DOCSLIB.ORG

Carnegie Hall New York

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CARNEGIE HALL NEW YORK Thirtieth Season in New York lS" Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor Pr< THURSDAY EVENING, FEBRUARY 17 AT 8.15 AND THE SATURDAY AFTERNOON, FEBRUARY 19 AT 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1916, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER <* Yes, It's a Steinway ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? ".It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to you, and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." s STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor PERSONNEL Violins. Witek, A. Roth, 0. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet. H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A. Griinberg, M. Pinfield, C. Gerardi, A. Kurth, R. Gunderson, R. Gewirtz J Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W Van Wynbergen, C. Blumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel, R. Nast, L. Folgmann, E. Warnke, J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H. Vannini, A. Fuhrmann, M. Battles, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. Alloo, M. Lorbeer, H. Miersch, E. Mann, J. Belgiorno, S. Hain, F. Hess, M. Nappi, G. Mausebach, A. Resch, A. Hiibner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Gardner, C. Cella, T. Kandler, F. Burkhardt, H. Organ. Librarian. Assistant Librarian. Marshall, J. P. Sauerquell, J. Rogers, L. J. CARNEGIE HALL NEW YORK Thirtieth Season in New York c^y jj 11 H ii *XJ) Jl i&\j)h. A \ Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor FOURTH CONCERT THURSDAY EVENING, FEBRUARY 17 AT 8.15 PROGRAMME Debussy .... "La Mer," Trois Esquisses Symphoniques I. De L'aube a midi sur la mer (From Dawn till Noon on the Ocean). LI. Jeux de vagues (Frolics of Waves). III. Dialogue du vent et de la mer (Dialogue of Wind and Sea). Strauss "Don Quixote" (Introduction, Theme with Variations and Finale) : Fantastic Variations on a Theme of Knightly Character, Op. 35 (Violoncello solo, Mr. Warnke; Viola, Mr. Ferir) Haydn .... Symphony in E-flat major (B. & H., No. 1) I. Adagio: Allegro con spirito. II. Andante. III. Menuetto: Trio. IV. Allegro con spirito. Note: There will be short intermissions between the first and second and second and third numbers "The Sea" (Three Orchestral Sketches): I. From Dawn Tijx Noon on the Ocean; II. Frolics of Waves ; III. Dialogue of Wind and Sea Claude Debussy (Born at Saint-Germaine (Seine and Oise), France, August 22, 1862; now living at Paris.) These orchestral pieces ("La Mer: I. De l'aube a midi sur la mer; II. Jeux de vagues; III. Dialogue du vent et de la mer,—trois esquisses symphoniques") were performed for the first time at a Lamoureux Concert in Paris, October 15, 1905. The concert, the first of the season of 1905-06, was also the twenty-fifth anniversary of the establishment of the Concerts Lamoureux. Camille Chevil- lard conducted. Debussy has conducted performances. The Sketches, dedicated to Jacques Durand, were published at Paris in 1905. Debussy first conceived the idea of writing them in 1903. The first performance in the United States was in Boston at a concert of the Boston Symphony Orchestra led by Dr. Muck on March 2, 1907. "La Mer" was performed again that season by request on April 20, 1907. There was a later performance on March 1, 19 13. "From Dawn till Noon on the Ocean" is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, three bassoons, four horns, three trumpets, three trombones, one bass tuba, a set of three kettledrums, cymbals, tam-tam, two harps, and strings. "Frolics of Waves" is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, three bassoons, four horns, three trumpets, cymbals, triangle, a Glockenspiel (or celesta), two harps, and strings. "Dialogue of Wind and Sea" is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, three bassoons, one double- bassoon, four horns, three trumpets, two cornets-a-pistons, three trombones, one bass tuba, a set of three kettledrums, bass drum, cym- bals, tam-tam, Glockenspiel, two harps, and strings. * * These sketches are impressionistic. The titles give the cue to the hearer. As M. Jean