metternich, Januar 1861 33 11. Georg Aloys Schmitt, Dezember 1860/Januar 1861 . 35 12. Richard Lindau, 1. Februar 1861 35 13. Alphonse Royer, 1. Februar 1861 39 14. Alphonse Royer, 4. Februar 1861 39 15. Frau Kreutzer, 5. Februar 1861 40 16. Daniel-Frangois-Esprit Auber, 8. Februar 1861 40 17. Otto Wesendonck, 8. Februar 1861 41 18. Blandine Ollivier, 9. Februar 1861 42 19. Agnes Street-Klindworth, 9. Februar 1861 42 20. Paul Chandon de Briailles, 10. Februar 1861 43 21. Ferdinand Praeger, 12. Februar 1861 44 22. Mathilde Wesendonck, 12. Februar 1861 45 23. Charles Baudelaire, 15. Februar 1861 49 24. Agnes Street-Klindworth, 16. Februar 1861 50 25. Victor Cochinat, 19. Februar 1861 50 Inhaltsverzeichnis 26. Pauline Viardot, 19. Februar 1861 51 27. Karl Klindworth, 21. Februar 1861 (?) 52 28. Albert Niemann, 21. Februar 1861 52 29. Joseph Tichatschek, 21. Februar 1861 61 30. Karl Klindworth, 22. Februar 1861 62 31. Emil von Erlanger, 24. -
Bibliographic Essay for Alex Ross's Wagnerism: Art and Politics in The
Bibliographic Essay for Alex Ross’s Wagnerism: Art and Politics in the Shadow of Music The notes in the printed text of Wagnerism give sources for material quoted in the book and cite the important primary and secondary literature on which I drew. From those notes, I have assembled an alphabetized bibliography of works cited. However, my reading and research went well beyond the literature catalogued in the notes, and in the following essay I hope to give as complete an accounting of my research as I can manage. Perhaps the document will be of use to scholars doing further work on the phenomenon of Wagnerism. As I indicate in my introduction and acknowledgments, I am tremendously grateful to those who have gone before me; a not inconsiderable number of them volunteered personal assistance as I worked. Wagner has been the subject of thousands of books—although the often-quoted claim that more has been written about him than anyone except Christ or Napoleon is one of many indestructible Wagner myths. (Barry Millington, long established one of the leading Wagner commentators in English, disposes of it briskly in an essay on “Myths and Legends” in his Wagner Compendium, published by Schirmer in 1992.) Nonetheless, the literature is vast, and since Wagner himself is not the central focus of my book I won’t attempt any sort of broad survey here. I will, however, indicate the major works that guided me in assembling the piecemeal portrait of Wagner that emerges in my book. The most extensive biography, though by no means the most trustworthy, is the six- volume, thirty-one-hundred-page life by the Wagner idolater Carl Friedrich Glasenapp (Breitkopf und Härtel, 1894–1911). -
Richard Wagner and Buddhism
CORE Metadata, citation and similar papers at core.ac.uk Richard Wagner and Buddhism Tristan and Isolde and The Victors Dorothea Watanabe Dauer Richard Wagner’s influence on the cultural developments of the nineteenth century was probably more profound and more diverse than that of any other artist of that period. Wagner became the object either of ardent enthusiasm or bitter contempt, and this has remained unchanged to this day. Again and again Wagnerians and anti-Wagnerians have confronted each other over the works of this great but controversial artist and thinker. Since World War II these confrontations have become more belligerent, and this alone may suffice to secure for Wagner’s works and ideas a recognition as long as interest in Western art and music, as we have known it, continues. The Renaissance focussed the cultural interests of the Western World almost exclusively on antiquity. Up to 1854 Wagner was no exception to this trend. However, he made a rigorous distinction between the world of Greece and the world of Rome, and had praise only for Greece and its ideal of the self-confident man. The young Wagner, until 1848, was an enthusiastic admirer of Feuerbach, Bakunin, Prudhomme and other March Revolutionaries. After the failure of the revolution and because of his participation in the movement that led to the so-called May Uprising, a warrant for the arrest of the former Hof-Kapellmeister at the Dresden Staatstheater was issued. With a passport bearing the name of a Professor Widmann,1 he fled to Zurich. At that time the thirty-six year old Wagner was firmly convinced of the need for a political reorganization of Germany, since he could also expect a comparable transformation in the arts 1 Guy de Pourtates, Richard Wagner, Mensch und Meister (Berlin: Th. -
9788409083169.Pdf
