DOCSLIB.ORG

BRAHMS Song of Destiny Works for Choir and Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BRAHMS Song of Destiny Works for Choir and Orchestra BRAHMS Song of Destiny Works for Choir and Orchestra Eric Ericson Chamber Choir Gävle Symphony Orchestra Jaime Martín 1 JOHANNES BRAHMS (1833–1897) 1 Schicksalslied (Song of Destiny), Op. 54 15:06 2 Gesang der Parzen (Song of the Fates), Op. 89 11:01 3 Nänie (Naenia), Op. 82 11:58 4 Begräbnisgesang (Funeral Song), Op. 13 6:15 Liebeslieder-Walzer 12:35 from Opp. 52 and 65, selected and orchestrated by Brahms 5 Rede Mädchen, allzu liebes (Tell me, maiden), Op. 52 No. 1 1:03 6 Am Gesteine rauscht die Flut (O’er the rocks the tide roars on), Op. 52 No. 2 0:45 7 Wie des Abends schöne Röte (As the evening’s radiant sunset), Op. 52 No. 4 0:45 8 Ein kleiner, hübscher Vogel nahm (A little, pretty bird), Op. 52 No. 6 2:27 9 Die grüne Hopfenranke (The green and trailing hopvine), Op. 52 No. 5 1:30 10 Nagen am Herzen (Gnawing feelings in the heart), Op. 65 No. 9 1:34 (Soprano solo: Elin Skorup) 11 Nein, es ist nicht auszukommen (No, there is no putting up), Op. 52 No. 11 0:57 12 Wenn so lindt dein Auge mir (When your eyes so softly gaze), Op. 52 No. 8 1:27 13 Am Donaustrande (By Danube’s waters), Op. 52 No. 9 2:07 ERIC ERICSON CHAMBER CHOIR GÄVLE SYMPHONY ORCHESTRA JAIME MARTÍN, conductor 3 Schicksalslied for Choir and Orchestra op. 54 Brahms’s visit with the Oldenburg court music director Albert Dietrich in the summer of 1868 was the source of inspiration for his Schicksalslied op. 54 (Song of Destiny) published by Simrock in December 1871. In his Erinnerungen an Johannes Brahms Dietrich reports that Brahms had “found Hölderlin’s poems in the bookcase and was most deeply moved by the Schicksalslied.” During an excursion together to Wilhelmshaven, as Dietrich states, Brahms sat “alone on the beach” and wrote “the first sketches of the Schicksalslied.” However, it was not until September 1871 that Brahms announced the work to his publisher, after he had long worked on its conclusion and had discussed it with Hermann Levi, the author of the piano reduction. The work delves musically into the duality between the “fate-free,” ideal heavenly life and the existence of “suffering man” on earth articulated in Friedrich Hölderlin’s poem Hyperions Schicksalslied from the second volume of his epistolary novel Hyperion oder Der Eremit in Griechenland, a work published in 1799. The first part corresponds to the two stanzas and represents the heavenly realm in E flat major and 4/4 time – “Slowly and yearningly,” as the tempo marking reads. In the instrumental introduction the ascending melody of the muted violins is heard over the repeated timpani motif dominated by triplets. First the alto, which enters quietly, and then the whole choir together with various orchestral combinations praise the bright divine breezes gently moved by blissful geniuses, whose touch is like that of a female artist’s fingers on holy strings (“Glänzende Götterlüfte […] selige Genien [… leicht] rühren / wie die Finger der Künstlerin / heilige Saiten”). Arpeggiated chords in pizzicato in the violins and violas depict these last two verses in music. The second stanza of similar design is followed by the contrasting second part (Allegro in 3/4 time) in the fateful parallel key of C minor. It begins with an eighth figure played in forte by the strings and symbolizes human restlessness. The last stanza of the poem, earthly reality, is the subject of this second part, which, however, does not conclude the work. Brahms added an orchestral postlude in C major with the melody of the prelude, which, according to Eduard Hanslick, “transforms the confused toil of human existence into blissful peace.” 4 Gesang der Parzen for Six-Part Choir and Orchestra op. 89 During the summer of 1882 Brahms set the five stanzas of the Gesang der Parzen (Song of the Fates/ Parcae) from Johann Wolfgang von Goethe’s Iphigenie auf Tauris as well as the following stanza, which concludes Act IV. Duke Georg von Sachsen-Meiningen, a music lover and admirer of Brahms’s music, was the dedicatee. The Brahms biographer Max Kalbeck mentions Charlotte Wolter’s representation of Iphigenia as the source of inspiration for the musical setting. Simrock published Brahms’s Opus 89 about two months after the premiere of the work conducted by the composer in Basel on 10 December 1882. The theme of destiny is an obvious parallel that can be drawn between this work and the Schicksalslied. The two works also have in common a title not referring directly to the source. Brahms wrote on this point, “That the song is from Iphigenie is something that I would not like to mention on the title page. I already hear Speidel [the music critic Ludwig Speidel] saying that it is not the Goethean Iphigenie, and in any case the Parzenlied is not