d'Udine said of these very compositions: "When art is concerned, grammatical analyses belong to the kingdom of technical study; they have a didactic character and interest only professionals. The public demands logical analyses from the critics. But how can any one analyze logically creations which come from a dream, if not from a nightmare, and seem the fairy materialization TEACHER OF PIANO (Leschetizky Method) Classes in EVELYN FLETCHER COPP'S MUSIC METHOD FOR BEGINNERS Children from six to twelve years of age Studio, 535 WEST 135th STREET Telephone, MORNINGSIDE 4357 of vague, acute sensations, which, experienced in feverish half-sleep, cannot be disentangled? By a miracle, as strange as it is seductive, M. Debussy possesses the dangerous privilege of being able to seize the most fantastical sports of light and of fluid whirlwinds. He is cater-cousin to the sorcerer, the prestidigitateur, and his art rests almost wholly on the association of musical ideas whose relations are clearly perceived only in a state of semi-consciousness, with the con- dition of not thinking about them. It is an exclusively sensual art, wholly like that of Berlioz, situated almost outside of time, floating in space with the disturbing absence of rhythm shown by the careless, intoxicated butterfly, an art that is astonishingly French, pictorial and literary to that degree of disembodiment where sound is only a cabalistic sign." Whether you dispute or agree to this characterization of Debussy's art,—the comparison of his art with that of Berlioz is at least surprising if it be not inexplicable,—M. d'Udine's statement that these sketches do not submit to analysis is unanswerable. To speak of fixed tonalities would be absurd, for there is incessant modulation. To describe Debussy's themes without the aid of illustrations in notation would be futile. To speak of form«and development would be to offer a stumbling-block to those who can see nothing in the saying of Plotinus, as translated by Thomas Taylor: "It is on this account that fire sur- passes other bodies in beauty, because, compared with the other ele- ments, it obtains the order of form; for it is more eminent than the rest, and is the most subtle of all, bordering as it were on an incorporeal nature." The question for the hearer to determine is whether Debussy and the ocean are on confidential terms. W. E. Henley wrote in ("Views and Reviews: Longfellow ") : " The ocean as confidant, a Laertes that can neither avoid his Hamlets nor bid them hold their peace, is a modern invention. Byron and Shelley discovered it; Heine took it into his confidence, and told it the story of his loves; Wordsworth made it a moral influence; Browning loved it in his way, but his way was not often the poet's; to Matthew Arnold it was the voice of destiny, and its message was a message of despair; Hugo conferred with it as with an humble friend, and uttered such lofty things over it as are rarely heard upon the lips of man. And so with living lyrists, each after his kind. Lord Tennyson listens and looks until it strikes him out an undying note of passion or yearning or regret: "Two Roses." "Ah Love but a Day." "An Evening Song." "For Ever and a Day." "A Maiden's Yea and Nay." "Song of the Canoe." "The Little Red Ribbon." "You is Jes' as Sweet." These songs are found on the programmes of Mmes. Rappold, Jomelli, Alda. White, Lund. Bottero, Buck- hout, Florence Jepperson, Sammis MacDermid, White. Longman, Hallem McLewee, Myrna Shadow, Christine Miller, Vera Courtenay, Margaret Keyes, Florence Otis, Marguerite Dunlap, Florencs Mulford, Messrs. Ellison Van Hoose, William Simmons, John Finnegin. Vernon Archibald, Frederic Gunther, and many other singers before the American public. BOSTON CHICAGO 38C Boylston St. CARL FISCHER gr New York 335 S. Wabash Ave. —; Sunset and evening star, And one clear call for me. Mr. Swinburne maddens with the wind and the sounds and the scents of it, until there passes into his verse a something of its vastness and its vehemency, the rapture of its inspiration, the palpitating, many- twinkling miracle of its light; Mr.
Recommended publications
  • Xerox University Microfilms 300 North Zaab Road Ann Arbor, Michigan 46106 I I

