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NEW • NOUVEAUTE • NEUHEIT 03/15-(5) Ernst Rudorff (1840-1916) Chamber Music Sextett für 3 Violinen, Viola und 2 Violoncelli op. 5 Drei Romanzen op. 48 Capriccio appassionato op. 49 Sechs Klavierstücke op. 52 Concertetüden No. 1 und 2 op. 29 Romanze für Violine + Klavier op. 41 Berolina Ensemble 1 Hybrid-SACD MDG 948 1889-6 UPC-Code: Pioneer Conservationist An Echo Klassik for Hofmann, an Opus d’or for von Gorol, the ensemble’s spiritus rector, opts for Bausznern, and now for the third time the Berolina impassioned voice leading from the very beginning. Ensemble steps into the spotlight with a spectacular The second movement reflects high ambitions. After discovery – and once again we are at a loss to explain only a few measures of bright major the charmingly how it was that such magnificent works could ever be simple beginning of the theme moves into a brooding forgotten. The ensemble’s newest release is minor; simplicity and magnificence are united in the dedicated to Ernst Rudorff. His opulent String Sextet, splendid beginning of this variation movement of Romance for Violin and Piano, and a series of symphonic dimensions! enchanting piano pieces offer extensive documentation of the chamber oeuvre of this Berlin Salon Romanticist composer, who also numbered among the pioneers in The concluding Romance for Violin and Piano the field of conservation. presents salon culture on the highest level. Here David Gorol dedicates his violinist’s perfection to the Remarkable Storyteller cause of a highly romantic narrative, which Viller Rudorff was on close personal terms with Clara Valbonesi has rest on orchestral sound optimally Schumann and her family; one of the Schumann supporting the singing violin in the ecstatic highest of daughters received instruction in piano from him. The the heights. All of this is experienced in finely fact that Schumann and Brahms were his models is in balanced SACD recording technology featuring particular evidence in his piano compositions. Just genuine 3-D sound – a treat not only for friends of listen to the second of the Six Piano Pieces, in which natural sound! a Schumannian agitato meets ambitious harmonies, or to the first, which recalls the narrative tone of the Heinrich Hofmann Kinderszenen. At the latest by the fourth piece of the Oktett op. 80, Serenade op. 65, collection, an entirely new tone is encountered, and in Sextett op. 25 the harmonic tension of the concluding adagio this Berolina Ensemble tone clearly points to the future. MDG 948 1808-6 (Hybrid-SACD) Chamber Philosopher Waldemar von Bausznern The String Sextet published by the young Rudorff as Oktett, Elegie, Serenade his op. 5 begins with a sweeping gesture. David Berolina Ensemble MDG 948 1826-6 (Hybrid-SACD) DABRINGHAUS UND GRIMM AUDIOVISION GMBH • BACHSTRASSE 35 • D-32756 DETMOLD TEL.: ++49-(0)5231-93890 • FAX.: ++49-(0)5231-26186 • www.mdg.de • [email protected] .

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The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
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SLUB Dresden Erwirbt Korrespondenzen Von Clara Schumann Und Johannes Brahms Mit Ernst Rudorff
Berlin, 24. Juni 2021 SLUB Dresden erwirbt Korrespondenzen von Clara Schumann und Johannes Brahms mit Ernst Rudorff Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB Dresden) erwirbt Korrespondenzen von Clara Schumann (1819-1896) und Johannes Brahms (1833-1897) jeweils mit dem Berliner Dirigenten Ernst Rudorff (1840-1916). Die Korrespondenzen waren bislang für die Wissenschaft unzugänglich. Die Kulturstiftung der Länder fördert den Ankauf mit 42.500 Euro. Dazu Prof. Dr. Markus Hilgert, Generalsekretär der Kulturstiftung der Länder: „Die Botschaft, dass diese mehr als 400 Schriftstücke, die zuvor in Privatbesitz waren, nun erstmals der Öffentlichkeit und der Wissenschaft zugänglich sind – jetzt bereits online verfügbar auf der Webseite der SLUB Dresden –, dürfte zahlreiche Musikwissenschaftlerinnen und Musikwissenschaftler aus der ganzen Welt dorthin locken. Die wertvollen Korrespondenzen sind nicht nur Zeugnisse von Clara Schumanns ausgedehnter Konzerttätigkeit quer durch den Kontinent. Sie sind auch Dokumente einer Musikepoche und bieten Einblicke in die Musikwelt Europas zwischen 1858 und 1896.“ Eigenhändiger Brief Clara Schumann an Ernst Rudorff, Moskau und Petersburg, April/Mai 1864, SLUB Dresden, Mscr.Dresd.App. 3222A,19 u. 20; Foto: © SLUB Dresden/Ramona Ahlers-Bergner Die Korrespondenzen zwischen Clara Schumann und Ernst Rudorff umfassen 215 handschriftliche Briefe der Pianistin und 170 Briefe ihres einstigen Schülers. Der Briefwechsel zwischen Brahms und Rudorff besteht aus 16 Briefen von Brahms und zwölf Gegenbriefen von Rudorff sowie ein Blatt mit Noten, beschrieben von beiden. Beide Briefwechsel wurden in das niedersächsische Verzeichnis national wertvollen Kulturgutes aufgenommen. Rund sechs Jahre (1844-1850) wohnte Clara Schumann gemeinsam mit ihrem Mann in Dresden. Die angekauften Korrespondenzen Schumanns mit Rudorff beginnen 1858 und enden mit bis dahin hoher Regelmäßigkeit im Jahr ihres Todes, 1896.
