General Catalogue 2021/2022

Total Page:16

File Type:pdf, Size:1020Kb

General Catalogue 2021/2022 Urtext Urtext Editions Study Scores GEN Facsimiles Complete Editions Books ERAL Gifts CATA www.henle.com LOGUE Dealer‘s stamp 2021/ 2022 Printed in Germany HN 211001 Finest Urtext Editions TABLE OF CONTENTS Keyboard Instruments 3 Vocal Music 71 Piano (Harpsichord), 2-hands 3 Voice and Piano 71 Piano, 4-hands 33 Voice and Various Instruments 74 2 Pianos, 4-hands 34 Organ 36 Orchestral and Choral Works 74 Orchestra 74 String Instruments 37 Chorus and Orchestra 75 Etudes and Easy Repertoire for Students – Violin 37 Violin Solo 38 Study Edition 76 Violin(s) and Piano 38 Study Scores 76 Violin and Guitar 45 Study Scores Slipcase 86 Viola Solo 45 Viola and Piano 45 Facsimiles 87 Etudes and Easy Repertoire for Students – Violoncello 46 Violoncello Solo 47 Violoncello and Piano 47 Complete Editions 88 Double Bass Solo 50 Bartók Complete Critical Edition 88 Double Bass and Piano 50 Beethoven Works 89 Gamba 51 Johannes Brahms Works 92 Joseph Haydn Works 95 Plucked Instruments 51 Harp with other Instruments 51 Monuments of Music 103 Mandolin and Piano 51 The Legacy of German Music 103 Violin and Guitar 51 The Opera 104 Wind Instruments 52 Periodicals 104 Recorder 52 Haydn Studies 104 Flute Solo 52 Flute (Piccolo) and Piano 52 Books 106 Oboe and Piano 54 Miscellaneous 106 Clarinet and Piano 54 Thematic Indices 107 Saxophone (and Piano) 55 Catalogues of Music Collections in Bavaria 107 Bassoon and Piano 55 Staatsbibliothek zu Berlin – Preußischer Kultur- Horn and Piano 56 besitz – Catalogues of The Music Department 110 Trumpet and Piano 57 International Inventory of Musical Sources (RISM) 110 Trombone (and Piano) 57 Gifts 113 Chamber Music with String Instruments 58 Miscellaneous 113 String Duos · String Trios 58 Greeting Cards 113 Trio Sonatas 59 Piano Trios 59 Composers 114 String Quartets 61 Piano Quartets 64 String Quintets 65 Piano Quintets 65 String Sextets 66 Chamber Music with Wind Instruments 67 2 Instruments 67 3 Instruments 67 4 Instruments 68 Information and Shop at: 5 Instruments 68 www.henle.com 6 Instruments 69 7 Instruments 69 8 Instruments 70 9 and more Instruments 70 2 Explanations Abbreviations NEW = New issue Bc Basso continuo AM/BA = Performing material published by Bärenreiter bn Bassoon AM/EB = Performing material published by Breitkopf & Härtel‘s BWV Catalogue of Bach’s works (W. Schmieder) AM/EMB Performing material published by Editio Musica clar Clarinet Budapest D Catalogue of Schubert’s works (O. E. Deutsch) AM/HN = Performing material see Works for Orchestra db Double Bass EMB = Joint publishing venture with Editio Musica Budapest Ed. Editor KA/BA = Piano reduction published by Bärenreiter Fing. Fingering Piano KA/EB = Piano reduction published by Breitkopf & Härtel‘s fl Flute KA/HN = Piano reduction see Henle Urtext Editions FXWM Catalogue of Franz Xaver Wolfgang Mozart’s works TP/BA = Pocket score published by Bärenreiter (K. Nottelmann) TP/EB = Pocket score published by Breitkopf & Härtel‘s HN Order Number SE = Study score see Henle Urtext Editions Hob. Catalogue of