    Xerox University Microfilms 300 North Zaab Road Ann Arbor, Michigan 46106 I I

    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. Thefollowing explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page ($)''. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. Whan an image on the film is obliterated with a large round black mark, it is an indication that die photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You w ill find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections w ith a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
  • 200 Da-Oz Medal

    200 Da-Oz Medal

    200 Da-Oz medal. 1933 forbidden to work due to "half-Jewish" status. dir. of Collegium Musicum. Concurr: 1945-58 dir. of orch; 1933 emigr. to U.K. with Jooss-ensemble, with which L.C. 1949 mem. fac. of Middlebury Composers' Conf, Middlebury, toured Eur. and U.S. 1934-37 prima ballerina, Teatro Com- Vt; summers 1952-56(7) fdr. and head, Tanglewood Study munale and Maggio Musicale Fiorentino, Florence. 1937-39 Group, Berkshire Music Cent, Tanglewood, Mass. 1961-62 resid. in Paris. 1937-38 tours of Switz. and It. in Igor Stravin- presented concerts in Fed. Repub. Ger. 1964-67 mus. dir. of sky's L'histoire du saldai, choreographed by — Hermann Scher- Ojai Fests; 1965-68 mem. nat. policy comm, Ford Found. Con- chen and Jean Cocteau. 1940-44 solo dancer, Munic. Theater, temp. Music Proj; guest lect. at major music and acad. cents, Bern. 1945-46 tours in Switz, Neth, and U.S. with Trudy incl. Eastman Sch. of Music, Univs. Hawaii, Indiana. Oregon, Schoop. 1946-47 engagement with Heinz Rosen at Munic. also Stanford Univ. and Tanglewood. I.D.'s early dissonant, Theater, Basel. 1947 to U.S. 1947-48 dance teacher. 1949 re- polyphonic style evolved into style with clear diatonic ele- turned to Fed. Repub. Ger. 1949- mem. G.D.B.A. 1949-51 solo ments. Fel: Guggenheim (1952 and 1960); Huntington Hart- dancer, Munic. Theater, Heidelberg. 1951-56 at opera house, ford (1954-58). Mem: A.S.C.A.P; Am. Musicol. Soc; Intl. Soc. Cologne: Solo dancer, 1952 choreographer for the première of for Contemp.
  • Jan Dewilde Paper 2009

    Jan Dewilde Paper 2009

    Frank Van der Stucken (1858-1929): a friend of Grieg and translator of his songs Lecture for International Edvard Grieg Conference, Berlin, 13-16 May 2009 This paper fits in with a research project that is presently being implemented in the library of the Royal Conservatoire of Antwerp about the composer-conductor Frank Van der Stucken. The library preserves a large collection of scores and documents of Van der Stucken, which form the basis of this research. The contacts between Edvard Grieg and the Flemish composer-pianist Arthur De Greef (1862-1940), who met in 1888, are well documented, but the piano virtuoso De Greef wasn’t Grieg’s first Flemish contact. One decade before, Grieg had already got to know an American composer with Flemish roots, namely Frank Van der Stucken. Frank Van der Stucken was born in 1858 in Fredericksburg, Texas, as the son of a Flemish father and a German mother.1 When the Secession War (1861-1865) had finished, the family no longer felt safe in Texas and in 1865 they returned to father Van der Stucken’s native town of Antwerp (Belgium). There Van der Stucken junior studied at the Flemish School of Music – the later Royal Flemish Conservatoire. He was a student of the director Peter Benoit (1834-1901), the standard bearer of nationalist music in Flanders. After his studies with Benoit, Van der Stucken went to Leipzig in 1878, like so many of his contemporaries, with a view to continuing his formation with Carl Reinecke. That’s where he first met Grieg, who became his friend.
  • BENELUX and SWISS SYMPHONIES from the 19Th Century to the Present

    BENELUX and SWISS SYMPHONIES from the 19Th Century to the Present

    BENELUX AND SWISS SYMPHONIES From the 19th Century to the Present A Discography of CDs And LPs Prepared by Michael Herman JEAN ABSIL (1893-1974) BELGIUM Born in Bonsecours, Hainaut. After organ studies in his home town, he attended classes at the Royal Music Conservatory of Brussels where his orchestration and composition teacher was Paul Gilson. He also took some private lessons from Florent Schmitt. In addition to composing, he had a distinguished academic career with posts at the Royal Music Conservatory of Brussels and at the Queen Elisabeth Music Chapel and as the long-time director of the Music Academy in Etterbeek that was renamed to honor him. He composed an enormous amount of music that encompasses all genres. His orchestral output is centered on his 5 Symphonies, the unrecorded ones are as follows: No. 1 in D minor, Op. 1 (1920), No. 3, Op. 57 (1943), No. 4, Op. 142 (1969) and No. 5, Op. 148 (1970). Among his other numerous orchestral works are 3 Piano Concertos, 2 Violin Concertos, Viola Concerto. "La mort de Tintagiles" and 7 Rhapsodies. Symphony No. 2, Op. 25 (1936) René Defossez/Belgian National Orchestra ( + Piano Concerto No. 1, Andante and Serenade in 5 Movements) CYPRÈS (MUSIQUE EN WALLONIE) CYP 3602 (1996) (original LP release: DECCA 173.290) (1958) RAFFAELE D'ALESSANDRO (1911-1959) SWITZERLAND Born in St. Gallen. After some early musical training, he studied in Paris under the tutelage of Marcel Dupré (organ), Paul Roës (piano) and Nadia Boulanger (counterpoint). He eventually gave up composing in order to earn a living as an organist.
  • Florida State University Libraries