Collection « Opéra français / French opera » Directed by Alexandre Dratwicki English translations by Charles Johnston Design : Valentín Iglesias © 2019 Palazzetto Bru Zane – Centre de musique romantique française San Polo 2368 – 30125 Venezia – Italy bru-zane.com Layout, manufacturing and distribution co-ordinated by: Sémele Proyectos Musicales, s.l. Timoteo Padrós, 31 – 28200 San Lorenzo de El Escorial – Spain semelemusic.com All rights reserved. Physical edition printed and made in Spain Legal deposit: Madrid, March 2019 – m-11715-2019 isbn : 978-84-09-08316-9 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owners and the publisher. 2 livres-disques du palazzetto bru zane the palazzetto bru zane’s book+cd series Opéra français Prix de Rome 1 Bach, Amadis de Gaule 1 Claude Debussy Le Palazzetto Bru Zane – Centre de musique romantique française a pour vocation 2 Kreutzer, La Mort d’Abel 2 Camille Saint-Saëns de favoriser la redécouverte du patrimoine musical français du grand xix e siècle (1780- 3 Massenet, Thérèse 3 Gustave Charpentier 1920) en lui assurant le rayonnement qu’il mérite. Installé à Venise, dans un palais de 4 Sacchini, Renaud 4 Max d’Ollone 1695 restauré spécifiquement pour l’abriter, ce centre est une réalisation de la Fondation 5 Massenet, Le Mage 5 Paul Dukas Bru. Il allie ambition artistique et exigence scientifique, reflétant l’esprit humaniste qui 6 Joncières, Dimitri 6 Charles Gounod guide les actions de la fondation. -
Alfred Stevens
Marjan Sterckx exhibition review of Alfred Stevens Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010) Citation: Marjan Sterckx, exhibition review of “Alfred Stevens,” Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010), http://www.19thc-artworldwide.org/spring10/alfred- stevens. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Sterckx: Alfred Stevens Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010) Alfred Stevens Royal Museums of Fine Arts of Belgium, Brussels 5 May 2009 – 23 August 2009 URL: http://www.expo-stevens.be Van Gogh Museum, Amsterdam 18 September 2009 – 24 January 2010 URL: http://www.vangoghmuseum.nl/vgm/index.jsp?page=161537&lang=en Catalogue (in English, French and Dutch) Alfred Stevens (Brussels, 1823–Paris, 1906) Contributions by Saskia de Bodt, Danielle Derrey-Capon, Michel Draguet, Ingrid Goddeeris, Dominique Maréchal and Jean-Claude Yon Brussels: Mercatorfonds and Koninklijke Musea voor Schone Kunsten, Amsterdam: Van Gogh Museum, 2009. 208 pages, 150 illustrations, full color € 29.95 ISBN 978 90 6153 8738 (English paperback) ISBN 978 90 6153 8714 (French paperback) 978 90 6153 8745 (French cloth) ISBN 978 90 6153 872 1 (Dutch paperback) 978 90 6153 875 2 (Dutch cloth) This past autumn and winter, the Van Gogh Museum in Amsterdam featured two exhibitions: the large-scale and well-attended Van Gogh's letters: The artist speaks (Van Goghs brieven: De kunstenaar aan het woord), in the context of the new web and book editions of Van Gogh's letters, and the somewhat more remote, but appealing Alfred Stevens exhibition (fig. -
52 Tonkünstler-Versammlung Dessau, 25. – 28. Mai 1865
52 Tonkünstler-Versammlung Dessau, 25. – 28. Mai 1865 Ens.: Hzgl. Capelle Dessau, Hzgl. Capelle Ballenstedt, Mitglieder der Großhzgl. Weimarischen Hofcapelle, der Fürstl. Hofcapelle Sondershausen und des Gewandhausorchesters Leipzig 1. Aufführung: Grosse geistliche Musikaufführung des Allgemeinen deutschen Musikvereins [auch: Concert in der Schlosskirche ] Dessau, Schlosskirche, Donnerstag, 25. Mai (Himmelfahrt), 17:00 – 19:30 Uhr Ltg.: Carl Riedel Sol.: Gustav Adolf Thomas (Org.) Ch.: Riedelscher Verein, Leipzig I. Teil 1. Johann Sebastian Bach: Toccata und Fuge d-Moll für Sol.: Friedrich Wilhelm Stade (Org.) Orgel 2. Gesang der Kelcher, vierstimmig (nach einem alten Cantional, 1573), Melodie aus dem 15. Jahrhundert Text: geistliches Hussitenlied, altböhmisch, Übs.: Carl Riedel: nach dem Böhmischen ( ≡ dt.) 3. Joseph Leopold Zvona ř: Feldgesang der Taboriten, vierstimmig, Melodie aus dem 15. Jahrhundert Text: Bohuslav z Čechtic, Übs.: Carl Riedel: nach dem Böhmischen ( ≡ dt.) 4. Johann Eccard: Von Gott will ich nicht lassen, fünfstimmiger Choral (1597) Text: Ludwig Helmbold (1563/64, ≡) 5. Giovanni Carlo Maria Clari: großes Stabat mater Sol.: Emilie Wigand (S) Lass nach Kampf und Todesgrauen, Arie für Sopransolo mit Begleitung Text: Jacopone da Todi: lat. (≡ dt.) 6. Johann Eccard: Marienlied, fünfstimmiger Chor (1589) Text: Ludwig Helmbold, Änderungen der 1. Strophe: Carl von Winterfeld (≡) 7. Michael Praetorius: Weihnachtslied, 4stimmig (1609, ≡) 8. Johann Wolfgang Franck: Die bittre Trauerzeit, geistliches Sol.: Franz Xaver Birkinger (B) Lied für eine Baßstimme und Orgel Text: Hinrich Elmenhorst ( ≡) 9. Heinrich Schütz: Marcus-Passion (1666) Schlußchor, vierstimmig ( ≡) II. Teil 10. August Gottfried Ritter: Sonate für Orgel e-Moll op. 19 Sol.: Gustav Adolf Thomas (Org.) 11. Franz Liszt: Pater noster (Vater unser), für vierstimmigen Chor und Orgel Text: nach der Vulgata: lat.