Mcclatchie, Stephen. the Gustav Mahler
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Annäherungen an Alma Mahler-Werfel (1)
Musikstunde „Sie war wie ein Vulkan!“ Annäherungen an Alma Mahler-Werfel (1) Von Susanne Herzog Sendung: 18. Februar 2019 Redaktion: Dr. Ulla Zierau Produktion: 2015 SWR2 können Sie auch als Live-Stream hören im SWR2 Webradio unter www.SWR2.de, auf Mobilgeräten in der SWR2 App, oder als Podcast nachhören: Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2- Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de Die neue SWR2 App für Android und iOS Hören Sie das SWR2 Programm, wann und wo Sie wollen. Jederzeit live oder zeitversetzt, online oder offline. Alle Sendung stehen sieben Tage lang zum Nachhören bereit. Nutzen Sie die neuen Funktionen der SWR2 App: abonnieren, offline hören, stöbern, meistgehört, Themenbereiche, Empfehlungen, Entdeckungen … Kostenlos herunterladen: www.swr2.de/app SWR2 Musikstunde mit Susanne Herzog 18. Februar – 23. Februar 2019 „Sie war wie ein Vulkan!“ Annäherungen an Alma Mahler-Werfel (1) Mit Susanne Herzog. „Sie war wie ein Vulkan“ hat Anna Mahler über ihre Mutter Alma Mahler-Werfel gesagt und ihre „Begeisterungsfähigkeit für alles Künstlerische“ betont. Den Facetten der schillernden Persönlichkeit von Alma Mahler-Werfel und ihren Beziehungen zu so vielen großen Künstlern des 20. Jahrhunderts ist die SWR 2 Musikstunde diese Woche auf der Spur. -
Gustav Mahler : Conducting Multiculturalism
GUSTAV MAHLER : CONDUCTING MULTICULTURALISM Victoria Hallinan 1 Musicologists and historians have generally paid much more attention to Gustav Mahler’s famous career as a composer than to his work as a conductor. His choices in concert repertoire and style, however, reveal much about his personal experiences in the Austro-Hungarian Empire and his interactions with cont- emporary cultural and political upheavals. This project examines Mahler’s conducting career in the multicultural climate of late nineteenth-century Vienna and New York. It investigates the degree to which these contexts influenced the conductor’s repertoire and questions whether Mahler can be viewed as an early proponent of multiculturalism. There is a wealth of scholarship on Gustav Mahler’s diverse compositional activity, but his conducting repertoire and the multicultural contexts that influenced it, has not received the same critical attention. 2 In this paper, I examine Mahler’s connection to the crumbling, late nineteenth- and early twentieth-century depiction of the Austro-Hungarian Empire as united and question whether he can be regarded as an exemplar of early multiculturalism. I trace Mahler’s career through Budapest, Vienna and New York, explore the degree to which his repertoire choices reflected the established opera canon of his time, or reflected contemporary cultural and political trends, and address uncertainties about Mahler’s relationship to the various multicultural contexts in which he lived and worked. Ultimately, I argue that Mahler’s varied experiences cannot be separated from his decisions regarding what kinds of music he believed his audiences would want to hear, as well as what kinds of music he felt were relevant or important to share. -
IGUSTAV MAHLER Ik STUDY of HIS PERSONALITY 6 WORK
IGUSTAV MAHLER Ik STUDY OF HIS PERSONALITY 6 WORK PAUL STEFAN ML 41O M23S831 c.2 MUSI UNIVERSITY OF TORONTO Presented to the FACULTY OF Music LIBRARY by Estate of Robert A. Fenn GUSTAV MAHLER A Study of His Personality and tf^ork BY PAUL STEFAN TRANSLATED FROM THE GERMAN EY T. E. CLARK NEW YORK : G. SCHIRMER COPYRIGHT, 1913, BY G. SCHIRMER 24189 To OSKAR FRIED WHOSE GREAT PERFORMANCES OF MAHLER'S WORKS ARE SHINING POINTS IN BERLIN'S MUSICAL LIFE, AND ITS MUSICIANS' MOST SPLENDID REMEMBRANCES, THIS TRANSLATION IS RESPECTFULLY DEDICATED BERLIN, Summer of 1912. TRANSLATOR'S PREFACE The present translation was undertaken by the writer some two years ago, on the appearance of the first German edition. Oskar Fried had made known to us in Berlin the overwhelming beauty of Mahler's music, and it was intended that the book should pave the way for Mahler in England. From his appearance there, we hoped that his genius as man and musi- cian would be recognised, and also that his example would put an end to the intolerable existing chaos in reproductive music- making, wherein every quack may succeed who is unscrupulous enough and wealthy enough to hold out until he becomes "popular." The English musician's prayer was: "God pre- serve Mozart and Beethoven until the right man comes," and this man would have been Mahler. Then came Mahler's death with such appalling suddenness for our youthful enthusiasm. Since that tragedy, "young" musicians suddenly find themselves a generation older, if only for the reason that the responsibility of continuing Mah- ler's ideals now rests upon their shoulders in dead earnest. -