Iphigenie.” The orchestra opens the work in its full ensemble size and strength. The first stanza then follows, sung by the six-part choir – with doubled alto and bass – in piano, and divided into female and male voices. The dactylic motif dominates in the work; the urgency thus stands as an expression of a “primordial, superhuman order” (thus Siegfried Kross). Numerous passages interpreting the text are found in the work, but after the return of the first stanza the mood changes: the next stanza (“Es wenden die Herrscher ihr segnendes Auge”) is to be sung “Slowly and smoothly” in piano, and Brahms selected D major as the key and a 3/4 time. Brahms stated as follows concerning the major key: “I think that at the simple entry of the major the unsuspecting hearer’s heart would have to melt and his eyes become moist since the whole misery of humankind first then grips him.” After this section the conclusion with the added stanza follows in the initial key of D minor, which among Brahms’s contemporaries – and not only among them – met with a lack of understanding as far as its meaning and function are concerned. 5 Nänie for Choir and Orchestra op. 82 During the summer of 1881 Brahms composed his Opus 82, a work published by C. F. Peters in December of the same year. In ancient Rome, where the name Naenia or Nenia originated, this dirge accompanied funeral processions. However, Friedrich von Schiller wrote the poem with a title identical to that of the musical text as a song of lament and mourning for the fleetingness of beauty, in all likelihood a year prior to its publication in 1800. Brahms dedicated his work to Henriette Feuerbach (“Frau Hofrath Henriette Feuerbach zugeeignet”). The dedication refers to the death of her son, Brahms’s highly admired friend, the painter Anselm Feuerbach, who died in Venice on 4 January 1880, as Brahms indicates in his letters. Brahms set the seven distichs of Schiller’s text, each consisting of a hexameter and a pentameter, in keeping with their content, both in musical and formal respects. The orchestral beginning of the composition is similar to that of the Schicksalslied. The oboe presents a long melody in D major in a 6/4 time no doubt inspired by the hexameter. After the proclamation of the theme of beauty’s death (“Auch das Schöne muß sterben”), which is sung by the soprano, three myths from antiquity are found in the poem: Orpheus and Eurydice, Aphrodite and Adonis, and Thetis and Achilles. Here Brahms initially employs polyphonic structures. A new section begins with ascent from the sea in the fifth verse (“Aber sie steigt aus dem Meer”) and represents the lament for the transitoriness of beauty and the death of perfection in F sharp major, in 4/4 time, Più sostenuto in tempo, and in a more homophonic texture. The final distich forms the concluding part, which returns to the initial key of D major and to the musical material from the beginning of the work. Brahms concludes his composition with the next-to-last verse, with repetitions of the word “herrlich” (glorious), surely – in a manner similar to his Schicksalslied – with a more consoling intention. Begräbnisgesang for Choir and Wind Instruments in C minor op. 13 During his Detmold period Brahms composed the Begräbnisgesang op. 13 (Funeral Song), a work that like many others was revised prior to its definitive printing in 1861. In November 1858 he enclosed a manuscript of the work in one of his letters to his close friend Julius Otto Grimm. Grimm, who was 6 then a Göttingen choir director, expressed his enthusiasm for this version of the work. However, a few months later, at the end of March 1859, Brahms reported to his friend Joseph Joachim, who was then the royal concertmaster in Hanover, “I have splendidly instrumented my funeral song! It looks very different, now that I have eliminated the unbecoming basses and cellos.” The first version, no longer extant today, contained low strings, but in view of the work’s declared function as a “Song for a Burial,” as the title of the autograph reads, Brahms no doubt opted to replace them with wind instruments. As a result, the work, as he himself intended, could actually be performed at graveside. The music is based on a text of seven stanzas by Michael Weiße from the Gesangbuch der böhmischen Brüder (Jungbunzlau, 1531). Brahms set them in a highly varied manner. The C minor melody of the first stanza returns in the third and last stanzas; it recalls a funeral march and proceeds in the spirit of the initial instruction, which is “Tempo di Marcia funebre.” The soprano, without whose participation the work begins in a mood suggesting depression in the low register, enters powerfully (in forte) in the second stanza, precisely in the passage referring to the sounding of God’s trumpet (“Wenn Gottes Posaun wird angehen”), after a section of recitative character.