    Florida State University Libraries

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Americans at the Leipzig Conservatory (1843–1918) and Their Impact on AJoamnnae Perpipclean Musical Culture Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AMERICANS AT THE LEIPZIG CONSERVATORY (1843–1918) AND THEIR IMPACT ON AMERICAN MUSICAL CULTURE By JOANNA PEPPLE A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2019 Copyright © 2019 Joanna Pepple Joanna Pepple defended this dissertation on December 14, 2018. The members of the supervisory committee were: S. Douglass Seaton Professor Directing Dissertation George Williamson University Representative Sarah Eyerly Committee Member Iain Quinn Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the dissertation has been approved in accordance with university requirements. ii Soli Deo gloria iii ACKNOWLEDGMENTS I am so grateful for many professors, mentors, family, and friends who contributed to the success of this dissertation project. Their support had a direct role in motiving me to strive for my best and to finish well. I owe great thanks to the following teachers, scholars, librarians and archivists, family and friends. To my dissertation committee, who helped in shaping my thoughts and challenging me with thoughtful questions: Dr. Eyerly for her encouragement and attention to detail, Dr. Quinn for his insight and parallel research of English students at the Leipzig Conservatory, Dr.
  • The Story of My Life

    The Story of My Life

    The Story of My Life Georg Ebers The Story of My Life Table of Contents The Story of My Life.................................................................................................................................................1 Georg Ebers....................................................................................................................................................1 INTRODUCTION.........................................................................................................................................3 BOOK 1......................................................................................................................................................................4 CHAPTER I. GLANCING BACKWARD....................................................................................................4 CHAPTER II. MY EARLIEST CHILDHOOD.............................................................................................7 CHAPTER III. ON FESTAL DAYS...........................................................................................................12 CHAPTER IV. THE JOURNEY TO HOLLAND TO ATTEND THE GOLDEN WEDDING.................16 CHAPTER V. LENNESTRASSE.LENNE.EARLY IMPRESSIONS...................................................18 Volume 2...................................................................................................................................................................24 CHAPTER VI. MY INTRODUCTION TO ART, AND ACQUAINTANCES GREAT AND SMALL IN THE LENNESTRASSE........................................................................................................................24
  • Oxford Proudly Supports the Cincinnati Symphony Orchestra

    Oxford Proudly Supports the Cincinnati Symphony Orchestra

    Oxford proudly supports the Cincinnati Symphony Orchestra. Oxford is independent and unbiased — and always will be. We are committed to providing multi-generational estate planning advice and forward-thinking investment solutions to families and institutions. CHICAGO ) CINCINNATI ) GRAND RAPIDS ) INDIANAPOLIS ) TWIN CITIES 513.246.0800) WWW.OFGLTD.COM/CSO Give your children the gift of planning well. “The last thing I want is for my daughter to have to take care of me down the URDGVKHōVJRWKHUKDQGVIXOODOUHDG\:LWK&RQƓGHQW/LYLQJP\SHUVRQDO &DUH&RRUGLQDWRUZLOOKDQGOHDOOWKHGHWDLOVRIP\IXWXUHFDUHVRVKHGRHVQōW KDYHWRZRUU\3OXVWKHLUZHOOQHVVSURJUDPVDQGQHWZRUNRIUHVRXUFHVKHOSPH VWD\KHDOWK\DQGDFWLYHVR,FDQNHHSXS ZLWKP\JUDQGFKLOGUHQ$QGEHVWRIDOO I can stay in my home that I love.” Ŋ&RQƓGHQW/LYLQJPHPEHU If you’re between 50 and 80 and in good health, join us for an informational event. 8KUKV%QPƂFGPV.KXKPIQTIQTECNN Confi dent Living, a Life Enriching Communities program, is affi liated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. We do not discriminate and we provide free assistance in your native language, if needed. Find our complete non-discrimination policy at LEC.org. APRIL/MAY 2019 CONTENTS CONCERTS FEATURES 52 Described by The Times 24 CSO Chamber Players: The 12 Looking Forward to 125 Youngest Master, Apr. 26 London as 19 Remembering Michael Gielen “without 27 CSO: Ravel + Debussy: 20 Honoring Retiring Orchestra question Colors of Spain, Apr. 27–28 the most 38 Guest artists: Matthias Members Timothy Lees and astounding Pintscher, conductor; Steven Rosen pianist of our age,” Grammy Alisa Weilerstein, cello Q&A with Matthias Pintscher 37 winner Daniil Trifonov makes 41 CSO: Trifonov Plays his CSO debut performing Beethoven, May 3–4 Beethoven’s Emperor Concerto 52 Guest artist: Daniil DEPARTMENTS May 3–4.
  • November 1892) Theodore Presser

