Catalogue 83

Total Page:16

File Type:pdf, Size:1020Kb

Catalogue 83 J & J LUBRANO MUSIC ANTIQUARIANS The Autograph Manuscript of Mozart's Contredanse for Orchestra K535, Item 54 CATALOGUE 83 Autograph Musical Manuscripts & Letters of Composers Rare Printed Music & Books on Music & Dance Original Drawings, Set & Costume Designs, Prints, &c. v 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. v Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Fine Items & Collections Purchased v Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c. v Diana La Femina, Assistant © J & J Lubrano Music Antiquarians LLC March 2018 2 - HIGHLIGHTS - BACH. St. Matthew Passion (item 5) BEETHOVEN. First edition, first issue of the 9th Symphony, with presentation inscription from Charles Munch to Alfred Cortot (item 17) BERLIOZ. Autograph document regarding the first performance of the Requiem (item 24) DANIELPOUR. Autograph manuscript dedicated to the victims of 9/11 (item 31) HANDEL. Five rare opera libretti (item 40); etching depicting castrati Senesino and Berenstadt in Flavio (item 41) HAYDN. Important autograph letter to Sieber regarding his symphonies, piano sonatas, and the “affaire Tost” (item 42) JACK BRADLEY JAZZ ARCHIVE. Thousands of original photographs, 1950s-1980s, &c. (item 45) MOZART. The complete autograph manuscript of La Bataille (item 54) MUSORGSKY. Original set design by Benois for Boris Godunov (item 59) SCARLATTI. Autograph manuscript of the unpublished cantata Quante le grazie son. (item 69) SCHOENBERG. First edition of the Klavierstück, inscribed to Anton Webern (item 74) SCHUBERT. Gretchen am Spinnrade, with manuscript control signature (item 75) SCHUMANN. Autograph manuscripts of Mein Garten and Geisternähe, inscribed by Clara (item 76) VERDI. Autograph letter to Ricordi about four of his operas (item 88) VIOTTI. Autograph manuscript of the Sonata for Violin and Bass (item 95) WAGNER. Autograph letter regarding his biography of Beethoven and Rienzi (item 96) WOLF. Autograph draft of a concert program (item 106) v 3 - SELECTIVE INDEX - AUTOGRAPH MANUSCRIPTS Adamo, Bruch, Corigliano, Danielpour, El-Dabh, Glazunov, Grechaninov, Hoiby, Koechlin, Massenet, Menotti, Nikolay Rubinstein, Saint-Saëns, Alessandro Scarlatti, Schickele, Schmitt, Schoenberg, Schumann, Tansman, Thomas, Viotti AUTOGRAPH LETTERS & DOCUMENTS Bellini, Berg, Berlioz, Debussy, Haydn, Legrenzi, Mendelssohn, Ravel, Schoenberg, Schubert, Strauss, Verdi, Wagner, Wagner Circle, Wolf SIGNED SCORES Debussy, Massenet, Puccini, Ravel, Saint-Saëns, Schoenberg, Schubert, Webern FIRST & EARLY EDITIONS OF PRINTED MUSIC Bach, Bayley, Beethoven, Bellini, Brahms, Debussy, Donizetti, Dretzel, Massenet, Mozart, Puccini, Purcell, Ravel, Saint-Saëns, Schoenberg, Schubert, Smith, Sperontes, Verdi, Wagner, Webern RARE BOOKS Handel, Wagner DANCE Souvenir de la Tarantella Napolitaine, Wilhelm ORIGINAL DRAWINGS, SET & COSTUME DESIGNS, PRINTS, & PHOTOGRAPHS Galerie des Artistes Dramatiques, Arma, Benois, Dugazon, Handel, Korovin, Lully, Metropolitan Opera, L’Assemblée au Concert, Musical Instruments, Sharits, Photographs of singers by Mishkin, Thomas, Wilhelm ARCHIVES Jack Bradley Jazz Archive v 4 ________________________________________________________________ With 80 Fine Illustrative Plates - Extra-Illustrated with Autograph Letters, &c. - 1. [OPERA & BALLET – 19th Century – French] Galerie des Artistes Dramatiques de Paris Quarante portraits en pied dessins d'apres nature par Al. Lacauchie, et accompagnes d'autant de portraits litteraires. Tome Premier [-Second]. Paris: Marchant, 1841, 1842. Two volumes. Quarto. Half dark red morocco with marbled boards. Each volume consists of 3 preliminary leaves plus 40 full-page plates and 162 pp. of text, for a total of 80 fine lithographic portraits of dancers, singers and actors in role portraits, finely-printed on china paper and laid down. Extensively extra-illustrated: 70 of the 80 plates are accompanied by an