N°14 an Der Quelle: Einblicke in Das Institut Für Musikwissenschaft Weimar-Jena | Die Seele Auf Der Zunge: Zu Gast in Prof. J
N°14 Das Magazin der Hochschule iszt Einblicke in das Institut für Musikwissenschaft Weimar-Jena L N°14 An der Quelle: | Die Seele auf der Zunge: Zu Gast in Prof. Jörg Brückners Hornklasse | Auf Liebesfüßen: Wie klingt die Oboe d‘amore? Großer Sprung: Cellistin Camille Thomas unterschrieb einen Exklusivvertrag bei der Deutschen Grammophon Spielzeit 2018/19 Premierenauswahl Musiktheater Cabaret Musical von John Kander 28. September 2018 Großes Haus Gera Der Vogelhändler Operette von Carl Zeller 30. September 2018 Großes Haus Altenburg Weiße Rose Kammeroper von Udo Zimmermann 4. November 2018 · Heizhaus Altenburg Foto: Ronny Ristok Die verkaufte Braut Komische Oper von Bedřich Smetana 19. Oktober 2018 Großes Haus Gera Die Entführung aus dem Serail Singspiel von Wolfgang Amadeus Mozart 11. November 2018 Großes Haus Altenburg Hoffmanns Erzählungen Fantastische Oper von Jacques Offenbach 30. November 2018 Großes Haus Gera Oedipe Oper von George Enescu 24. Februar 2019 Großes Haus Altenburg Die Passagierin Oper von Mieczysław Weinberg 8. März 2019 Großes Haus Gera Geliebtes Klärchen Collage von Kay Kuntze 7. April 2019 Großes Haus Altenburg Untergang der Titanic Große Oper von Wilhelm Dieter Siebert 28. Juni 2019 Landestheater Altenburg Kartentelefon 0365 8279105 Theater&Philharmonie Thüringen 2 Liszt - Das Magazin der Hochschule 2018www.tpthueringen.de Liebe Leserinnen und Leser, seit ihren frühesten Anfängen hat die Musik, mehr als alle anderen Das Institut gilt in seiner heutigen Ausrichtung als Modell für eine Künste, eine intime Nähe zur Wissenschaft gehabt. Lust zu Theo- zukunftsorientierte Musikwissenschaft. Neben dem für alle Musik- riebildung, Formelhaftigkeit, Gesetzlichkeit und Wiederholbarkeit berufe unverzichtbaren europäischen „Kerngeschäft“ (Alte Musik, gehören zum Wesen der Musik wie zur Wissenschaft. -
Programme Scores 180627Da
Symposium Richard Wagner and his successors in the Austro-German conducting tradition Friday/Saturday, 2/3 November 2018 Bern University of the Arts, Papiermühlestr. 13a/d A symposium of the Research Area Interpretation – Bern University of the Arts, in collaboration with the Royal Academy of Music, London www.hkb-interpretation.ch/annotated-scores Richard Wagner published the first major treatise on conducting and interpretation in 1869. His ideas on how to interpret the core Classical and early Romantic orchestral repertoire were declared the benchmark by subsequent generations of conductors, making him the originator of a conducting tradition by which those who came after him defined their art – starting with Wagner’s student Hans von Bülow and progressing from him to Arthur Nikisch, Felix Weingartner, Gustav Mahler, Richard Strauss, Wilhelm Furtwängler and beyond. This conference will bring together leading experts in the research field in question. A workshop and concert with an orchestra with students of the Bern University of the Arts, the Hochschule Luzern – Music and the Royal Academy of Music London, directed by Prof. Ray Holden from the project partner, the Royal Academy of Music, will offer a practical perspective on the interpretation history of the Classical repertoire. A symposium of the Research Area Interpretation – Bern University of the Arts, in collaboration with the Royal Academy of Music, London Head Research Area Interpretation: Martin Skamletz Responsible for the conference: Chris Walton Scientific collaborator: Daniel Allenbach Administration: Sabine Jud www.hkb.bfh.ch/interpretation www.hkb-interpretation.ch Funded by the Swiss National Science Foundation SNSF Media partner Symposium Richard Wagner and his successors Friday, 2 November 2018 HKB, Kammermusiksaal, Papiermühlestr. -
Mahler's Klagende Lied