    November 1892) Theodore Presser

    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1892 Volume 10, Number 11 (November 1892) Theodore Presser Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Presser, Theodore. "Volume 10, Number 11 (November 1892)." , (1892). https://digitalcommons.gardner-webb.edu/etude/366 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. SHEET MUSIC, MUSIC BOOKS, OR MUSICAL MERCHANDISE, SEND FOR ANYTHING IN TO THE PUBLISHER OF “THE ETUDE.” NO. 11. VOL. X. PHILADELPHIA, PA„ NOVEMBER, 1892. At a recent concert in Genoa the following celebrities Mr I V. Flagler, the concert organiBt, will con¬ were present: Mascagni, Hastreiter, and Teresina lua. tinue, in New York City, this season, his lectures on THE ETUDE Wagner, Beethoven, and the organ, with musical illus¬ Dr. Hans von Bulow opened the new Bechstein trations. Concert Hall in Berlin with a piano recital, on October PHILADELPHIA, PA„ NOVEMBER, 1892. 4th. The Oratorio and Symphony Societies of New York, Walter Damroseh, leader, will give ten evening con¬ Sir Arthur Sullivan will re-write his opera, “Ivan- certs (with an afternoon rehearsal on the preceding day) hoe,” and its production in Berlin has been postponed a A Monthly Publication for the Teachers and Students of Music.
  • INSKRIBENTEN-LISTE -- Stammbuch M.Schmidt--Weimar

    INSKRIBENTEN-LISTE -- Stammbuch M.Schmidt--Weimar

    Maria Schmidt (Weimar 1807 – 1875 Weimar). Stammbuch aus dem Goethe-Umkreis und aus Weimars großer Zeit: Auguste Maria Clara Schmidt , verheiratete Auguste Baum , (Weimar 28. Sept. 1807 – 12. März 1875 Weimar) war eine deutsche Schauspielerin, Opernsängerin (Sopran) und Harfenspielerin, die nach 1835 als Madame Baum auftrat. Ihre musikalische Ausbildung (Klavier, Harfe, Gesang) er- hielt Maria Schmidt bei ihrem Vater, dem ersten Fagottisten der Weimarer Hofkapelle, sowie dem Kammersänger Karl Melchior Jakob Moltke (Te- nor, 1783–1831), Mitglied des Weimarer Quartetts. Nach ihrem Debüt 1823 am Hoftheater in Weimar hatte sie 1824 die Hauptrolle in der Urauf- führung von C. M. v. Webers Oper „Euryanthe“ gesungen. Goethe hatte 1824 der damals 18jährigen Stammbuch-Besitzerin sein Gedicht: „Das hol- de Tal“ gewidmet. Unter den zahlreichen bekannten Namen der Theater- und Musikerszene Weimars und Jenas finden sich in ihrem Stammbuch: F. A. Durand, J. J. Graff, F. G. Hand, C. v. Heygendorff, Joh. Nep. Hum- mel, C. v. La Roche, W.Schroeder-Devrient, Marie Seebach, F. J. Veit (geb. Elkan), W. Vogel u.v.a. Inskribentenliste der Stammbucheinträge mit Datum der Ausstellung und Angaben aus den teilweise vorhandenen biographischen Einträgen und verschiedenen biographischen Nachschlagewerken. 1. „Therese“ , Dessau, 12. August 1832. Seite 1. 2. Pozzi, Franziska. Ehefrau des Baumeisters Carlo Pozzi (Nr. 3). Dessau, 12. August 1832. Seite 3. 3. Pozzi, Carlo [Ignazio]. Architekt und Baumeister (Mannheim 1766 – 1842 Dessau-Roßlau). Mitglied der aus dem Tessin stammenden Stuckateurs-Dynastie Pozzi. Von 1812 bis 1842 war Pozzi Leiter des Bauwesens in Anhalt-Dessau. Dessau, 13. August 1832. Seite 5. 4. Bandemer, Auguste de. Teplitz, 15.
  • „Bücher, Bücher, Bücher, Bücher …“