autograph letter or document in the hand of the subject of the print. With biographical essays, each 4-6 pp., on each subject: Singers: Deburau, Duprez, Fargueil, Aine, Levasseur, Rubini, Persiani, Prevost, Damoreau, Lafont, Lablache, Grisi, Tamburini, Klein (singer and actor), Stolz, Thillon, Chollet, Roger, Mario, and Dorus- Gras. Dancers: Perrot, Elssler, Taglioni, Thillon, Leroux, and Grisi. Actors: Rachel, Plessy, Mme. Melingue, Achard, Doze, Odry, Lepeintre Jeune, Dupont, Boutin, Flore, Georges, Joanny, Albert, Vertpre, Monrose, Bocage, Firmin, Saint-Ernest, Mars, Menjaud, Sauvage, Bardou, Beauvallet, Alcide-Tousez, Mme. Volnys, Ferville, Mr. Volnys, Guillemin, Gauthier, Arnal, Clarisse, Chilly, Moessard, Brunet, Albert, Provost, Brohan, Anais, Vernet, Desmousseaux, Dorval, Regnier, Mante, Julienne, Lepeintre Aine, Dejazet, Numa, Samson, Sainville, Ligier, Colon Leplus, Raucourt, Bouffe, and Lemaitre. Bindings very slightly worn, rubbed and bumped. Some foxing to text and margins of mounts, not affecting prints; some additional browning to Volume II; several minor paper repairs. Bookplate with initials "A.H." engraved by E. Valton, 1880, to front pastedown of each volume. In very good condition overall. A third volume was planned, and at least 18 plates appeared, but the volume was never published. A unique copy, with important iconographical evidence of contemporary performers and theatrical costume as well as original autograph letters and documents of historical significance. (28139) $6,000 ________________________________________________________________ 5 Autograph Manuscript of the Full Score 2. ADAMO, Mark born 1962 No. 10 / Supreme Virtue for double SATB choir. Autograph musical manuscript of the complete full score. 29 pp. + 2 pp. of additional manuscript apparently not included in the final version. Oblong folio (278 x 208 mm.). Unbound. Notated in pencil on 16-stave music manuscript paper. Folded. Signed and dated New York, Jan-April [19]97. Supreme Virtue was commissioned by the Dale Warland Singers with the support of the Jerome Foundation and the Alice M. Ditson Fund of Columbia University. The text consists of an English translation of verses from the Tao te Ching. It was first recorded by the Seattle-based chamber choir Esoterics on the Terpsichore label in the winter of 2008. "For a few years I was the tenor section leader of a choir in Washington, and in singing with and composing for them I'd become more and more interested in the quasi- instrumental vocal gesture. Stephen Mitchell's pellucid translation of this verse of the Tao te ching - a series of moral challenges all beginning with the words "Can you?" - spurred me to explore this idea at length. The singers, divided into two SATB choirs, intone the first question in a dusky C-minor against a sighing backdrop of wind sounds: then, as the first choir utters the text's first challenge, the second choir refracts their words into marimba-like repeated notes, as if the long lines of the first choir were subjected to a kind of aural strobe. As the questions become tougher, so do the sounds: tenors and altos stab into the texture with horn-like interruptions, and the phrase "Can you?" disrupts the unwavering four-four pulse with insistent threes and twos. At a peak of intensity, a looping soprano-alto line spirits us away from pulse and chord, leading first to a melodic meditation based on the vowels of "Can you?" and then to a cadenza, in which chords appear and vanish into a shimmering, ever-present curtain of sound. A vision of equanimity is intoned in the open fifths of (both Western and Eastern) chant: then, as if elated by its discovery ("this is the supreme virtue") the chorus reworks its "Can you?" motive: a nudging half-step expands to a whole step, the harmony brightens to B-flat, and, in rhythms now more jubilant than insistent, the score spins to closure." markadamo.com. (20144) $3,800 ________________________________________________________________ Music & Art 3. ARMA, Paul 1904-1987 Chants du Silence. The complete
Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • La Rete Di Santini Autore: Georg Brintrup Co-Autore Mario Di Desidero
    www.brintrup.com La rete di Santini autore: Georg Brintrup co-autore Mario Di Desidero LA RETE DI SANTINI film di Georg Brintrup promosso con mezzi della MEDIA European Commission - 1 - www.brintrup.com La rete di Santini autore: Georg Brintrup co-autore Mario Di Desidero 0. PRELUDIO Musica: Georg Friedrich Händel (1685 - 1759) - " Israel in Egypt". La musica viene prodotta da un "fonografo di cera" (1888) di Edison. In sottofondo si percepisce un coro di 3.000 voci ... __________________________________________________________________ 0.1 Una clessidra a sabbia. Il suono dal fonografo di cera. 0.2 Scritture antiche incise in marmo, geroglifici. EDWARD DENT: (off) Per conservare e tramandarci le loro idee in modo sicuro, per migliaia di anni i nostri antenati hanno scritto dapprima sulla pietra ... poi sulla pergamena. 0.3 Una mano che scrive note musicali con una penna su pergamena. Un vecchio manoscritto musicale. 0.4 Un’antica macchina da stampa in funzione. 0.5 Un moderno tipografo sputa pagine. EDWARD DENT: (off) Soltanto con l'invenzione della tipografia essi hanno trovato un mezzo piú semplice e piú agevole per tramandare lo spirito e diffondere le idee. - 2 - www.brintrup.com La rete di Santini autore: Georg Brintrup co-autore Mario Di Desidero 1. LONDON. CASA DI DENT. INTERNO. Musica: Georg Friedrich Händel (1685 - 1759) - " Israel in Egypt" (The people shall hear, and be afraid) introduzione strumentale. Alla musica dal "fonografo di cera" (1888) si sovrappone la registrazione moderna. __________________________________________________________________ 1.1 P.P.: Un uomo di 75-80 anni, Edward Dent, parla verso la m.d.p. EDWARD DENT: La musica è invece la lingua che esprime tutto quello che le parole non possono dire.
    [Show full text]
  • Schubert: the Nonsense Society Revisited
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Schubert: The Nonsense Society Revisited RITA STEBLIN Twenty years have now passed since I discovered materials belonging to the Unsinnsgesellschaft (Nonsense Society).1 This informal club, active in Vienna from April 1817 to December 1818, consisted mainly of young painters and poets with Schubert as one of its central members. In this essay I will review this discovery, my ensuing interpretations, and provide some new observations. In January 1994, at the start of a research project on Schubert ico- nography, I studied some illustrated documents at the Historisches Museum der Stadt Wien (now the Wienmuseum am Karlsplatz), titled “Unsinniaden.”2 The documents comprise forty-four watercolor pictures and thirty-seven pages of text recording two festive events celebrated by the Nonsense Society: the New Year’s Eve party at the end of 1817 and the group’s first birthday party on 18 April 1818.3 The pictures depict various club members, identified by their code names and dressed in fan- ciful costumes, as well as four group scenes for the first event, including Vivat es lebe Blasius Leks (Long live Blasius Leks; Figure 1), and two group scenes for the second event, including Feuergeister-Scene (Fire Spirit Scene; Figure 6 below).4 Because of the use of code names—and the misidentifi- cations written on the pictures by some previous owner of the
    [Show full text]
  • HARSÁNYI a Hungarian in Paris Violin Sonatina Violin Sonata Viola Sonata Trois Pièces De Danse