Haydn’s works (A. van Hoboken) UE = Cooperation with Universal Edition, Vienna Hop. Catalogue of John Field’s works (C. Hopkinson) PA = Perahia-Edition HW Catalogue of Johann Christoph Friedrich Bach’s works ‡ = Limited distribution rights, with country code: ES (Spain with (H. Wohlfarth) Canary Islands), FR (France with overseas departements), GB HWV Catalogue of Handel’s works (B. Baselt) (Great Britain), IT (Italy), MX (Mexico), RU (Russian Federation), i. p. in preparation US (United States of America) , XI (Northern Ireland) ISBN International Standard Book Number K. Catalogue of Domenico Scarlatti’s works Editions are paperbound unless otherwise stated. (R. Kirkpatrick) K. Catalogue of Mozart’s works (L. v. Köchel) Imprint KK Catalogue of Chopin’s works (K. Kobylańska) KA Piano reduction G. Henle Verlag liv. livre Postfach 71 04 66 · 81454 München Ln Clothbound Forstenrieder Allee 122 · 81476 München MWV Catalogue of Mendelssohn’s works (R. Wehner) Telefon +49-89-75982-0 · Telefax +49-89-75982-40 op. Opus E-Mail: [email protected] pno Piano Internet: www.henle.com RV Catalogue of Vivaldi’s works (P. Ryom) vn Violin Verkehrsnummer: 19020 va Viola USt / VAT / TVA-IdNr. DE 129521149 vc Violoncello Steuernummer: 143 / 235 / 22376 WO Work without an opus number – Muzio Clementi By publication of this catalogue former catalogues are no longer (A. Tyson) valid. All information in this catalogue is subject to change with out WoO Work without an opus number notice. Wq Catalogue of Carl Philipp Emanuel Bach’s works Effective from 1 May 2021 (A. Wotquenne) Most editions can also be purchased in the Henle Library App. Please refer to the app or otherwise www.henle-library.com for more information. The editions for piano 2-hands, violin and flute are categorized by level of difficulty. You will find this information on the website at www.henle.com Piano, 2-hands – Am Klavier/At the Piano 3 Am Klavier | At the Piano – Debussy KEYBOARD INSTRUMENTS 9 well-known original pieces Ed., Fing.: Hewig-Tröscher PIANO (HARPSICHORD), 2-HANDS Children’s Corner: The Little Shepherd, Golliwogg’s Cake walk, Doctor Gradus ad Parnassum | Deux Arabesques: Nr. 1 | Préludes, Premier livre: La Fille aux cheveux de lin, La Ca thédrale engloutie | Suite Am Klavier/At the Piano bergamasque: Clair de lune | Pour le piano: Sarabande | La plus que The series “Am Klavier”/“At the Piano“ is intended for piano players lente, Valse who are already familiar with the instrument and would now like to HN 1803 Edition in German play easier original works by renowned composers. Pupils, teachers HN 1815 Edition in English and those returning to the instrument after a break will find an Am Klavier | At the Piano – Grieg abundance of well-known works in ascending order of difficulty 15 well-known original pieces with practical tips in German/English regarding technique and Ed., Fing.: Hewig-Tröscher interpretation. Lyric Pieces op. 12 no. 1 Arietta, no. 2 Waltz, no. 3 Watchman’s Song | Am Klavier | At the Piano – J. S. Bach op. 38 no. 1 Berceuse | op. 43 no. 4 Little Bird | op. 54 no. 4 Notturno, 16 well-known original pieces no. 6 