DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality af this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignmentcan adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Beil & Howell information C om pany 300 Nortfi Z eeb Roac. Ann Arbor, Ml 48106-1346 USA 313 761-4700 800 521-0600 Order Number 91S04S0 Sîgîsmimd Thalberg (1812—1871), forgotten piano virtuoso: His career and musical contributions Hominick, Ian Glenn, D.M.A. The Ohio State University, 1991 UMI SOON. Zeeb Rd Ann Arbor, MI 48106 SIGISMUND THALBERG (1812-1871), FORGOTTEN PIANO VIRTUOSO: HIS CAREER AND MUSICAL CONTRIBUTIONS DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts the Graduate School of The Ohio State University By Ian G. Hominick, B.M., M.ivL ***** The Ohio State University 1991 Reading Committee: Approved by Dr. Jerry E. Lowder Dr. Peter Gano ^ ^ 'Adviser Dr. Donald Gren School of Music Copyright by Ian Glenn Hominick 1991 Dedicated to my parents, John and Evelyn Hominick, whose love and support have been a constant inspiration. 11 ACKNOWIJEDGEMENTS I would like to thank all those who helped in the preparation of this document. My sincere gratitude to my advisor. Dr. Jerry Lowder, for his time and guidance in seeing this project through to its completion. Thanks also to Dr. Donald Gren and Dr. Peter Gano for their time and input. I would not have been able to sort out the conflicting information surrounding Thalberg's life without the generous help of Mr. Daniel L. Hitchcock, President of The Sigismund Thalberg Society. His knowledge of the subject helped to put my work into prospective. My many thanks to him for the information he supplied, for his patience, and for his dedication to the Arts. Ultimately, I owe my deepest appreciation to Mr. Earl Wild, without whose instruction, I would not be half the musician I am today. Mr. Wild has been a constant source of inspiration and has given of his time unselfishly to make a better musician of me. Î thank him, most of all, for his contributions to music, and for his guidance and friendship over the past four years. Ill VTTA March 20, 1961 Bom - Sydney, Nova Scotia 1983 B.M., Mount AUison University, Sackville, New Brunswick, Canada 1984-1986 Teaching Assistant, School of Music, Bowling Green State University, Bowling Green, Ohio 1986 M.M., Bowling Green State University, Bowling Green, Ohio 1986-1987 Teaching Associate, University of Nebraska Lincoln, Nebraska 1987-1991 Teaching Assistant, School of Music, Ohio State University, Columbus, Ohio 1990-1991 Adjunct faculty, Otterbein College, Westerville, Ohio FIELD OF STODY Major Field: Music IV PERFORMANCES Saturday, February 27, 1988, 8:00 p.m., Weigel Auditorium. School of Music, College of the Arts, The Ohio State University, Graduate Student Recital Series, 1987-88. Supervising Professor: Dr. Rosemary Platt LAN HOMINICK, piano This recital is presented in partial fulfillment for the degree Doctor of Musical Arts. PROGRAM Sonata in C Major, Opus 2, Nr. 3 Beethoven Allegro con brio Adagio Scherzo. Allegro Allegro assai Vallee d'Obermann Liszt (from Anneés de Pelerinage - Suisse) INTERMISSION Die Loreley Liszt-Liszt Widmung Schumann-Liszt Wanderer-Fantasie in C Major, D. 760 Schubert Allegro con fuoco ma non troppo Adagio Presto A llegro Thursday, October 26, 1989, 8:00 p.m., Weigel Auditorium. School of Music, College of the Arts, The Ohio State University, The Ohio State University Symphony Orchestra, 1st Concert, 1989-’90. Supervising Professor: Ms. Sylvia Zaremba. IAN HOMINICK, piano The Ohio State University Symphony Orchestra This performance is presented in partial fulfillment of the degree Doctor of Musical Arts. PROGRAM Piano Concerto No. 1 in C Major, Op. 15 Beethoven Allegro con brio Largo RONDO: Allegro VI Saturday, May 6, 1989, 8:00 p.m., Weigel Auditorium. School of Music, College of the Arts, The Ohio State University, Graduate Student Recital Series, 1988-89. Supervising professor: Ms. Sylvia Zaremba. IAN HOMINICK, piano This recital is presented in partial fulfillment for the degree Doctor of Musical Arts for Mr. Hominick. PROGRAM Sonata in B-flat major. Op. 22 Beethoven Allegro con brio Adagio con molta espressione M enuetto Rondo Allegretto Sonata, Op. 1 Berg INTERMISSION Waltz in A minor. Op. 34, No. 2 Chopin Waltz in A-flat, Op. 69, No. 1 Waltz in A-flat, Op. 34, No. 1 Waltz in D-flat, Op. 64, No. 1 Sonetto del Petrarca 47 Liszt Sonetto del Petrarca 104 Sonetto del Petrarca 123 Variations Serieuses, Op. 54 Mendelssohn V ll Saturday, March 31, 1990, 8:00 p.m., Weigel Auditorium. School of Music, College of the Arts, The Ohio State University, Graduate Student Recital Series, 1989-90. Supervising Professor: Dr. Jerry Lowder IAN HOMINICK, piano This recital is presented in partial fulfillment for the degree Doctor of Musical Arts. PROGRAM Chromatic Fantasy and Fugue BWV 903 J.S. Bach Sonata in C Minor, Op. 25, No. 1 ("Fairy-Tale") N. Medtner Allegro abbandonamente Andantino con moto Allegro con spirito Sonata, Op. 1 Berg INTERMISSION