Mahler’s Klagende Lied SIMONE YOUNG’S VISIONS OF VIENNA 4 – 7 DECEMBER SYDNEY OPERA HOUSE CONCERT DIARY FEBRUARY 2020 The 1950s Latin Lounge Wed 5 Feb, 7pm Thu 6 Feb, 7pm Program includes: Sat 8 Feb, 7pm GERSHWIN Cuban Overture Sydney Town Hall MARQUEZ Danzón No.2 BERNSTEIN West Side Story – Mambo Guy Noble conductor Imogen Kelly dancer Ali McGregor soprano The Rite of Spring Symphony Hour Wed 19 Feb, 7pm RIOT AT THE BALLET Thu 20 Feb, 7pm WAGNER Die Meistersinger – Prelude Sydney Town Hall STRAVINSKY The Rite of Spring Pietari Inkinen conductor Abercrombie & Kent Debussy and Ravel Masters Series THE GREAT IMPRESSIONISTS Wed 26 Feb, 8pm RAVEL Piano Concerto in G Fri 28 Feb, 8pm MENDELSSOHN The Hebrides Sat 29 Feb, 8pm DEBUSSY La mer Thursday Afternoon Symphony Jun Märkl conductor Thu 27 Feb, 1.30pm Alexandra Dariescu piano Great Classics Sat 29 Feb, 2pm Sydney Town Hall MARCH 2020 Ben Folds Sydney Symphony Presents Fri 6 Mar, 8pm THE SYMPHONIC TOUR Sat 7 Mar, 8pm Pop icon and music innovator Ben Folds Sydney Town Hall returns to Sydney following his last sold- out shows with the Sydney Symphony. Ben Folds Nicholas Buc conductor Scheherazade Symphony Hour Wed 11 Mar, 7pm HYPNOTIC AND SUBLIME Thu 12 Mar, 7pm DEBUSSY Prelude to the Afternoon of a Faun Tea & Symphony RIMSKY-KORSAKOV Scheherazade Fri 13 Mar, 11am Alexander Shelley conductor Sydney Town Hall Debussy, Mozart and Rimsky-Korsakov Emirates Metro Series Fri 13 Mar, 8pm SENSE AND SENSUALITY Sydney Town Hall DEBUSSY Prelude to the Afternoon of a Faun MOZART Sinfonia Concertante, K.364 RIMSKY-KORSAKOV Scheherazade Alexander Shelley conductor Harry Bennetts violin Tobias Breider viola Abercrombie & Kent Beethoven Missa Solemnis Masters Series MUSIC OF INSPIRATION Wed 18 Mar, 8pm BEETHOVEN Missa Solemnis Fri 20 Mar, 8pm Sat 21 Mar, 8pm Donald Runnicles conductor Siobhan Stagg soprano Sydney Town Hall Vasilisa Berzhanskaya mezzo-soprano Samuel Sakker tenor Derek Welton bass Sydney Philharmonia Choirs Cats 240x150.indd 1 2/9/19 16:40 WELCOME Welcome to the Abercrombie & Kent Masters Series. -
The Nineteenth Century, Part 2: Nationalism and Ideology
A-R Online Music Anthology www.armusicanthology.com Content Guide The Nineteenth Century, Part 2: Nationalism and Ideology Joseph E. Jones is Associate Professor at Texas A&M by Joseph E. Jones and Sarah Marie Lucas University-Kingsville. His research has focused on German opera, especially the collaborations of Strauss Texas A&M University-Kingsville and Hofmannsthal, and Viennese cultural history. He co- edited Richard Strauss in Context (Cambridge, 2020) Assigned Readings and directs a study abroad program in Austria. Core Survey Sarah Marie Lucas is Lecturer of Music History, Music Historical and Analytical Perspectives Theory, and Ear Training at Texas A&M University- Composer Biographies Kingsville. Her research interests include reception and Supplementary Readings performance history, as well as sketch studies, particularly relating to Béla Bartók and his Summary List collaborations with the conductor Fritz Reiner. Her work at the Budapest Bartók Archives was supported by a Genres to Understand Fulbright grant. Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This document is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this guide, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Nineteenth Century, Part 2 (Nationalism and Ideology) 1 ______________________________________________________________________________ Content Guide The Nineteenth Century, -
1 the Consequences of Presumed Innocence: the Nineteenth-Century Reception of Joseph Haydn1 Leon Botstein
Cambridge University Press 978-0-521-58052-6 - Haydn Studies Edited by W. Dean Sutcliffe Excerpt More information 1 The consequences of presumed innocence: the nineteenth-century reception of Joseph Haydn1 leon botstein 1 The Haydn paradox: from engaged affection to distant respect The mystery that plagues the contemporary conception and recep- tion of Haydn and his music has a long and remarkably unbroken history. Perhaps Haydn experienced the misfortune (an ironic one when one con- siders the frequency of premature deaths among his great contemporaries or near contemporaries) of living too long.Years before his death in 1809 he was considered so old that the French and English had already presumed him dead in 1805.2 Many wrote condolence letters and a Requiem Mass was planned in Paris. Haydn’s music was both familiar and venerated. Raphael Georg Kiesewetter (1773–1850), writing in Vienna in 1846, reflected the perspective of the beginning of the nineteenth century in his Geschichte der europaeisch-abendlaendischen oder unsrer heutigen Musik. Haydn had ‘ele- vated all of instrumental music to a never before anticipated level of perfec- tion’. Haydn had a ‘perfect knowledge of instrumental effects’ and with Mozart (for whom Haydn was the ‘example and ideal’) created a ‘new school which may be called the German or ...the “Viennese”school’.Theirs was the ‘golden age’ of music. Most significantly, Haydn’s instrumental works represented the standard of what was ‘true beauty’in music.3 Lurking beneath Kiesewetter’s praise of Haydn (and his discreet expressions of doubt about the novelties of Haydn’s successors, including 1 This essay is an expanded and revised form of my essay entitled ‘The Demise of Philosophical Listening’, in Elaine Sisman, ed., Haydn and his World (Princeton: Princeton University Press, 1997), pp. -
