Richard Wagner Sämtliche Briefe Breitkopf & Hartel
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The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
Wagner and the Erotic Impulse
WAGNER AND THE EROTIC IMPULSE WAGNER AND THE EROTIC IMPULSE LAURENCE DREYFUS harvard university press Cambridge, Massachusetts London, En gland 2010 Copyright © 2010 by Laurence Dreyfus All rights reserved Printed in the United States of America Library of Congress Cataloging- in- Publication Data Dreyfus, Laurence, 1952– Wagner and the erotic impulse / Laurence Dreyfus. p. cm. Includes bibliographical references and index. ISBN 978- 0- 674- 01881- 5 (alk. paper) 1. Wagner, Richard, 1813– 1883—Criticism and interpretation. 2. Opera— 19th century. 3. Sex in opera. I. Title. ML410.W13D74 2010 782.1092—dc22 2010011118 Need I add that Wagner also owes his success to his sensuality? Habe ich noch zu sagen, daß Wagner seiner Sinnlichkeit auch seinen Erfolg verdankt? —Friedrich Nietz sche, Nachlaß (1888) C ONTENTS Preface ix Abbreviations xv 1. Echoes 1 Music and Eros — Søren Kierkegaard — Suggestive Music — Peculiarities of Musical Erotics — Charles Baudelaire — Friedrich Nietz sche and Malwida von Meysenbug — Édouard Schuré and Hans von Bülow — Ludwig Schnorr von Carolsfeld — Gabriele D’Annunzio and Thomas Mann — Wagner’s critics — Clara Schumann 2. Intentions 40 Julius Kapp and Ernest Newman — Das Liebesverbot — Salvation from Arousal — Wilhelmine Schröder- Devrient — Arthur Schopenhauer — Opera, Not Philosophy 3. Harmonies 73 Der Fliegende Holländer — Tannhäuser — Erotics in the Literary Sources — A Tour of the Venusberg — Love in the Ring Poem — Die Walküre — Tristan und Isolde — The Tristan Chord — Musical Paradigms in the Tristan Prelude -
Boston Symphony Orchestra Concert Programs, Season 42,1922
PARSONS THEATRE . ,. HARTFORD Monday Evening, November 27, at 8.15 .-# BOSTON SYMPHONY ORCHCSTRS INC. FORTY-SECOND SEASON J922-J923 wW PRSGRsnnc 1 vg LOCAL MANAGEMENT, SEDGWICK & CASEY Steinway & Sons STEINERT JEWETT WOODBURY «. PIANOS w Duo-Art REPRODUCING PIANOS AND PIANOLA PIANOS VICTROLAS VICTOR RECORDS M, STEINERT & SONS 183 CHURCH STREET NEW HAVEN PARSONS THEATRE HARTFORD FORTY-SECOND SEASON 1922-1923 INC. PIERRE MONTEUX, Conductor MONDAY EVENING, NOVEMBER 27, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1922, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager *UHE INSTRUMENT OF THE IMMORTALS QOMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt at his Steinway and convenience a Steinway can be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years. -
The Virtuoso Johann Strauss
The Virtuoso Johann Strauss Thomas Labé, Piano CD CONTENTS 1. Carnaval de Vienne/Moriz Rosenthal 2. Wahlstimmen/Karl Tausig 3. Symphonic Metamorphosis of Wein, Weib und Gesang (Wine, Woman and Song)/Leopold Godowsky 4. Man lebt nur einmal (One Lives but Once)/Karl Tausig 5. Symphonic Metamorphosis of Die Fledermaus/Leopold Godowsky 6. Valse-Caprice in A Major (Op. Posth.)/Karl Tausig 7. Nachtfalter (The Moth)/Karl Tausig 8. Arabesques on By the Beautiful Blue Danube/Adolf Schulz-Evler LINER NOTES At the end of Johann Strauss’ 1875 operetta Die Fledermaus, all of the characters drink a toast to the real culprit of the story—“Champagner hat's verschuldet”—a fitting conclusion to the most renowned and potent evocation of the carefree life of post-revolution imperial Vienna. Strauss' sparkling score (never mind that the libretto is an amalgam of German and French sources), infused with that most famous of Viennese dances, the waltz, lent eloquent expression to the transitory atmosphere of confidence and prosperity induced by the Hapsburg monarchs. “The Emporer Franz Joseph I,” it would later be said, "only reigned until the death of Johann Strauss." And what could have provided more perfect source material than the music of Strauss, for the pastiche creations of the illustrious composer-pianists who roamed the world in the latter 19th and early 20th centuries, forever seeking vehicles with which to exploit the possibilities of their instrument and display their pianistic prowess? This disc presents a succession of such indulgent enterprises, all fashioned from Strauss’ music, for four notable composer-pianists: Moriz Rosenthal, Karl Tausig, Leopold Godowsky, and Adolf Schulz-Evler. -