Bell Ringing | op. 65 no. 6 Wedding Day at Troldhaugen | op. 71 Ed., Fing.: Hewig-Tröscher no. 3 Puck, no. 7 Remembrances | From Holberg’s Time op. 40 no. 2 Preludes C BWV 924 | F BWV 927 | D BWV 936 | Chorale “Wer nur Sarabande, no. 3 Gavotte | Peer Gynt Suites op. 46 no. 1 Morning den lieben Gott lässt walten” BWV 691 | Inventions E BWV 777 | D Mood, no. 3 Anitras Dance | op. 55 no. 4 Solvejgs Song BWV 774 | Capriccio Bb BWV 992: Arioso and Aria del Postiglione | HN 1811 Edition in German Aria G from “Goldberg Variations” BWV 988 | Sinfonias E BWV 792 | HN 1823 Edition in English F BWV 794 | French Suites b BWV 814: Menuet | Eb BWV 815: Alle- Am Klavier | At the Piano – Haydn mande, Sarabande, Gigue | Preludes and Fugues Fk BWV 858 (WTC I) | 8 well-known original pieces D BWV 850 (WTC I) | c BWV 871 (WTC II) | b BWV 893 (WTC II) Ed., Fing.: Hewig-Tröscher HN 1804 Edition in German Allegretto G after an aria from “La vera costanza“ | Allegretto and HN 1816 Edition in English Presto in G after Hob. III:41IV | Largo assai in E after Hob. III:74II | Am Klavier | At the Piano – Beethoven Poco adagio in G after the Variations on “Gott erhalte” Hob. III:77II | 9 well-known original pieces Sonatas g Hob. XVI:44: Moderato – Allegretto | D Hob. XVI:37: Ed., Fing.: Hewig-Tröscher Allegro con brio – Largo e sostenuto – Finale. Presto ma non troppo | Piano Piece Lustig – Traurig WoO 54 | 6 Ecossaises WoO 83 | Piano e Hob. XVI:34: Presto | Eb Hob. XVI:49: Finale. Tempo di Minuet Piece “Für Elise” WoO 59 | Sonatas G op. 49,2: Allegro, ma non HN 1805 Edition in German troppo – Tempo di Menuetto | ck op. 27,2: Adagio sostenuto | HN 1817 Edition in English Ab op. 26: Marcia funebre | E op. 14,1 | 9 Variations WoO 69 on Am Klavier | At the Piano – Liszt “Quant’ è più bello” | Bagatelles G op. 126 no. 1 and no. 5 11 well-known original pieces HN 1808 Edition in German Ed., Fing.: Hewig-Tröscher HN 1820 Edition in English Four Piano Pieces: no. 3 Fk, no. 4 Fk | Consolations no. 1 E | no. 2 E | Am Klavier | At the Piano – Brahms no. 3 Db | Harmonies poétiques et religieuses: Hymne de l’enfant à 15 well-known original pieces son réveil | Années de pèlerinage, Première Année: Le mal du pays | Ed., Fing.: Hewig-Tröscher Années de pèlerinage, Deuxième Année: Il Penseroso | Canzonetta Ballads d op. 10 no. 1 | g op. 118 no. 3 | Intermezzi Bb op. 76 no. 4 | del Salvator Rosa | Années de pèlerinage, Troisième Année: Aux Cyprès a op. 76 no. 6 | E op. 116 no. 6 | Eb op. 117 no. 1 | C op. 119 no. 3 | de la Villa d’Este | Liebesträume – 3 Notturnos: Liebestraum no. 3 Ab Rhapsody g op. 79 no. 2 | Romance F op. 118 no. 5 | Waltzes op. 39 HN 1807 Edition in German (simplified version by the composer): no. 5 E | no. 8 Bb | no. 9 d | HN 1819 Edition in English no. 10 G | no. 11 b | no. 15 A Am Klavier | At the Piano – Mendelssohn HN 1802 Edition in German 13 well-known original pieces HN 1814 Edition in English Ed., Fing.: Hewig-Tröscher Am Klavier | At the Piano – Chopin Children’s Pieces op. 72: no. 1 Allegro non troppo | no. 3 Allegretto | 17 well-known original pieces no. 5 Allegro assai | Venetian Gondola Songs g op.