    „Bücher, Bücher, Bücher, Bücher …“

    „Bücher, Bücher, Bücher, Bücher …“ Wertvolle Autographen, Bücher, Graphik, Handschriften und Plakate Gemeinschaftskatalog der Antiquare 2010 veranstaltet von der Genossenschaft der Internet-Antiquare eG Geschäftsbedingungen: 1, 2 und 4 BGB-InfoV sowie unserer Pflichten gemäß § 312e Abs. 1 Satz 1 BGB in Verbindung mit § 3 Der Gemeinschaftskatalog der Antiquare 2009 wird BGB-InfoV. Zur Wahrung der Widerrufsfrist genügt von der Genossenschaft der Internet-Antiquare eG die rechtzeitige Absendung des Widerrufs oder der (GIAQ) herausgegeben, sie selbst bietet jedoch keine Sache. Der Widerruf ist an das jeweilige Antiquariat Waren zum Kauf an. Anbieter sind die jeweiligen zu richten. Die Adresse ist dem Kopf der jeweiligen Antiquariate, an die Bestellungen zu richten sind. Angebotsseiten im Katalog zu entnehmen. Kaufverträge kommen nur zwischen den einzel- nen Antiquariaten und den Käufern zustande, und Widerrufsfolgen: zwar dadurch, daß ein Antiquariat eine Bestellung Im Falle eines wirksamen Widerrufs sind die beider- annimmt und die Lieferung bestätigt oder die Ware seits empfangenen Leistungen zurückzugewähren liefert. Für den Vertragsschluß und die Vertrags- und ggf. gezogene Nutzungen (z. B. Zinsen) heraus- abwicklung gelten die Geschäftsbedingungen des zugeben. Können Sie uns die empfangene Leis- jeweiligen Antiquariates. Soweit dort nichts anderes tung ganz oder teilweise nicht oder nur in ver- geregelt ist gelten folgende Grundsätze: schlechtertem Zustand zurückgewähren, müssen Das Angebot ist freibleibend, Lieferzwang besteht Sie uns insoweit ggf. Wertersatz leisten. Bei der nicht. Preise in € inkl. der gesetzlich gültigen MwSt. Überlassung von Sachen gilt dies nicht, wenn die Der Versand erfolgt in der Reihenfolge der Bestel- Verschlechterung der Sache ausschließlich auf de- lungen und auf Kosten der Besteller. Die Ware bleibt ren Prüfung – wie sie Ihnen etwa im Ladengeschäft bis zur vollständigen Bezahlung Eigentum des an- möglich gewesen wäre – zurückzuführen ist.
  • Baumgaertner 1900 1 L.Pdf Published By: Photothek Des Kunsthistorischen Instituts in Florenz, Max-Planck-Institut

    Baumgaertner 1900 1 L.Pdf Published By: Photothek Des Kunsthistorischen Instituts in Florenz, Max-Planck-Institut