Chopin: the Man and His Music 1 Chopin: the Man and His Music
Chopin: The Man and His Music 1 Chopin: The Man and His Music Project Gutenberg's Chopin: The Man and His Music, by James Huneker Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Chopin: The Man and His Music Author: James Huneker Release Date: Jan, 2004 [EBook #4939] [Yes, we are more than one year ahead of schedule] [This file was first posted on April 1, 2002] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK CHOPIN: THE MAN AND HIS MUSIC *** This ebook was produced by John Mamoun <[email protected]> with help from Charles Franks and the Online Distributed Proofreaders website. CHOPIN: THE MAN AND HIS MUSIC TABLE OF CONTENTS PART I.--THE MAN. I. POLAND:--YOUTHFUL IDEALS II. -
Ferdinand Praeger, Esq., Wagner and Liszt
APRIL 2, 1888. FERDINAND PRAEGER, ESQ., IN THE CHAIR. WAGNER AND LISZT CORRESPONDENCE. By J. S. SHEDLOCK, B.A. THERE is a great charm about private letters. When one friend writes to another, he expresses his thoughts as freely as if he were talking with him. There is no fear as to what the world will say. Men write letters to newspapers, and many such are perfectly honest letters, yet the writers have to be cautious, and often the reader has to look between the lines. But in private letters—especially between two men who thoroughly understand and sympathise with each other —there is no need of restraint. They say what they have to say in plain, unvarnished language. Everything is au naturel. Private letters of great men are of inestimable advantage to writers of biography: from them portraits true to the life can be drawn. They are of value to historians who seek to know the hidden causes of things. They are of value to friends and relations, who treasure up every line written by one whom they respect or admire. But viewed in another light, the giving of private letters to the world may be considered a disadvantage. They may be used for party purposes. In a correspondence of twenty years—such -as the one before us—men are apt to show many sides of their character; and it is easy to pick and choose so as to present a man either all that is great and noble, or the reverse. Again, they may fall into the hands of careless readers, readers who will merely glance at a page here and there, and form most erroneous ideas. -
WAGNER, MINNA and COSIMA. %?I
Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. WAGNER,MINNA AND COSIMA. BY GUSTAV KOBB?, AUTHOR OF "WAGNER'S LIFE AND WORKS," ETC. Wagner, Minna and Cosima; and?poor Minna! Thrown into the shade by the bright luminary that succeeded you, how are many there who realize that for nearly a quarter of a century you tried to smooth the pathway of one of the greatest and most ever contrary geniuses that lived, sharing -
Richard Wagner Sämtliche Briefe
RICHARD WAGNER SÄMTLICHE BRIEFE Band 13 Briefe des Jahres 1861 herausgegeben von Martin Dürrer und Isabel Kraft v<r-..': i.'•:•• *'-0f • BREITKOPF & HARTEL WIESBADEN • LEIPZIG • PARIS Inhaltsverzeichnis Vorwort 17 Benutzerhinweise 21 Briefe 1. Hans von Bülow, 1. Januar 1861 29 2. Pauline von Metternich, 8. Januar 1861 29 3. Königliche Theater-Hauptkasse Berlin, 11. Januar 1861 30 4. Luise Dustmann-Meyer, 14. Januar 1861 30 5. Neree Desarbres, 16. Januar 1861 30 6. Ernst Benedikt Kietz, 22. Januar 1861 30 7. *Neree Desarbres, 25. Januar 1861 31 8. Unbekannt, 26. Januar 1861 31 9. Otto Wesendonck, 31. Januar 1861 31 10. Pauline von Metternich, Januar 1861 33 11. Georg Aloys Schmitt, Dezember 1860/Januar 1861 . 