Recommended publications
  • On the Question of the Baroque Instrumental Concerto Typology
    Musica Iagellonica 2012 ISSN 1233-9679 Piotr WILK (Kraków) On the question of the Baroque instrumental concerto typology A concerto was one of the most important genres of instrumental music in the Baroque period. The composers who contributed to the development of this musical genre have significantly influenced the shape of the orchestral tex- ture and created a model of the relationship between a soloist and an orchestra, which is still in use today. In terms of its form and style, the Baroque concerto is much more varied than a concerto in any other period in the music history. This diversity and ingenious approaches are causing many challenges that the researches of the genre are bound to face. In this article, I will attempt to re- view existing classifications of the Baroque concerto, and introduce my own typology, which I believe, will facilitate more accurate and clearer description of the content of historical sources. When thinking of the Baroque concerto today, usually three types of genre come to mind: solo concerto, concerto grosso and orchestral concerto. Such classification was first introduced by Manfred Bukofzer in his definitive monograph Music in the Baroque Era. 1 While agreeing with Arnold Schering’s pioneering typology where the author identifies solo concerto, concerto grosso and sinfonia-concerto in the Baroque, Bukofzer notes that the last term is mis- 1 M. Bukofzer, Music in the Baroque Era. From Monteverdi to Bach, New York 1947: 318– –319. 83 Piotr Wilk leading, and that for works where a soloist is not called for, the term ‘orchestral concerto’ should rather be used.
    [Show full text]
  • The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
    The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet
    [Show full text]
  • The Double Keyboard Concertos of Carl Philipp Emanuel Bach
    The double keyboard concertos of Carl Philipp Emanuel Bach Item Type text; Thesis-Reproduction (electronic) Authors Waterman, Muriel Moore, 1923- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 18:28:06 Link to Item http://hdl.handle.net/10150/318085 THE DOUBLE KEYBOARD CONCERTOS OF CARL PHILIPP EMANUEL BACH by Muriel Moore Waterman A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 0 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg­ ment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: JAMES R.
    [Show full text]
  • Musik-Katalog Bassetthorn Bassettklarinette
    Musik-Katalog für Bassetthorn (3604 Werke) und Bassettklarinette (189 Werke) von Thomas Graß und Dietrich Demus Stand vom 31.Mai 2020 Ergänzungen und Berichtigungen des Katalogs aus dem Sachbuch: „Das Bassetthorn. Seine Entwicklung und seine Musik“, 2. Aufl. 2004, Hrsg. T. Grass und D. Demus, BOD, ISBN 3-8311-4411-7. [email protected] [email protected] Formatierung und Druckherstellung: Michael Baasner 1 Inhaltsverzeichnis 1. Konzerte mit Solo-Bassetthorn 5 1.1 Solo für ein oder mehrere Bassetthörner und Orchester oder Sinfonisches Blasorchester ........5 1.2 Werke mit Solo-Bassetthorn, weiteren Solo-Instrumenten oder Singstimme und Orchester oder Blasorchester, auch Sinfonie Concertanti .........................................................................13 1.3 Historische Bearbeitungen für Bassetthorn und fälschlich oder fraglich dem Bassetthorn zugeschriebene Solowerke mit Orchester .................................................................................18 2 Kammermusik 19 2.1 Bassetthorn Solo ........................................................................................................................19 Duos 24 2.2 Bassetthorn und Klavier / Cembalo / Orgel / Vibraphon / elektronische Musik / Tape ..............24 2.3 Zwei Bassetthörner ....................................................................................................................34 2.4 Bassetthorn und ein anderes Instrument / Singstimme .............................................................37 2.5 Bassetthorn und Gitarre