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Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Mahler's Third Symphony and the Languages of Transcendence
Mahler’s Third Symphony and the Languages of Transcendence Megan H. Francisco A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2016 Stephen Rumph, Chair JoAnn Taricani Program Authorized to Offer Degree: Music ©Copyright 2016 Megan H. Francisco University of Washington Abstract Mahler’s Third Symphony and the Languages of Transcendence Megan H. Francisco Chair of the Supervisory Committee: Professor Stephen Rumph Music History A work reaching beyond any of his previous compositional efforts, Gustav Mahler’s Third Symphony embodies cultural, political, and philosophical ideals of the Viennese fin-de- siècle generation. Comprising six enormous movements and lasting over ninety minutes, the work stretches the boundaries of symphonic form while simultaneously testing the patience of its listeners. Mahler provided a brief program to accompany his symphony, which begins with creation, moves through inanimate flowers to animals, before finally reaching humanity in the fourth movement. In this movement, Mahler used an excerpt from Friedrich Nietzsche’s Also sprach Zarathustra to introduce spoken language into the symphony. The relationship of music and language plays an integral role in Mahler’s expressive design of the Third Symphony, specifically in his vision of transcendence. Mahler creates a subtle transformation from elevated language (the fourth) to a polytextuality of folksong and onomatopoeia (the fifth) that culminates in the final, transcendent sixth movement. Throughout these last three movements, Mahler incorporates philosophical concepts from Nietzsche and his beloved Arthur Schopenhauer. In studying the treatment of language in these culminating movements, this thesis shows how Nietzsche’s metaphysical philosophies help listeners encounter and transcend Schopenhauer’s Will at the climactic end of the Third Symphony. -
Otto M. Zykan's Peculiar Speech
Otto M. Zykan’s Peculiar Speech: Music and the Question of its Reenactment Wolfgang Gratzer All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 30/09/2015 Accepted: 02/11/2015 Institution (Wolfgang Gratzer): Mozarteum University Salzburg Published: 04/04/2016 Last updated: 04/04/2016 How to cite: Wolfgang Gratzer, “Otto M. Zykan’s Peculiar Speech: Music and the Question of its Reenactment,” Musicologica Austriaca: Journal for Austrian Music Studies (April 04, 2016) Tags: 20th century; Zykan, Otto M. Abstract The article treats phenomena involved in the vocal interpretation of a composer’s own works, taking the example of the Vienna artist Otto M. Zykan (1935–2006) and making reference to the performance artist Marina Abramović, who is several generations younger. What I am interested in is (a) aesthetic implications, (b) challenges for performance practice (such as the relation between notation and variant readings), and (c) challenges for subsequent attempts at interpretation and reception. Two preliminary remarks 1. [1] On the terminology: Performances differ in my usage from other forms of presentation or staging in the way in which they are elaborated in a highly personal style both visually and acoustically. This is documented in many cases in multimedia form, which may be seen among other things as an attempt to counteract, or at least conserve, the ephemeral character of one’s own artistic activity. When I speak of ”interpretation,” what I mean is exclusively presentations, in this case performances as presentations of musical speech art.[1] To explore other processes of adapting/assimilating music and its meanings, such as verbal commentary, I use the term ”reception.” Furthermore, I propose a distinction between ”text” and ”texture” in the interest of achieving greater linguistic precision.