35 12. Richard Lindau, 1. Februar 1861 35 13. Alphonse Royer, 1. Februar 1861 39 14. Alphonse Royer, 4. Februar 1861 39 15. Frau Kreutzer, 5. Februar 1861 40 16. Daniel-Frangois-Esprit Auber, 8. Februar 1861 40 17. Otto Wesendonck, 8. Februar 1861 41 18. Blandine Ollivier, 9. Februar 1861 42 19. Agnes Street-Klindworth, 9. Februar 1861 42 20. Paul Chandon de Briailles, 10. Februar 1861 43 21. Ferdinand Praeger, 12. Februar 1861 44 22. Mathilde Wesendonck, 12. Februar 1861 45 23. Charles Baudelaire, 15. Februar 1861 49 24. Agnes Street-Klindworth, 16. Februar 1861 50 25. Victor Cochinat, 19. Februar 1861 50 Inhaltsverzeichnis 26. Pauline Viardot, 19. Februar 1861 51 27. Karl Klindworth, 21. Februar 1861 (?) 52 28. Albert Niemann, 21. Februar 1861 52 29. Joseph Tichatschek, 21. Februar 1861 61 30. Karl Klindworth, 22. Februar 1861 62 31. Emil von Erlanger, 24. -
Bibliographic Essay for Alex Ross's Wagnerism: Art and Politics in The
Bibliographic Essay for Alex Ross’s Wagnerism: Art and Politics in the Shadow of Music The notes in the printed text of Wagnerism give sources for material quoted in the book and cite the important primary and secondary literature on which I drew. From those notes, I have assembled an alphabetized bibliography of works cited. However, my reading and research went well beyond the literature catalogued in the notes, and in the following essay I hope to give as complete an accounting of my research as I can manage. Perhaps the document will be of use to scholars doing further work on the phenomenon of Wagnerism. As I indicate in my introduction and acknowledgments, I am tremendously grateful to those who have gone before me; a not inconsiderable number of them volunteered personal assistance as I worked. Wagner has been the subject of thousands of books—although the often-quoted claim that more has been written about him than anyone except Christ or Napoleon is one of many indestructible Wagner myths. (Barry Millington, long established one of the leading Wagner commentators in English, disposes of it briskly in an essay on “Myths and Legends” in his Wagner Compendium, published by Schirmer in 1992.) Nonetheless, the literature is vast, and since Wagner himself is not the central focus of my book I won’t attempt any sort of broad survey here. I will, however, indicate the major works that guided me in assembling the piecemeal portrait of Wagner that emerges in my book. The most extensive biography, though by no means the most trustworthy, is the six- volume, thirty-one-hundred-page life by the Wagner idolater Carl Friedrich Glasenapp (Breitkopf und Härtel, 1894–1911). -
Richard Wagner and Buddhism
CORE Metadata, citation and similar papers at core.ac.uk Richard Wagner and Buddhism Tristan and Isolde and The Victors Dorothea Watanabe Dauer Richard Wagner’s influence on the cultural developments of the nineteenth century was probably more profound and more diverse than that of any other artist of that period. Wagner became the object either of ardent enthusiasm or bitter contempt, and this has remained unchanged to this day. Again and again Wagnerians and anti-Wagnerians have confronted each other over the works of this great but controversial artist and thinker. Since World War II these confrontations have become more belligerent, and this alone may suffice to secure for Wagner’s works and ideas a recognition as long as interest in Western art and music, as we have known it, continues. The Renaissance focussed the cultural interests of the Western World almost exclusively on antiquity. Up to 1854 Wagner was no exception to this trend. However, he made a rigorous distinction between the world of Greece and the world of Rome, and had praise only for Greece and its ideal of the self-confident man. The young Wagner, until 1848, was an enthusiastic admirer of Feuerbach, Bakunin, Prudhomme and other March Revolutionaries. After the failure of the revolution and because of his participation in the movement that led to the so-called May Uprising, a warrant for the arrest of the former Hof-Kapellmeister at the Dresden Staatstheater was issued. With a passport bearing the name of a Professor Widmann,1 he fled to Zurich. At that time the thirty-six year old Wagner was firmly convinced of the need for a political reorganization of Germany, since he could also expect a comparable transformation in the arts 1 Guy de Pourtates, Richard Wagner, Mensch und Meister (Berlin: Th. -