    [Show full text]
  • Vorwort Der Ihm Eigenen Selbstironie – Das Ma­ Folgenden Johannes Brahms
    Vorwort der ihm eigenen Selbstironie – das Ma­ Folgenden Johannes Brahms. Briefwech- nuskript des ganzen Werks als „Probe“ sel, Bd. XII, hrsg. von Max Kalbeck, Ber­ bezeichnete und es komplett an Mandy­ lin 1919, Reprint Tutzing 1974, S. 47 ff.). czewski schickte. Dieser begann mit der Nach der Berliner Uraufführung über­ Zwar hatte Johannes Brahms (1833 – 97) Partiturabschrift des Quintetts, vermut­ sandte er ihm am 24. Dezember 1891 im Dezember 1890 seinem Verleger Fritz lich weil Brahms’ damaliger Hauptko­ zunächst die Partiturabschrift des Quin­ Simrock angekündigt, mit dem Kompo­ pist William Kupfer zu dieser Zeit noch tetts als Vorlage für ein geplantes Ar­ nieren aufhören zu wollen, aber schon mit der Abschrift des Klarinettentrios rangement für Klavier zu vier Händen. bald sollte er nochmals tätig werden. Ein befasst war. Nach Abschluss von Satz I Kurz nach der zweiten Aufführung des wichtiger Impuls dafür ging von dem durch Mandyczewski setzte Kupfer die Klarinettenquintetts in Wien gingen am Klarinettisten der Meininger Hofkapelle Abschrift fort und kopierte die Stim­ 23. Januar dann auch die abschriftlichen Richard Mühlfeld aus, den Brahms im men, vermutlich schrieb er auch die al­ Stimmen an Simrock zur Vorbereitung Frühjahr 1891 näher kennen und sehr ternative Solopartie für Viola aus. Wann des Stichs. Vermutlich im Februar 1892 schätzen lernte. Begeistert schwärmte die abschriftlichen Materialien fertigge­ las der Komponist Druckfahnen von er am 17. März in einem Brief an Clara stellt waren, kann nicht genau festge­ Partitur und Stimmen Korrektur, denn Schumann, man könne „nicht schöner stellt werden. Spätestens zu den ersten am 25. Februar beklagte er sich brief­ Klarinette blasen, als es der hiesige Herr Proben der beiden neuen Stücke mit Ri­ lich darüber, dass die Stimmen bereits Mühlfeld tut“.
    [Show full text]
  • Program Notes When Mozart Wrote the Three Divertimentos, KV 136-8 at the Age of 16, He Had Already Spent More Than Two Years Away from His Hometown of Salzburg
    Program Notes When Mozart wrote the three Divertimentos, KV 136-8 at the age of 16, he had already spent more than two years away from his hometown of Salzburg. He had lived in London and Paris and travelled throughout Austria, Germany, France, the Netherlands, and Italy. Besides giving concerts at court, he met many famous musicians of the time and had opportunities to hear and study their music. Mozart’s early compositions are therefore often case studies in the styles and traditions of where his travels had most recently taken him. The Divertimentos were written in the winter 1771/2, after the second of three extended trips to Italy. A third journey was already in the planning and the Italian influence on Mozart’s writing is evident. It is uncer- tain whether the pieces are meant for a specific occasion; the title ‘Divertimento’ was in fact even added by another hand, possibly that of his father Leopold. The three-movement structure follows the pattern of the early Italian Sinfonia type, but J. Haydn and J.C. Bach have strongly influenced his compositions as well. Young Mozart met the two composers in London and looked up to them mentors and friends. The scholar Alfred Einstein hypothesizes that Mozart wrote the three pieces anticipating the need for some new symphonies during his next Italian journey. If required on short notice, Mozart would simply have added winds at the last moment. Before the birth of his gifted children, Leopold Mozart had made a business of writing musical novelties. He was a violinist, conductor, and teacher, his book ‘Versuch einer gründlichen Violinschule’ is alongside the textbooks by Quantz and C.
    [Show full text]
  • A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata
    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ...................................................