    Tibor HARSÁNYI A Hungarian in Paris Violin Sonatina Violin Sonata Viola Sonata Trois pièces de danse Charles Wetherbee, Violin / Viola David Korevaar, Piano Tibor Tibor Harsányi (1898-1954) HARSÁNYI Violin Sonatina • Violin Sonata • Trois pièces de danse • Viola Sonata (1898-1954) Hungarian-born pianist, composer, conductor, and A 1929 interview by the Parisian critic José Bruyr, in musicologist Tibor Harsányi was part of the lively Paris Le guide du concert, includes Harsányi’s own descriptions A Hungarian in Paris musical scene from 1923. He was a student of Kodály in of his youth: Budapest, then travelled around Europe as a performer, settling briefly in Holland, where he worked as a In Hungary, just as in France before 1914 and Sonatina for Violin and Piano (1919) 19:02 conductor. Once in Paris he joined with other expatriate the phonograph, music was understood as the 1 Moderato 6:23 composers, including the Czech Bohuslav Martinů, the complement of all bourgeois education... That is 2 Scherzo 3:58 Romanian Marcel Mihalovici, the Swiss Conrad Beck, and the reason why my family made me, a little 3 Allegro giusto 8:41 the Russians Alexander Tansman and Alexander gentleman of four or five years old, sit in front of Tcherepnin. In a 1929 article in the Revue Musical, the the keyboard. But, until I was fifteen, even while critic Arthur Hoerée dubbed this group “l’école de Paris”, practising Bach or Chopin, I was only thinking Sonata for Violin and Piano (1925) 21:36 writing that they were not only “remarkable young talents about a football match or a hundred-metre 4 Allegro ma non troppo 6:46 rubbing shoulders with the French, but also foreigners running race.
    [Show full text]
  • Musical Times Publications Ltd
    Musical Times Publications Ltd. Review Source: The Musical Times and Singing Class Circular, Vol. 27, No. 517 (Mar. 1, 1886), p. 166 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3365196 Accessed: 18-10-2015 06:03 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 134.121.47.100 on Sun, 18 Oct 2015 06:03:48 UTC All use subject to JSTOR Terms and Conditions I66 THE MUSICAL TIMES. MARCHI, I886. Notturnein B flcrt. For the Pianoforte. Composed by M. AmbroiseThomas, the composerof " Mignon" and G. J. Rubini. [E. Ascherberger and Co.] of "Hamlet," is engaged upon a new operatic work entitled " Miranda,"which is to be brought out at the WHATEVERpraise is due for writing a melodious and Paris Opera. The libretto is from the pen of M. Jules easily playable little Sketch for the pianoforte, has certainly Barbier,and the suject is borrowedfrom Shakespeare's been earned by the composer of this graceful Notturne.
    [Show full text]
  • Volume 35 E-Mail: [email protected]    Tel: +39 055 603 251 / Fax: +39 055 603 383 Autumn 2015
    The Harvard University Center for Italian Renaissance Studies VILLA I TATTI Via di Vincigliata 26, 50135 Florence, Italy Volume 35 E-mail: [email protected] Tel: +39 055 603 251 / Fax: +39 055 603 383 Autumn 2015 Letter from Florence It’s the end of June 2015, and Anna and I are preparing to leave Mensola, and Boccaccio and Petrarca, and Laura Battiferra I Tatti for the last time. It has been an intense and wonderful too. We are grateful to all of them for opening our eyes to five-year period at the Villa, with exceptional groups of the beauty of this valley, and enhancing the experience of our Fellows, Visiting Professors, and guests joining us from all walk with their words. corners of the world. And it has seemed a very quick period, too. The last year has gone in a flash. It seems only yesterday Our walk also offers us a chance to talk about what’s going on that we were harvesting our grapes, and already our vineyards in the day, the ups and downs, the ins and outs of la vita tattiana: are once more covered in luxuriant foliage while the olive who is leaving, and who is coming next to I Tatti, the lectures, groves are rich with the promise of new oil for the fettunta. conferences, and concerts in preparation, and the books that Anna and I love this little Mensola valley and never miss an have just appeared and those that are due out soon. But it’s opportunity to admire the beautiful, peaceful order in which also a marvelous opportunity to see how the restoration of the everything – vigne, oliveti, giardini e case – is kept by our staff.