Sanibel Music Festival Program Notes
SANIBEL MUSIC FESTIVAL PROGRAM NOTES Manhattan Chamber Players Mark Dover, clarinet ~ Katie Hyun, violin ~ Michael Katz, cello Luke Fleming, viola ~ Francesca dePasquale, violin ~Adam Golka, piano Tuesday, March 3, 2020 ~ PROGRAM ~ Trio for Piano, Violin, and Cello Joseph HAYDN in G Major “Gypsy Rondo,” Hob. XV:25 (1732-1809) Andante Poco Adagio Finale. Rondo all’Ongarese: Presto Quintet for Clarinet, Two Wolfgang Amadeus MOZART Violins, Viola and Cello in A major, K. 581 (1756-1791) Allegro Larghetto Menuetto Allegretto con Variazioni ~ INTERMISSION ~ Quintet for Piano, Two Violins, Viola, Johannes BRAHMS and Cello in F minor, Op. 34 (1833-1897) Allegro non troppo Andante, un poco adagio Scherzo: Allegro Finale: Poco sostenuto — Allegro non troppo About Manhattan Chamber Players The Manhattan Chamber Players is a collective of New York-based musicians who share the common aim of performing the greatest works in the chamber repertory at the highest level. Formed in 2015 by Artistic Director Luke Fleming, MCP comprises an impressive roster of musicians who all come from the tradition of great music making at the Marlboro Music Festival, Steans Institute at Ravinia, Music@Menlo, Yellow Barn Chamber Music Festival, and Perlman Music Program, and are former students of the Curtis Institute, Juilliard School, Colburn School, New England Conservatory, and Yale School of Music. MCP was recently praised in Strings Magazine for “a fascinating program concept…. It felt refreshingly like an auditory version of a vertical wine tasting.” The article went on to applaud MCP for “an intensely wrought and burnished performance…. Overall, I wished I could put them on repeat.” At the core of MCP’s inspiration is its members’ joy in playing this richly varied repertory with longtime friends and colleagues with whom they have since they were students. -
FRÉDÉRIC CHOPIN the 1981 Baldwin Recordings
Abbey Simon, Jorge Bolet and Earl Wild c.1979 FRÉDÉRIC CHOPIN The 1981= Baldwin Recordings With the exception of three pieces–the Fantasie, the Ballade, and the Andante Spianato and Grand Polonaise Brillante–this recording features rel- atively brief works, some of them remarkably so, demonstrating to a refined degree the extent to which Frédéric Chopin was a master of the small form. This may be a function of the fact that, though he performed in public con- cert halls, Chopin most often performed for friends in intimate salons. Fantasie in F minor, Op. 49 (1841) The heroic Fantasie in F minor is one of Chopin’s largest and most epic works for solo piano. If its scale and scope are unusual for him, so is its form, being loose, extended, and improvisatory, and having numerous melodies. Unlike many romantics, Chopin’s music is generally not narrative or programmatic, and while it is personal, it remains pure art. Nevertheless, a story has been associated with the Fantasie. The composer and pianist Franz Liszt relates: The year is 1841 and Chopin is seated at the Pleyel grand piano in Madame George Sand’s salon in Nohant, France, where they spent – 2 – their summers. A knock is heard at the door and Madame Sand enters. With her are Liszt, Camille Pleyel, the wife of the piano manufacturer, and one or two other friends, perhaps the cellist Franchomme and the singer Pauline Viardot-Garcia. Some quarreling ensues, and then reconciliation. If Liszt’s tale is correct, this scene led to Chopin’s composition of the Fantasie.