    [Show full text]
  • Ibermúsica I7/I8 Serie Barbieri
    IBERMÚSICA I7/I8 SERIE BARBIERI B.7 EVGENY KISSIN KOPELMAN QUARTET SERIE BARBIERI 2017.2018 Auditorio Medio colaborador Nacional de Música © SASHA GUSOV B.7 EVGENY KISSIN Su profunda y poética calidad interpretativa y su extraordinario virtuosismo le han hecho merecedor de la veneración y admiración reservada a unos pocos. Actúa en escenarios internacionales y con grandes orquestas y directores, como Abbado, Ashkenazy, Barenboim, Dohnányi, Giulini, Levine, Maazel, Muti y Ozawa. Nacido en Moscú en 1971, comenzó a tocar el piano a los dos años. Estudió en la Escuela de Música Gnessin para Niños Prodigio, con Anna Kantor, su única profesora. A los once, dio su primer recital en Moscú. En 1984, interpretó los Conciertos para piano núms. 1 y 2 de Chopin, con la Filarmónica Estatal de Moscú y Kitaenko. Se presentó fuera de Rusia en 1985, en la ex Europa del Este; realizó su primera gira por Japón en 1986 y en 1988 actuó con Karajan y la Berliner Philharmoniker en el Concierto de Año Nuevo. En 1990, debutó en los BBC Proms y en Estados Unidos interpretando ambos conciertos de Chopin con la New York Philharmonic y Mehta. En 2017-2018, dará recitales en solitario en Nueva York, Chicago, Washington DC y Toronto y recitales y conciertos en Europa. Por primera vez, dará giras en Europa y Norteamérica con el Emerson String Quartet con actuaciones en Baden Baden, París, Múnich, Essen, Viena, Ámsterdam, Chicago, Boston, y Carnegie Hall. Sus premios incluyen el Premio Cristal de la Sala Sinfónica de Osaka (1986), Músico del Año de la Academia de Música Chigiana de Siena (1991), «Instrumentista del Año» de Musical America (1995), Premio Triumph de Rusia (1997), doctor honoris causa por la Manhattan School of Music; Shostakóvich de Rusia, miembro honorífico de la Royal Academy of Music de Londres y doctor honoris causa por las universidades de Jerusalén, Negev/Beersheba y Hong Kong.
    [Show full text]
  • Unit 7 Romantic Era Notes.Pdf
    The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music.
    [Show full text]
  • Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob
    Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob. XXII:11) Kirchenmusikalische Kompositionen für liturgische Zwecke, insbesondere zur Ausgestaltung der römisch-katholischen Messe, erscheinen in allen Schaffensphasen von Joseph Haydn: Die Missa brevis in F (Hob. XXII:1) schrieb der junge Haydn um 1749 – das Jahr, in dem er infolge des Stimmbruchs Abschied als Chorknabe am Wiener Stephansdom nehmen musste und in dem für ihn eine beschwerliche Phase als freischaffender Musiker begann. Am Ende dieser Reihe steht die Harmoniemesse (Hob. XXII:14), die erstmals 1802 in der Eisenstädter Bergkirche erklang. Danach war es dem mittlerweile 70-jährigen Haydn körperlich nicht mehr möglich, zu komponieren oder öffentlich aufzutreten. Auffällig sind zwei Lücken (zwischen 1750 und 1766 sowie zwischen 1782 und 1796), in denen kein größeres geistliches Werk entstand. Die zweite Lücke war eine Folge der kirchlichen Reformen von Kaiser Joseph II., die nicht nur zur Auflösung der meisten Klöster in den Ländern der Habsburgermonarchie führten, sondern die Liturgie auch von als überflüssig empfundenen Prunk befreiten. Es wurden zahlreiche Verordnungen erlassen, die unter anderem den Einsatz von orchestraler Musik im Gottesdienst regelten und im Ergebnis einschränkten. Aufträge für solche Kompositionen gingen daher erheblich zurück. Erst als Franz II. 1792 die österreichische Regentschaft übernommen hatte, lockerten sich die Vorschriften wieder. In diese Phase fällt die Entstehung von Haydns sechs späten Messen (die sogenannten Hochämter), darunter die der Nelsonmesse. Sie gehören zu den letzten Werken des Komponisten. Die erwähnte kirchenmusikalische Pause, in die auch die beiden Londoner Aufenthalte fielen, hatte Haydn indes zur Erprobung neuer kompositorischer Techniken in Sinfonien und Kammermusik genutzt. Dies zeigte sich nun beispielsweise in „souveräner Beherrschung der Formgestaltung‟, der Hinwendung zur liedhaften Thematik, der „Verfeinerung des Orchestersatzes‟ sowie im „Trend zu einer deutlichen Individualisierung des Einzelwerks‟.