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Godowsky6 30/06/2003 11:53 Page 8
225187 bk Godowsky6 30/06/2003 11:53 Page 8 Claudius zugeschriebenen Gedichts. Litanei, Robert Braun gewidmet, nach der DDD In Wohin?, dessen Widmungsträger Sergej Vertonung eines Gedichts von Johann Georg Jacobi, ist Rachmaninow ist, bearbeitet Godowsky das zweite Lied ein Gebet für den Seelenfrieden der Verstorbenen. Das Leopold 8.225187 der Schönen Müllerin, in dem der junge Müllersbursche Originallied und die Transkription sind von einer den Bach hört, dessen sanftes Rauschen, in der Stimmung inneren Friedens durchzogen. Klavierfassung eingefangen, ihn aufzufordern scheint, Godowskys Schubert-Transkriptionen enden mit GODOWSKY seine Reise fortzusetzen, doch wohin? einem Konzertarrangement der Ballettmusik zu Die junge Nonne, David Saperton gewidmet, Rosamunde aus dem Jahr 1923 und der Bearbeitung des basiert auf der Vertonung eines Gedichts von Jacob dritten Moment musical op. 94 von 1922. Schubert Transcriptions Nicolaus Craigher. Die junge Nonne kontrastiert den in der Natur brausenden Sturm mit dem Frieden und Keith Anderson Wohin? • Wiegenlied • Die Forelle • Das Wandern • Passacaglia ewigen Lohn des religiösen Lebens. Deutsche Fassung: Bernd Delfs Konstantin Scherbakov, Piano 8.225187 8 225187 bk Godowsky6 30/06/2003 11:53 Page 2 Leopold Godowsky (1870-1938) für 44 Variationen in der traditionellen barocken Form, Godowsky jede Strophe des Original-Lieds. Piano Music Volume 6: Schubert Transcriptions zu denen u.a. auch eine gelungene Anspielung auf den Das Wandern ist das erste Lied des Zyklus Die Erlkönig zählt. Die Variationen, in denen das Thema in schöne Müllerin, in dem der junge Müllersbursche seine The great Polish-American pianist Leopold Godowsky of Saint-Saëns, Godowsky transcribed for piano his unterschiedlichen Gestalten und Registern zurückkehrt, Wanderung beginnt.
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Ernst Rudorff
Ernst Rudorff (b. Berlin, 18. January 1840 – d. Berlin, 31. December 1916) Symphony no. 2 in G minor, op. 40 Born in Berlin, Ernst Friedrich Karl Rudorff was a German conductor, composer, pianist and teacher whose mother knew Mendelssohn and studied with Karl Friedrich Zelter (notable for founding the Berlin Singakademie, amongst other achievements), while his father was a professor of law. Rudorff’s parents’ home was often visited by German Romantic composers of the day, and he numbered Johann Friedrich Reichardt and Ludwig Tieck among his ancestors. From 1850 he studied piano and composition with Woldemar Bargiel (1828–1897), Clara Schumann’s half-brother, who, having studied at the Leipzig Conservatory prior to Rudorff, became a noted teacher and composer emulating though not copying Robert Schumann’s musical style. From 1852 to 1854 Rudorff studied violin with Louis Ries (1830- 1913), a member of the Ries family of musicians, who settled in London in 1853, and he studied piano for a short while with Clara Schumann in 1858, who added him to her list of lifelong musical friends, a list which included Mendelssohn, Joseph Joachim and Brahms. Subsequently, from 1859 to 1860, Rudorff studied history and theology at the universities of Berlin and Leipzig and music at Leipzig Conservatory from 1859 to 1861, where Ignaz Moscheles (for piano) and Julius Rietz (for composition) were his teachers. He then (from 1861 to 1862) studied privately with Carl Reinecke (1824-1910) – who was in his time well connected to Mendelssohn, the Schumanns and
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R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research.