Nocturne in A-flat, Op. 21 S. Thalberg Sonata in B-flat Minor, Op. 35 Chopin Grave - Doppio movimento Scherzo Marche funèbre Presto v ia TABLE OF CONTENTS PAGE DEDICATION................................................................................................ ü ACKNOWLEDGEMENTS....................................................................... üi VITA.......................................................................................................... iv PERFORMANCES.......................................................................................... v LIST OF PLATES........................................................................................... xi LISTOFHGURES..................................................................................... xii INTRODUCTION........................................................................................ 1 CHAPTER L LIFE AND CAREER OF SIGISMUND THALBERG.......................... 3 Childhood and Education.................................................................. 3 Concert Career................................................................................ 8 Retirement from the Concert-stage.......................................... 18 References....................................................................................... 21 n. ROLE OF THE EARLY 19-th CENTURY VIRTUOSO.................. 25 The 19th-Century Recital.............................................................. 25 The Piaitist-Composer..................................................................... 2 7 References......................................................................................... 3 4 IX m. IHALBERG THE PERFORMER ................................................... 3 6 Repertoire........................................................................................... 3 6 Personality and Stage Presence.......................................... .......... 4 2 Technique........................................................................................... 47 Physical Control............................................................................... 4 8 Melody.............................................................................................. 5 0 Sonority............................................................................................ 5 1 The technician...................................................................................... 5 4 Practice and Preparation.................................................................... 5 6 Comparison with Colleagues............................................................. 5 8 References............................................................................................ 60 IV. THE THALBERG-LISZT CONTROVERSY........................................ 6 5 Background........................................................................................ 6 5 The Event............................................................................................ 6 9 The Aftermath.................................................................................... 71 References........................................................................................... 7 7 V. THALBERG’S INFLUENCE.............................................................
Load more

Recommended publications
  • Vienna, 30Th January, 18062 . . . Every Monday, Which Has Been My Usual
    1807 1375. CONSTANZE MOZART TO HER SON CARL THOMAS,1 MILAN EXCERPT: Vienna, 30th January, 18062 . Every Monday, which has been my usual society day for a couple of years now, we have beautiful music here at home, thanks to the foreign virtuosos; but those who particularly distinguish themselves are the two Pixis3 brothers from Mannheim, [5] the elder on the violin, a pupil of Vioti,4 and the younger on the pianoforte. In particular Herr Seidler5 from Berlin, a quite outstanding violinist who is now based in Paris and, they say, is in no way inferior to the famous Rode.6 You should just hear him playing your father’s quartets! – What would I give if you could join us to hear them. [10] These are fine people, all have already given public concerts, they have already been here for the whole winter, and although they are here to give concerts, for which most artists, as you know, make themselves scarce, they nevertheless play here in my home every Monday, and in fact compete with each other and leave me the winner, as you can easily imagine. Everyone wants a chance to perform, and this way I hear them all, [15] and that very frequently; they all send their heartiest greetings. Your brother7 is now going to Salieri8 and to Humel.9 Both have a great deal of affection and friendship for him, my only fear is that he does not make the use of them that he should, for is not always good if one has too much help because one relies on it too much, and when one no longer has any, one cannot help oneself, [20] and this is really my complaint.