    [Show full text]
  • 9783849816360.Pdf
    AV Kuratorium: Olaf Briese (Berlin), Erika Brokmann (Detmold), Birgit Bublies-Godau (Bochum), Claude Conter (Luxemburg), Norbert Otto Eke (Paderborn), Jürgen Fohrmann (Bonn), Gustav Frank (München) Martin Friedrich (Ber- lin), Bernd Füllner (Düsseldorf ), Detlev Kopp (Bielefeld), Rainer Kolk (Bonn), Hans-Martin Kruckis (Bielefeld), Christian Liedtke (Düsseldorf ), Harro Müller (New York), Maria Porrmann (Köln), Rainer Rosenberg (Ber- lin), Peter Stein (Lüneburg), Florian Vaßen (Hannover), Michael Vogt (Bie- lefeld), Fritz Wahrenburg (Paderborn), Renate Werner (Münster) FVF Forum Vormärz Forschung Jahrbuch 2009 15. Jahrgang Literatur und Recht im Vormärz herausgegeben von Claude D. Conter AISTHESIS VERLAG Das FVF im Internet: www.vormaerz.de Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Das FVF ist vom Finanzamt Bielefeld nach § 5 Abs. 1 mit Steuer-Nr. 305/0071/1500 als gemeinnützig anerkannt. Spenden sind steuerlich absetzbar. Namentlich gekennzeichnete Beiträge müssen nicht mit der Meinung der Redaktion übereinstimmen. Redaktion: Detlev Kopp Print-Ausgabe: 2010, ISBN 978-3-89528-772-5 © Aisthesis Verlag Bielefeld 2020 Postfach 10 04 27, D-33504 Bielefeld Satz: Germano Wallmann, www.geisterwort.de Alle Rechte vorbehalten ISBN 978-3-8498-1636-0 www.aisthesis.de Inhalt I. Schwerpunktthema: Literatur und Recht im Vormärz Claude D. Conter (Luxemburg)
    [Show full text]
  • March 2021 Program Ponderings
    Program Ponderings March Director of Programs - Brad Ray 2021 Well, top of the mornin’ to ya! It’s free to play, and like the posters For those of you, like myself, who say, “It Pays to Play!!” have a “wee bit of Irish” in them, you will be Dublin’ over with Did you know that Village laughter at this terrible St. Pat- Shores is the first senior living com- rick’s Day pun. But alas, perhaps munity that Summit Music began we should focus on the luck we playing on a regular basis? Well, are all experiencing, being that a now these intrepid troops bring their vast majority of the staff and resi- amazing music to parking lots all dents at Village Shores have had over the metro! We are blessed to BOTH vaccination shots! That have them scheduled for two con- puts us way ahead of the curve! certs in March, so make sure to mark However, as we enter March, we your calendar! are continuing with the safety pro- The Scenic Drives with Victor tocols already firmly in place: on Thursdays will continue, with us Now, more than ever, we must looking at adding more as the weath- remain diligent in our fight to pre- er warms up. We will still be limiting vent the spread of COVID-19, es- the number of riders, as social dis- pecially since it seems like the end tancing protocols remain in place. of the tunnel is in view! So let’s The medical runs on Tuesday will al- take a look at some of the things so stay the same.
    [Show full text]