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John Carter ˙ Œ Œ Œ Œ
UNIVERSITY OF CALIFORNIA Los Angeles An Orchestral Transcription of Johannes Brahms’s Sonata for Violin and Piano No. 3 in D Minor, op. 108 with an Analysis of Performance Considerations A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by John Murray Carter 2012 © Copyright by John Murray Carter 2012 ABSTRACT OF THE DISSERTATION An Orchestral Transcription of Johannes Brahms’s Sonata for Violin and Piano No. 3 in D Minor, op. 108 with an Analysis of Performance Considerations by John Murray Carter Doctor of Musical Arts University of California, Los Angeles, 2012 Professor Neal Stulberg, Chair The objective of this dissertation is to examine the orchestration methods of Johannes Brahms, apply these methods to an orchestral transcription of his Sonata for Violin and Piano No. 3 in D Minor, op. 108, and provide a conductor’s analysis of the transcription. Chapter 1 gives a brief historical background, and discusses reasons for and methods of the project. Chapter 2 examines general aspects of Brahms’s orchestrational style. Chapter 3 addresses the transcription process and its application to the Third Violin Sonata. Chapter 4 explores areas in which a thorough understanding of a work’s compositional and orchestrational structure informs performance practice. Chapter 5 discusses differences in chamber and orchestral music observed during the project. The full score of the transcription is included at the end. ii The dissertation of John Murray Carter is approved. Mark Carlson Gary Gray Elizabeth Upton Neal Stulberg, Committee Chair University of California, Los Angeles 2012 iii Dedicated to my wife Bonnie, who never stopped believing in me.
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Concerts Conducted by Carl Schuricht Including Music of Anton Bruckner (1912-1965) Original Source
Concerts conducted by Carl Schuricht including music of Anton Bruckner (1912-1965) Original source : http://carlschuricht.com/concert.htm Important Dates 3 July 1880 : Carl Adolph Schuricht was born at Danzig (Gdansk) into a family of organ-builders. His father, Carl Conrad Schuricht was born on 27 January 1856. He was an organ-builder and worked at his father's factory. He died on 9 June 1880 (3 weeks before his son was born !) when he tried to help an employee fallen into the sea, in the bay of Danzig. His mother, Amanda Ludowika Alwine Wusinowska was a well-known Polish Oratorio singer (1847-1935) . She didn't re-marry after her husband's death. 1886 : Began piano and violin lessons at the age of 6. Studied at the « Friedrichs Realgymnasium » in Berlin. 1891 : Began to compose at the age of 11. 1892 : Studied at the « Königliches Realgymnasium » in Wiesbaden. Written the music and the librettos for 2 Operas. 1895 : Started conducting at the age of 15. 1901-1902 : 1st professional job as « Korrepetitor » at the « Stadttheater » of Mainz. 1902 : Won a composition prize from the Kuszynski Foundation, and awarded a scholarship by Franz von Mendelssohn. Allowed him to continue his studies at the « Berliner Musikhochschule » (« der Königlichten Hochschule für Musik ») under Ernst Rudorff, piano ; Heinrich van Eyken (and not Engelbert Humperdink) , composition ; and, later, Max Reger in Leipzig. His musical compositions were published mostly by Drei-Lilien-Verlag, Berlin. Opus 1 : Piano Sonata in F minor. Opus 2 : « Herbst-Stücke » (Opuscules for autumn) for piano and orchestra. Opus 3 : « Fünf Lieder » (5 Songs) .