    [Show full text]
  • Spanish American, 03-30-1912 Roy Pub
    University of New Mexico UNM Digital Repository Spanish-American, 1905-1922 (Roy, Mora County, New Mexico Historical Newspapers New Mexico) 3-30-1912 Spanish American, 03-30-1912 Roy Pub. Co. Follow this and additional works at: https://digitalrepository.unm.edu/sp_am_roy_news Recommended Citation Roy Pub. Co.. "Spanish American, 03-30-1912." (1912). https://digitalrepository.unm.edu/sp_am_roy_news/17 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Spanish-American, 1905-1922 (Roy, Mora County, New Mexico) by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. f! i ' ti HOT LI3RAW r OMVERSnY DF m!C0 CU UOlú i svg a' t r r -- -- Í a. 1 1 i j Ü J I j IVf Vol. IX ROY, MORA COUNTY. NEW MEXICO, SATURDAY, MARCH 30. 1912. No. 10 CATRON BRIBERY CASE TRAGEDY IN FAIL MD Declaration of ; Principles of the - ABOUT COMPLETED ELECTED SENATORS Progressive Republican League SPRCIGER. of the State of New Mexico Arrest of Bribe-Take-rs was Result of a Conspiracy, Andrews and Mills Withdraw from the Senatorial Race Cleverly Planned. Mrs. Lewis B. Speers Shoots in Favor of Same Candidate, Making it Possible for . The objects of this league are the promotion of the follow- Herself Following Arrest ing principles. , for Failure to pay Board Election of Fall and Catron. Santa Fe., N. M., March 27. 1. We believe in the language of Abraham Lincoln that BUL Contrary to expectations, it will "This is a government of the people, by the people, and for the take two more' days before the people." .
    [Show full text]
  • Westmorland and Cumbria Bridge Leagues February
    WBL February Newsletter 1st February 2021 Westmorland and Cumbria Bridge Leagues February Newsletter 1 WBL February Newsletter 1st February 2021 Contents Congratulations to All Winners in the January Schedule .................................................................................................. 3 A Word from your Organiser ............................................................................................................................................ 5 February Schedule ........................................................................................................................................................ 6 Teams and Pairs Leagues .......................................................................................................................................... 6 Teams Events ................................................................................................................................................................ 7 Cumbria Inter-Club Teams of Eight ........................................................................................................................... 7 A Word from the Players................................................................................................................................................... 8 From Ken Orford ........................................................................................................................................................... 8 From Jim Lawson ........................................................................................................................................................
    [Show full text]
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • House of Lords
    Session 2019-21 Monday No. 138 9 November 2020 PARLIAMENTARY DEBATES (HANSARD) HOUSE OF LORDS WRITTEN STATEMENTS AND WRITTEN ANSWERS Written Statements ................................ ................ 1 Written Answers ................................ ..................... 6 [I] indicates that the member concerned has a relevant registered interest. The full register of interests can be found at http://www.parliament.uk/mps-lords-and-offices/standards-and-interests/register-of-lords-interests/ Members who want a printed copy of Written Answers and Written Statements should notify the Printed Paper Office. This printed edition is a reproduction of the original text of Answers and Statements, which can be found on the internet at http://www.parliament.uk/writtenanswers/. Ministers and others who make Statements or answer Questions are referred to only by name, not their ministerial or other title. The current list of ministerial and other responsibilities is as follows. Minister Responsibilities Baroness Evans of Bowes Park Leader of the House of Lords and Lord Privy Seal Earl Howe Deputy Leader of the House of Lords Lord Agnew of Oulton Minister of State, Cabinet Office and Treasury Lord Ahmad of Wimbledon Minister of State, Foreign, Commonwealth and Development Office Lord Ashton of Hyde Chief Whip Baroness Barran Parliamentary Under-Secretary of State, Department for Digital, Culture, Media and Sport Baroness Berridge Parliamentary Under-Secretary of State, Department for Education and Department for International Trade Lord Bethell
    [Show full text]
  • Proquest Dissertations
    Franz Liszt and the harp: An examination of his lifelong interactions with harpists and transcriptions of four solo piano compositions for harp Item Type text; Dissertation-Reproduction (electronic) Authors Sheldon, Vanessa Renee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 10:38:22 Link to Item http://hdl.handle.net/10150/282893 FRANZ LISZT AND THE HARP; .4N EXAMINATION OF HIS LIFELONG INTERACTIONS WITH HARPISTS AND TRANSCRIPTIONS OF FOUR SOLO PIANO COMPOSITIONS FOR HARP by Vanessa Renee Sheldon Copyright © Vanessa Renee Sheldon 2005 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTORATE OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNI\'ERSITY OF ARIZONA 2005 UMI Number: 3177532 Copyright 2005 by Sheldon, Vanessa Renee All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Navigating, Coping & Cashing In
    The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings.