Load more

Recommended publications
  • Historie Der Rheinischen Musikschule Teil 1 Mit Einem Beitrag Von Professor Heinrich Lindlahr
    Historie der Rheinischen Musikschule Teil 1 Mit einem Beitrag von Professor Heinrich Lindlahr Zur Geschichte des Musikschulwesens in Köln 1815 - 1925 Zu Beginn des musikfreundlichen 19. Jahrhunderts blieb es in Köln bei hochfliegenden Plänen und deren erfolgreicher Verhinderung. 1815, Köln zählte etwa fünfundzwanzigtausend Seelen, die soeben, wie die Bewohner der Rheinprovinz insgesamt, beim Wiener Kongreß an das Königreich Preußen gefallen waren, 1815 also hatte von Köln aus ein ungenannter Musikenthusiast für die Rheinmetropole eine Ausbildungsstätte nach dem Vorbild des Conservatoire de Paris gefordert. Sein Vorschlag erschien in der von Friedrich Rochlitz herausgegebenen führenden Allgemeinen musikalischen Zeitung zu Leipzig. Doch Aufrufe solcher Art verloren sich hierorts, obschon Ansätze zu einem brauchbaren Musikschulgebilde in Köln bereits bestanden hatten: einmal in Gestalt eines Konservatorienplanes, wie ihn der neue Maire der vormaligen Reichstadt, Herr von VVittgenstein, aus eingezogenen kirchlichen Stiftungen in Vorschlag gebracht hatte, vorwiegend aus Restklassen von Sing- und Kapellschulen an St. Gereon, an St. Aposteln, bei den Ursulinen und anderswo mehr, zum anderen in Gestalt von Heimkursen und Familienkonzerten, wie sie der seit dem Einzug der Franzosen, 1794, stellenlos gewordene Salzmüdder und Domkapellmeister Dr. jur. Bernhard Joseph Mäurer führte. Unklar blieb indessen, ob sich der Zusammenschluss zu einem Gesamtprojekt nach den Vorstellungen Dr. Mäurers oder des Herrn von Wittgenstein oder auch jenes Anonymus deshalb zerschlug, weil die Durchführung von Domkonzerten an Sonn- und Feiertagen kirchenfremden und besatzungsfreundlichen Lehrkräften hätte zufallen sollen, oder mehr noch deshalb, weil es nach wie vor ein nicht überschaubares Hindernisrennen rivalisierender Musikparteien gab, deren manche nach Privatabsichten berechnet werden müssten, wie es die Leipziger Allgemeine musikalische Zeitung von 1815 lakonisch zu kommentieren wusste.