    Fotokatalog Photographic Catalogue Catalogo fotografico Source: http://www.khi.fi.it/5201080/Fotokataloge Stable URL: http://wwwuser.gwdg.de/~fotokat/Fotokataloge/Baumgaertner_1900_1_l.pdf Published by: Photothek des Kunsthistorischen Instituts in Florenz, Max-Planck-Institut http://www.khi.fi.it Verzeichniss von Männer- und Frauen-Portraits Ansichten von Denkmälern, Gebäuden, Städten, Landschaften Uo so Wo in Stahl- oder Kupferstich aus dem Verjage von Baumgärtner's Buchhandlung, Leipzig. Zu beziehen durch: . Januar 1900. P. P. I. Männerportraits. Ge<Yenwi\rti<Yes Verzeichniss U1nfasst eine grossere Anzahl von Stahl. l~d Kupferstichen, welche im Laufe des abgelaufenen Ja.hr. Abdul Aziz, geb. 1830, gest. 1876, Sultan der 'l'ürkei von 1861 an. Halb­ hunderts in unserm Verlag erschienen sind. Weggelassen smd hier· figur. 4. Weger sc. 1861. bei die im Laufe der ersten Jahrzehnte erschienenen Stiche, theils wegen Allout Edmond, geb. 1828, gest. 1885. Französischer Schriftsteller (nam­ gänzlichen Fehlens, theils wegen mangelhaft~m Zustan~es der. be· hafter llUd vielgelesener Novellist). Brustbild. 4. Weger sc. 1859. treffenden Platten. Die ältesten der bier verzeIchneten Stiche datIren Abt, Franz, geb. 1819 , gest. 1885. Liederkomponist. Seit 1852 Kapell­ vielmehr aus den dreissiger Jahren, die letzten aus dem Jahre 1894. meister am Braunschweiger Hoftbeater. Brustbild. 4. Weger sc. 1861. und zwar ist es nur eine Auswahl unter unsern Stichen, welche Adam, Albrecht, geb. 1786, gest. 1862. Namhafter Thier- und Schlachten­ maler; seit 1835 in München. Vater der Maler: Benno, Franz, Eugen <Yeboten wird. Mehrere Hunderte weiterer Stiche - tbeils Portraits, und Julius Adam. Brustbild. 4. Weger sc. 1858. theils Landschaften - welche uns weniger wichtig erschienen, sind Albert, Prinzgemahl, geb.
  • Influence of German Literature Upon Modern Music Since 1850

    Influence of German Literature Upon Modern Music Since 1850

    "~j^oe-,v\ev INFLUENCE OF GERMAN LITERATURE UPON MODERN MUSIC SINCE 1850, EXCLUDING SONG BY HEDWIG ELIZABETH ROESNER THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1917 UNIVERSITY OF ILLINOIS June, 1 1SD7 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY HEDWIG ELIZABETH ROESNER ENTITLED INFLUENCE OF GERMAN LITERATURE UPON MODERN MUSIC SINCE 1850, EXCLUD 7 NG SONG. IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF _BA£HELQE_.OF MUSIC Instructor in Charge APPROVED: HEAD OF DEPARTMENT OF O 4 OLr^wL* Digitized by the Internet Archive in 2013 http://archive.org/details/influenceofgermaOOroes . TABLE OP CONTENTS PAGE Bibliography 2 Preface. Composers, List of:- a. Year of Birth b. Year of Death 4 PART I. Inhalt. a. Musiker b. Komposition c. Musikalische Gruppe d. Litteralischer Ursprung e. Dichter f. Zeit des Verlagsrechts 7 Tabulation of Contents. a. Composer b. Composition c. Musical Class d. Literary Source e. Author f. Date of Copyright....... 23 Charts showing the relative influence of German authors upon modern music according to:- a. Extent of Usuage b. Nature of Source c. Musical Form. 29 PART II. Analytic examination of available compositions with special reference to:- a. Historical Basis b. Texts Employed c. Date of Composition d. Date of Publication e. First Performance f. Correlation between Music and Literary Source 32 32. ANALYTIC INDEX "D A t ?L' Albert, Eugen d 1 Bennett, William S. Blockx, Jan Brahms, Johannes Brune, Adolf Dukas, Paul Ertel, Jean Paul Gade, Niels Goldmark, Karl Hausegger, Siegmund von - Humperdinck, Ethelbert Indy, Vincent d* Kaun, Hugo Kienzl, Wilhelm Liszt, Franz "Die Glocken des Strassburger Munsters" , 57 Mahler, Gustav "Naturleben" Massenet, Jules "Werther" Moskowski, Moritz Nicode', Jean Louis Offenbach, Jacques Pfitzner, Hans "The Little Christ-Elf" Raff, Joseph Joachim "Im V/alde" .