    [Show full text]
  • The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
    ! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176
    [Show full text]
  • Sacrae Musices Cultor Et Propagator
    Musikwissenschaft Sacr½ Musices Cultor et Propagator\ " Fortunato Santinis Bearbeitung von Carl Heinrich Grauns Der Tod Jesu als Beispiel der Pege deutscher geistlicher Musik im Italien des fruhenÄ 19. Jahrhunderts Hausarbeit zur Erlangung des Grades eines Magister Artium der Philosophischen FakultÄat der WestfÄalischen Wilhelms-UniversitÄat Munster,Ä Westfalen vorgelegt von Andrea Pietro Ammendola aus Hagen, Westfalen 2005 Lithographie von Rosi, um 1820/30, 27,8£21,2 cm WestfÄalisches Landesmuseum furÄ Kunst und Kulturgeschichte MunsterÄ PortrÄatarchiv Diepenbroick, Inv.-Nr. C-500329 PAD ii Inhaltsverzeichnis 1 Einleitung 1 2 Fortunato Santini 4 2.1 Beginn der SammlertÄatigkeit . 4 2.2 Santinis Auslandskontakte . 9 2.3 Der Werdegang der Santini-Bibliothek . 15 2.4 Die zeitgenÄossische Bewertung Santinis und seiner Sammlung . 22 2.5 Santini als Bearbeiter . 31 3 Der Tod Jesu von Carl Heinrich Graun in der Bearbeitung Fortunato Santinis 40 3.1 Der Tod Jesu in der Vertonung Carl Heinrich Grauns . 40 3.2 Quellenkritik und UberlieferungÄ . 43 3.2.1 Quelle A . 43 3.2.2 Quelle B . 53 3.3 Karl Wilhelm Ramlers Passionsdichtung Der Tod Jesu . 57 3.3.1 Karl Wilhelm Ramler . 57 3.3.2 Entstehungsgeschichte des Librettos . 58 3.3.3 AufklÄarung, Neologie und Emp¯ndsamkeit . 59 3.3.4 Charakteristik des Librettos . 62 3.4 Santinis italienische UbersetzungÄ . 69 3.5 Santinis Bearbeitung . 79 3.5.1 Allgemeine Merkmale . 79 3.5.2 ChorÄale . 80 3.5.3 ChÄore . 84 3.5.4 Arien . 88 iii Inhaltsverzeichnis 3.5.5 Rezitative . 92 3.5.6 Zusammenfassung der Analyseergebnisse . 95 4 Schlu¼betrachtung 97 4.1 Parodie und Bearbeitung im 18.
    [Show full text]
  • Andréas Hallén's Letters to Hans
    ”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.” ”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.”1 Andréas Hallén’s Letters to Hans Herrig. A Contribution to the Swedish-German Cultural Contacts in the Late Nineteenth Century Martin Knust It is beyond question that the composer Andréas Hallén (1846–1925) never stood in the front line of Swedish musical life. Nevertheless, the ways he composed and promoted his music have to be regarded as very advanced for his time. As this study reveals, Hallén’s work as a composer and music critic may have served as a model for the next generation of composers in Sweden. Moreover, his skills as an orchestra- tor as well as his cleverness in building up networks on the Continent can hardly be overestimated. Hallén turns out to have been quite a modern composer in that he took over the latest music technologies and adapted them to a certain music market. The study of Hallén and his work exposes certain musical and cultural developments that were characteristic for Sweden at the turn of the century. Documents that just recently became accessible to research indicate that it is time to re-evaluate Hallén’s role in Swedish musical life. Correspondence between opera composers and their librettists provides us with a wealth of details about the genesis of these interdisciplinary art works and sometimes even, like the correspondence Strauss–Hofmannsthal, about the essence of opera itself. In the case of the Swedish composer Andréas2 Hallén, his first opera Harald der Wiking was not only an interdisciplinary but also an international project because he worked together with the German dramatist Hans Herrig (1845–1892).
    [Show full text]
  • Franz Schubert: Inside, out (Mus 7903)
    FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects
    [Show full text]
  • View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
    J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
    [Show full text]