    [Show full text]
  • Artist Series: Ani Kavafian Program
    The following program notes may only be used in conjunction with the one-time streaming term for the corresponding Chamber Music Society of Lincoln Center (CMS) Front Row National program, with the following credit(s): Program notes by Laura Keller, CMS Editorial Manager © 2021 Chamber Music Society of Lincoln Center Any other use of these materials in connection with non-CMS concerts or events is prohibited. ARTIST SERIES: ANI KAVAFIAN PROGRAM Johannes Brahms (1833-1897) Scherzo, WoO 2, from “F-A-E” Sonata for Violin and Piano (1853) Ani Kavafian, violin • Alessio Bax, piano Arno Babadjanian (1921-1983) “Andante” from Trio in F-sharp minor for Piano, Violin, and Cello (1952) Gloria Chien, piano • Ani Kavafian, violin • Mihai Marica, cello INTERMISSION (Q&A with the artist) Antonín Dvořák (1841-1904) Trio in F minor for Piano, Violin, and Cello, Op. 65 (1883) Allegro ma non troppo Allegretto grazioso Poco adagio Finale: Allegro con brio Orion Weiss, piano • Ani Kavafian, violin • Carter Brey, cello NOTES ON THE PROGRAM Scherzo, WoO 2, from “F-A-E” Sonata for Violin and Piano (1853) Johannes Brahms (Hamburg, 1833 – Vienna, 1897) The F-A-E Sonata was an unusual joint composition project at the behest of Robert Schumann. The violinist Joseph Joachim came to visit him in Düsseldorf in October 1853, and Schumann rallied two of his young students, Brahms and Albert Dietrich, to compose a violin sonata with him. Brahms had only met Schumann the previous month, arriving with an introduction from Joachim, but Schumann was Chamber Music Society of Lincoln Center immediately taken with Brahms and the two had become fast friends.
    [Show full text]
  • Unknown Brahms.’ We Hear None of His Celebrated Overtures, Concertos Or Symphonies
    PROGRAM NOTES November 19 and 20, 2016 This weekend’s program might well be called ‘Unknown Brahms.’ We hear none of his celebrated overtures, concertos or symphonies. With the exception of the opening work, all the pieces are rarities on concert programs. Spanning Brahms’s youth through his early maturity, the music the Wichita Symphony performs this weekend broadens our knowledge and appreciation of this German Romantic genius. Hungarian Dance No. 6 Johannes Brahms Born in Hamburg, Germany May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna, Austria Last performed March 28/29, 1992 We don’t think of Brahms as a composer of pure entertainment music. He had as much gravitas as any 19th-century master and is widely regarded as a great champion of absolute music, music in its purest, most abstract form. Yet Brahms loved to quaff a stein or two of beer with friends and, within his circle, was treasured for his droll sense of humor. His Hungarian Dances are perhaps the finest examples of this side of his character: music for relaxation and diversion, intended to give pleasure to both performer and listener. Their music is familiar and beloved - better known to the general public than many of Brahms’s concert works. Thus it comes as a surprise to many listeners to learn that Brahms specifically denied authorship of their melodies. He looked upon these dances as arrangements, yet his own personality is so evident in them that they beg for consideration as original compositions. But if we deem them to be authentic Brahms, do we categorize them as music for one-piano four-hands, solo piano, or orchestra? Versions for all three exist in Brahms's hand.
    [Show full text]
  • Bemerkungen.Fm Seite 25 Freitag, 19
    HN 917_Bemerkungen.fm Seite 25 Freitag, 19. März 2010 10:59 10 25 Bemerkungen vorlage muss als verschollen gelten. T 65 f. In T 73 in A bei Klav o zu- Hauptquelle der vorliegenden Ausgabe sätzlich v es1 auf Zwei. ist E. Dabei sind Partitur und die der 87 Klav o: 1. Akkord nach A, in E mit Ausgabe beigegebenen Einzelstimmen f 2 statt d 2, in der von Clara Schu- Klar = Klarinette; Klav o = Klavier als gleichberechtigte Quellen anzusehen. mann zwischen 1879 und 1893 oberes System; Klav u = Klavier unteres Sie stimmen nicht immer miteinander herausgegebenen Gesamtausgabe System; Va = Viola; T = Takt(e) überein. Möglicherweise wurden die Robert Schumann’s Werke (Serie V, Stimmen nicht nach der Vorlage einer Nr. 26, 1881) korrigiert. handschriftlichen Partitur, sondern 88 Klav o: 2. Akkord in A es/es1 statt nach handschriftlichen Stimmen gesto- g/g 1; Versehen oder nachträgliche chen, die vorher bei Aufführungen be- Korrektur? Quellen nutzt worden waren. 91 Va: Bogen nach A und ES; in E erst A Autograph. Paris, Bibliothèque Zeichen, die in beiden Quellen fehlen, ab 2. Note. nationale de France, Signatur aus musikalischen Gründen aber not- 93 f. Va: Bogen in A jeweils bereits ab Ms. 337. 4 Blätter und ein Bei- wendig scheinen, sind in runden Klam- Eins; hier aber ES und E überein- lageblatt, kein Titelblatt. Über- mern ergänzt. stimmend erst ab 2. Note. schrift auf S. 1: Märchenerzäh- 148 Klav u: In E fehlt h vor h, vgl. Par- lungen. Rechts: Albert Dietrich allelstelle T 52. gewidmet. Am Ende von Nr. I Einzelbemerkungen I Lebhaft, nicht zu schnell Datierung: d.