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Romantic Irony in the String Quartets of Felix Mendelssohn Bartholdy and Robert Schumann Robin Wildstein Garvin
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Romantic Irony in the String Quartets of Felix Mendelssohn Bartholdy and Robert Schumann Robin Wildstein Garvin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ROMANTIC IRONY IN THE STRING QUARTETS OF FELIX MENDELSSOHN BARTHOLDY AND ROBERT SCHUMANN By Robin Wildstein Garvin A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree awarded: Fall Semester, 2008 The members of the Committee approve the Dissertation of Robin Wildstein Garvin on September 3, 2008. ______________________________ Douglass Seaton Professor Directing Treatise ______________________________ Eric Walker Outside Committee Member ______________________________ Michael Bakan Committee Member ______________________________ Charles E. Brewer Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my parents Larry and Diane Wildstein iii ACKNOWLEDGEMENTS I would like to thank my major professor, Douglass Seaton, for his unflagging support from the inception of this project to its long-delayed conclusion. Quite apart from his help with my dissertation, he has been instrumental in my development as a musicologist, both as a teacher and a scholar. I would also like to thank committee members Michael Bakan, Charles E. Brewer, and Eric Walker for their careful reading and many helpful suggestions. My parents Larry and Diane Wildstein have supported and encouraged me throughout my academic career. And finally I would like to thank my husband Larry Garvin and our children Hannah, Philip, and Samuel, without whom this dissertation would have been finished a long time ago, but without whom I cannot imagine my life.
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Three Transcriptions for Viola and Piano
Three Transcriptions for Viola and Piano Clara Mathilde Faisst (1872-1948) Adagio Consolante Clara Faisst was born in Karlsruhe in 1872. Her formal education took place in Karlsruhe and Berlin, where her composi- tion teachers included Max Bruch (1838-1920) and Woldemar Bargiel (1828-1897; step-brother of Clara Schumann). She studied piano with Ernst Rudorff (1840-1916; pupil of Clara Schumann). She earned a living in Karlsruhe by teaching, performing, and composing. Her circle of friends included some of the greatest musicians of that era, particularly Albert Schweitzer (1875-1965) with whom she corresponded. Adagio Consolante, opus 7 #1, originally for cello and piano, was published by Simrock in 1902. The composition is ro- mantic, and in spite of the time of publication, is not “salon-style.” The work has a finely crafted melodic line and her use of chromaticism is sophisticated. Numerous slur discrepancies are found when comparing the piano score and the separate cello part. Preference has been given to the markings in the separate cello part because they provide much more logical bow- ings. Performers can compare the markings in the viola transcription to the cello line in the score to see where these discrep- ancies occur. Other discrepancies that demand more detailed resolutions follow. All down-bow and up-bow markings and fingerings are editorial. ps = piano score cp = separate cello part. Measure Problem Solution 8 half note in cp, whole note in ps half note for bowing-ease 13 p in cp, not ps include 21 rit. in ps, not cp include 23 p in ps, not cp include 24 rit.
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Historically Informed Cadenzas, the Concerto in E-Flat, K
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Brahms, Autodidacticism, and the Curious Case of the Gavotte
Brahms, Autodidacticism, and the Curious Case of the Gavotte Martin Ennis in memoriam Robert Pascall1 On 23 February 1896, after an excursion into the countryside outside Vienna, Richard Heuberger found Brahms in uncharacteristically expan- sive mood. Brahms spoke at length about the relative merits of Mozart and Beethoven, making it clear his sympathies lay with the former, before turn- ing to Haydn’s “extraordinary greatness.”2 He entered his stride, however, when the conversation turned to musical education: Neither Schumann, nor Wagner, nor I learned anything proper. Schumann went one way, Wagner another, and I a third. But not one of us learned anything decent. Not one of us went through a proper school. Yes; we learned after the event.3 Several years earlier, in 1888, Gustav Jenner heard a slightly different version of the same tale when, as a twenty-two-year-old, he went to Vienna to study with Brahms: Just think how Schumann suffered by coming so late to music. It was the same story with me; I came even later to music. What might I have been, if only I’d learned in my youth what I had to catch up on as a man!4 Both stories are presented without commentary; the two interlocutors apparently accepted them without demur. In later years, Brahms was keen to stress the disadvantages of his musical education when compared with Mendelssohn’s: Mendelssohn had a great advantage over us: his outstanding training. What endless pains it has cost me making up for that as a man.5 The most thorough-going account of Brahms’s musical training dates from 1912 when Gustav Jenner argued, on the basis of conversations with the composer, that Brahms’s education was seriously deficient (Jenner 1912).
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Vorgestellt Von Lotte Thaler Mit Charme Präsentiert „Mein
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