    [Show full text]
  • THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A
    THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize.
    [Show full text]
  • The Brain That Changes Itself
    The Brain That Changes Itself Stories of Personal Triumph from the Frontiers of Brain Science NORMAN DOIDGE, M.D. For Eugene L. Goldberg, M.D., because you said you might like to read it Contents 1 A Woman Perpetually Falling . Rescued by the Man Who Discovered the Plasticity of Our Senses 2 Building Herself a Better Brain A Woman Labeled "Retarded" Discovers How to Heal Herself 3 Redesigning the Brain A Scientist Changes Brains to Sharpen Perception and Memory, Increase Speed of Thought, and Heal Learning Problems 4 Acquiring Tastes and Loves What Neuroplasticity Teaches Us About Sexual Attraction and Love 5 Midnight Resurrections Stroke Victims Learn to Move and Speak Again 6 Brain Lock Unlocked Using Plasticity to Stop Worries, OPsessions, Compulsions, and Bad Habits 7 Pain The Dark Side of Plasticity 8 Imagination How Thinking Makes It So 9 Turning Our Ghosts into Ancestors Psychoanalysis as a Neuroplastic Therapy 10 Rejuvenation The Discovery of the Neuronal Stem Cell and Lessons for Preserving Our Brains 11 More than the Sum of Her Parts A Woman Shows Us How Radically Plastic the Brain Can Be Appendix 1 The Culturally Modified Brain Appendix 2 Plasticity and the Idea of Progress Note to the Reader All the names of people who have undergone neuroplastic transformations are real, except in the few places indicated, and in the cases of children and their families. The Notes and References section at the end of the book includes comments on both the chapters and the appendices. Preface This book is about the revolutionary discovery that the human brain can change itself, as told through the stories of the scientists, doctors, and patients who have together brought about these astonishing transformations.
    [Show full text]
  • Thd Old Man in the Corner /By Baroness Orczy
    mUNIFORM EDITION orczyI. M(MMb 7 Q &-V Z> l I o Presented to the LIBRARIES of the UNIVERSITY OF TORONTO by David Bernhardt THE OLD MAN IN THE CORNER LIBRARY EDITION OF BARONESS ORCZY’S FAMOUS NOVELS Price 3/6 each 1 The Scarlet Pimpernel 2 I Will Repay 3 The Emperor’s Candlesticks 4 By the God’s Beloved 5 Beau Brocade 6 A Son of the People 7 The Tangled Skein 8 The Old Man in the Corner 9 The Nest of the Sparrowhawk HODDER AND STOUGHTON Digitized by the Internet Archive in 2015 https://archive.org/details/thdoldmanincorneOOorcz “ The old man in the corner. Frontispiece. THE OLD MAN IN THE CORNER By BARONESS ORCZY Author of “Eldorado” “ The Scarlet Pimpernel” etc. HODDER AND STOUGHTON LONDON NEW YORK TORONTO | ^!uiiiiiiuiiiiiiii!miiii[iiiiiiiiiiiitiiiitiiiiiiiiiiiiiitmiiuimmiiii!!!!!miiiiiiuimiu Eldorado I By | Baroness I orczy| Recounting the Scarlet I | | Pimpernel’s greatest ad- | | venture. 6/- | | HODDER AND STOUGHTON | Tiiiiiiiiiiiiiiiiliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiifiiiiiiiiiiiiiiii? TO MY DEAR UNCLE AND AUNT COUNT AND COUNTESS WASS OF CZEGE IN REMEMBRANCE OF MANY HAPPY DAYS SPENT IN TRANSYLVANIA October, igoS CONTENTS CHAPTER VAGI ^ I. The Fenchurch Street Mystery 11 ( II. A Millionaire in the Dock • • 22 III. His Deduction . 38 - IV. The Robbery in Phillimorb Terrace 43 V. A Night’s Adventure . 52 VI. All He Knew • • 64 — VII. The York Mystery • * 70 VIII. The Capital Charge • * 78 IX. A Broken-hearted Woman . 94 — X. The Mysterious Death on the Under- ground Railway • 100! j XI. Mr. Errington . 11 7 — XII. The Liverpool Mystery 131 XIII. A Cunning Rascal 144 . - XIV.
    [Show full text]
  • 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.
    [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]