    [Show full text]
  • KORBINIAN ALTENBERGER, Violin IGNAT SOLZHENITSYN, Piano Sunday, April 7 – 3:00 PM Rhoden Arts Center, Pennsylvania Academy of Fine Arts
    PREVIEW NOTES KORBINIAN ALTENBERGER, violin IGNAT SOLZHENITSYN, piano Sunday, April 7 – 3:00 PM Rhoden Arts Center, Pennsylvania Academy of Fine Arts PROGRAM Scherzo in C Minor from F-A-E Sonata Johannes Brahms Violin Sonata in G Major, Op. 78 Composed: 1853 Johannes Brahms Duration: 5 minutes Born: May 7, 1833, in Hamburg, Germany Died: April 3, 1897, in Vienna, Austria This Scherzo was written as part of the F-A-E Sonata--a Composed: 1878-79 collaborative work between Brahms, Robert Schumann, and Duration: 28 minutes Albert Dietrich--and it marks the height of Brahms' involvement with Robert Schumann's musical circle. The F-A- Composed in the high summer of his creative career after the E, incidentally, stands for frei aber einsam (free but alone), completion of the Symphony No. 1 and the Violin Concerto, the group's motto. By far the best movement of the Sonata Brahms's Violin Sonata in G Major is a gloriously lyrical work (Schumann wrote the second and fourth movements, and with long-breathed melodies rather than terse themes, and Dietrich the first), Brahms's contribution is rhythmically expansive extrapolations rather than concise developments. exciting and original in conception, and it is still part of the It is also one of Brahms's most tightly structured and violin repertoire. cogently argued works, with a degree of formal integration rare in his works. Violin Sonata in D Minor, Op. 108 Johannes Brahms Violin Sonata in A Major, Op. 100 Composed: 1886-88 Johannes Brahms Duration: 22 minutes Composed: 1886 Duration: 20 minutes Brahms began his Sonata for piano and violin in D Minor, Op.
    [Show full text]
  • THE NASH ENSEMBLE of LONDON Amelia Freedman CBE, Artistic Director
    THURSDAY, APRIL 3, 2014 AT 8:00PM Richardson Auditorium in Alexander Hall Musical Preview by Princeton pianists Paul von Autenried ‘16, Darya Koltunyuk ‘15 and Edward Leung ’16 at 7pm THE NASH ENSEMBLE OF LONDON Amelia Freedman CBE, Artistic Director Ian Brown, Piano • Philippa Davies, Flute • Richard Hosford, Clarinet Stephanie Gonley, Violin • Laura Samuel, Violin Lawrence Power, Viola • Rebecca Gilliver, Cello Bedrichˇ SMETANA Overture to The Bartered Bride for Piano, Flute,Clarinet and String Quartet (arr. David Matthews) BROWN, DAVIES, HOSFORD, GONLEY, SAMUEL, POWER, GILLIVER Viet CUONG Trains of Thought (World Premiere) BROWN, DAVIES, HOSFORD, GONLEY, SAMUEL, POWER, GILLIVER Robert SCHUMANN Märchenerzählungen (“Fairy Tales”) for Clarinet, Viola and Piano, Op.132 Lebhaft, nicht zu schnell Lebhaft und sehr markiert Ruhiges Tempo, mit zartem Ausdruck Lebhaft, sehr markiet HOSFORD, POWER, BROWN Q INTERMISSION Q Dmitri SHOSTAKOVICH Four Waltzes for Flute, Clarinet and Piano Spring Waltz Waltz-Joke Waltz Barrel-Organ Waltz DAVIES, HOSFORD, BROWN Antonín DVORÁKˇ Quintet for Piano and Strings in A Major, Op. 81 Allegro, ma non tanto Dumka: Andante con moto Scherzo (Furiant) – molto vivace Finale: Allegro BROWN, GONLEY, SAMUEL, POWER, GILLIVer Please join us briefly following the performance for a post-concert Talk Back moderated by Professor Dan Trueman. ABOUT THE ARTISTS PRINCETON UNIVERSITY CONCERTS 2013-14 SEASON ABOUT THE NASH ENSEMBLE OF LONDON The Nash Ensemble has built a remarkable reputation as one of Britain’s finest and most adventurous chamber groups, and through the dedication of its founder and Artistic Director Amelia Freedman and the caliber of its players, has gained a similar reputation all over the world.
    [Show full text]
  • Vorwort Öffnen (PDF)
    HN 917_Vorwort.fm Seite III Montag, 22. März 2010 9:18 09 III Vorwort Zusammenstellung der Instrumente in me ad libitum beigelegt. Ähnlich war den ,Märchenerzählungen‘ ist von ganz bereits der Verleger von Mozarts „Kegel- eigenthümlicher Wirkung“ (Robert statt-Trio“ verfahren; man wollte mit Schumanns Briefe. Neue Folge, hrsg. der Alternativstimme offenbar einen Zu der eigentümlichen Zusammenstel- von F. Gustav Jansen, Leipzig 21904, größeren Interessentenkreis erreichen. lung von Klavier, Klarinette und Viola S. 485). Da die Stimme jedenfalls von Schumann in seinen Märchenerzählungen op. 132 Schumann war mit seinem neuen autorisiert ist, liegt sie auch dieser Aus- dürfte Robert Schumann (1810–56) Opus offenbar sehr zufrieden. Nach gabe bei. Das Exemplar der Erstausga- wohl durch Mozarts „Kegelstatt-Trio“ Claras bereits erwähntem Tagebuchein- be, das der Komponist dem Widmungs- KV 498 angeregt worden sein. Mögli- trag war er „sehr beglückt darüber“, empfänger Albert Dietrich schenkte, cherweise war es sogar eine Aufführung und er selbst schrieb im Brief an Breit- enthält folgende Aufschrift: An Albert dieses Werkes am 23. Januar 1851 in kopf & Härtel, es seien „meistens fröh- Dietrich | zu langer Erinnerung. | Düs- Düsseldorf (mit Clara Schumann, dem liche, mit guter Lust geschriebene Stü- seldorf am 20. Februar 1853 [recte: Klarinettisten Johann Kochner und Jo- cke“. Vor der Absendung an den Verlag 1854] | (einem guten Tage). Dietrich seph von Wasielewski), die Schumanns war das Werk in mehreren privaten Auf- war seit 1851 Schumanns Schüler. Als Begeisterung für diese Besetzung auslös- führungen „ausprobiert“ worden, und solcher war er sicher auch bei der einen te. Allerdings vergingen immerhin fast zwar bei Musikabenden im Hause Schu- oder anderen privaten Aufführung der drei Jahre, bevor – vom 9.
    [Show full text]
  • Program in Music Performance Chair, Department of Music Friday, April 30, 2021 at 7:30Pm Live-Streamed from Richardson Auditorium, Alexander Hall
    2020-2021 SEASON CONGRATULATIONS CLASS OF 2021 On behalf of the Department of Music, we offer our congratulations and gratitude for your continued passion, dedication, and perseverance. This recital is the culmination of years of hard work and devotion to your instrument—and to a love of music that we hope you will continue to nurture always. Even amid the many demands of a Princeton University education, and the challenge of a global pandemic, you have found ways to prioritize a deep commitment to the arts. Thank you for that commitment, and for adding your voice to the shared harmony of a world that needs to hear it now more than ever. We hope you feel proud of what you accomplished — we are certainly proud of you! Wendy Heller Michael Pratt Scheide Professor of Music History Director, Program in Music Performance Chair, Department of Music Friday, April 30, 2021 at 7:30pm Live-Streamed from Richardson Auditorium, Alexander Hall PRINCETON UNIVERSITY CERTIFICATE PROGRAM IN MUSICAL PERFORMANCE RECITAL Lawrence Chiang ’21, Violin music.princeton.edu 1 Johannes Brahms (1833-1897) Scherzo in C Minor from F-A-E sonata César Franck (1822-1890) Sonata in A Major I. Allegretto moderato II. Allegro III. Recitativo-Fantasia IV. Allegretto poco mosso Amy Beach (1869-1944) Romance, op.23 2 ABOUT THE ARTIST LAWRENCE CHIANG’ 21 is a senior in the music department with a certificate in musical performance while being on the pre-med track. Prior to coming to Princeton, Lawrence studied violin at the Juilliard School of Music Pre-College Division under Ms.
    [Show full text]
  • 111036-37 Bk Fledermaus
    111300 bk Dieskau EU 13/7/08 22:45 Page 5 Great Singers • Dietrich Fischer-Dieskau GUSTAV MAHLER (1860-1911): ROBERT SCHUMANN (1810-1856): Lieder eines fahrenden Gesellen 18:17 Liederkreis, Op. 39 26:31 MAHLER (Songs of a Wayfarer) (Text: Gustav Mahler) (Song Cycle) (Text: Joseph von Eichendorff) Also available 1 I. Wenn mein Schatz Hochzeit macht 4:18 0 No. 1. In der Fremde 2:15 Kindertotenlieder • Lieder eines fahrenden Gesellen 2 II. Ging heut’ morgen übers Feld 4:46 ! No. 2. Intermezzo 1:52 3 III. Ich hab’ ein glühend Messer 3:30 @ No. 3. Waldesgespräch 2:10 SCHUMANN: Liederkreis 4 IV. Die zwei blauen Augen 5:42 # No. 4. Die Stille 1:32 $ No. 5. Mondnacht 3:48 ISCHER Philharmonia Orchestra % No. 6. Schöne Fremde 1:26 H F -D Wilhelm Furtwängler ^ No. 7. Auf einer Burg 3:14 IC IE R S Recorded 24th-25th June,1952 & No. 8. In der Fremde 1:33 T K * E A in Kingsway Hall, London No. 9. Wehmut 2:30 I U First issued on HMV ALP 1270 ( No. 10. Zwielicht 3:20 D ) No. 11. Im Walde 1:29 Kindertotenlieder 24:31 ¡ No. 12. Frühlingsnacht 1:19 (Songs on the Death of Children) (Text: Friedrich Rückert) 5 I. Nun will die Sonn’ so hell aufgeh’n 5:20 Gerald Moore, piano 6 II. Nun seh’ ich wohl, warum so dunkle Flammen 4:50 Recorded 10th March, 1954 8.111056-58 8.111254 7 III. Wenn dein Mütterlein 4:33 in EMI Abbey Road Studio 3, London 8 IV.
    [Show full text]
  • BRAHMS & FRIENDS (Program Notes)
    BRAHMS & FRIENDS PROGRAM NOTES This concert is entitled BRAHMS & FRIENDS, because the composers Robert Kahn, Joseph Rheinberger and Clara Schumann all engaged Brahms musically, as well as personally. ROBERT KAHN (1865-1951) was born and raised in Mannheim, Germany. He first met Brahms in 1886 in Mannheim, where Brahms came to conduct his own Fourth Symphony and perform his own Second Piano Concerto. Following the concert, Kahn’s family held a reception in Brahms’ honor. After this initial meeting Kahn went to Vienna for several months, where he was in close contact with Brahms. Kahn had already been a great admirer of Brahms’ music, as his family belonged to a “Brahms Circle” that met regularly in Mannheim. These meetings were devoted to the study of Brahms’ works. Brahms offered to teach Kahn, but Kahn was too modest to accept. Kahn wrote a book called “Recollections of Johannes Brahms”, which was published posthumously. Incidentally, Kahn was a student of Rheinberger. Kahn’s TRIO SERENADE IN F MINOR Op. 73 was written in 1923, originally for oboe, horn and piano. However, the publisher asked Kahn to write an additional version for another combination of instruments, in order to sell more copies. Kahn complied, by adapting the oboe part, to be played by clarinet, violin or viola. The horn part was also adapted to be performed by viola or cello. Thus, the versatility of this work extended to 12 different configurations. JOSEPH GABRIEL RHEINBERGER (1839-1901) was born in Liechtenstein but spent most of his life in Munich. He started out as a child prodigy, becoming a composer and a virtuoso organist already at the age of seven.
    [Show full text]
  • Brandi Main, Violin ’16
    SENIOR RECITAL BRANDI MAIN, VIOLIN ’16 SATURDAY, APRIL 2, 2016 SCHNEEBECK CONCERT HALL 2 P.M. Scherzo ...............................................Johannes Brahms (1833–1897) Brandi Main, violin Angela Draghicescu, piano Echoes of Tefilot (2016) ......................................Daniel Wolfert b. 1994 Brandi Main, violin String Quartet in C Minor, Opus 110, No. 8 ...................Dmitri Shostakovich I. Largo (1906–1975) II. Allegro molto III. Allegretto IV. Largo V. Largo Clara Fuhrman, violin Brandi Main, violin Forrest Walker, viola Christine Sears, cello INTERMISSION Sonata in C Minor, Opus 45, No. 3 ..............................Edvard Grieg I. Allegro molto appassionato (1843–1907) II. Allegretto espressivo alla Romanza III. Allegro animato Brandi Main, violin Angela Draghicescu, piano A reception will follow the recital in School of Music, Room 106. VIOLINIST BRANDI MAIN ’16 is a violin performance major in the honors program at Puget Sound, studying under the direction of Maria Sampen. She is co-concertmaster and co-principal second violinist of the Symphony Orchestra, teaches private violin lessons, and often performs solo and in ensembles for events on and off campus. In her sophomore year, Brandi performed with the Olympia Symphony under conductor Huw Edwards. Brandi has worked as a student coach and intern for several music festivals around Tacoma including University of Puget Sound String Festival and Tacoma Young Chamber Players. She has had the opportunity to perform in master classes with renowned violinists and musicians such as Simon James, Mark O’Connor, Gregory Lee, PROJECT Trio, and Jubal Fulks. In summer 2014 Brandi participated in the Icicle Creek Chamber Music Festival in Leavenworth, Wash. She was blessed to have studied abroad and performed in Vienna, Austria, where she attended the IES Vienna Music Program and studied violin under Barbara Gorzynska during Spring 2015.
    [Show full text]
  • Amelia Sarah Levetus in Brahms's Vienna
    Volume XXXIV, Number 2 Fall 2016 Amelia Sarah Levetus in Brahms’s Vienna The name of Amelia Sarah Levetus (1853–1938)1 cannot be found in any published Brahms bibliography of which I am aware. Nevertheless, she authored a sympathetic reminiscence of Brahms’s last years in Vienna that included two images from Brahms’s apartment at Karlsgasse 4. A native of England, Amelia Levetus spent much of her adult life in Vienna, where she became a correspondent for the influential British art journal The Studio, organized and led Vienna’s John Ruskin Club, advocated for equal opportunity for women, championed Secession art and middle-European folk art, and taught at Vienna’s Volkshochschule from its founding in 1901 until her death in 1938. In 1897 she became the first woman to present a public lecture at the University of Vienna.2 Although she was trained as an economist, most of her work was focused on intercultural education; at the Volkshochschule she brought courses on English language, literature, culture, and politics to adult learners, while her work for The Studio communicated trends in the Viennese art world to a British readership.3 She made one attempt in particular to bring a broader appreciation of Vienna to her native land: her book Imperial Vienna: An Account of Its History, Traditions, and Arts.4 Imperial Vienna is not a scholarly book. It combines popular Johann Strauss, Jr. and Johannes Brahms at Ischl in 1894. Courtesy of the Brahms-Institut an der history, social commentary, and travelogue in an engaging style Musikhochschule Lübeck that would attract an English Victorian readership.
    [Show full text]