DOCSLIB.ORG

University of Cincinnati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Schumann’s Op. 14: Original, Revised and Edited (“Concerto without Orchestra” versus Piano Sonata No. 3) Doctoral Document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS (D.M.A.) in the College-Conservatory of Music 2006 by Eugene Kaminsky B.M., University of Tel-Aviv, 1996 M.M., University of Cincinnati, 1999 Committee Chair: Dr. Steven Cahn ABSTRACT Robert Schumann’s 3rd Piano Sonata Op. 14, known also as “Concerto without Orchestra,” belongs to a relatively small group of the composer’s unpopular and least performed piano works. It rarely appears in recital programs, and when it happens to be performed, it is usually and erroneously listed under both titles. The adversarial publication history of this composition, along with the sporadic revisions and substitutions made by the composer and editors, might well be among the key reasons for existing confusions around Op. 14 and its reputation of a bizarre by-product of Schumann’s young years. This document presents a detailed study of the history of the piece, the circumstances around its publication, and editorial notes based on the analysis of the changes (corrections, deletions) made by the composer himself as well as the changes made by editors later. Specifically, the study intends to analyze the options of the original compositional plan of the piece; to determine whether the changes in its structure and details were intentional or accidental; and consider whether these changes improve the music or disfigure and impair an otherwise successful composition. James Whistler, a late nineteenth century American painter, once said that it takes two to paint a picture: the artist and another person, who stands next to the painter with a revolver, ready to blow out his brains if the painter begins to overwork the painting. David Dubal, Evenings with Horowitz CONTENTS Chapter 1. Foreword………………………………………………………………….2 2. Op. 14: The History……………………………………………………….7 3. Moscheles: Op. 14 and Its Dedicatee ……………………………………19 4. Op. 14: The Structure…………………………………………………….25 5. Manuscript and Editions in Comparison: Allegro Brillante ……………..33 6. Manuscript and Editions in Comparison: Quasi Variazioni……………...51 7. Manuscript and Editions in Comparison: Finale………………………...56 8. Op. 14: The Title………………………………………………………….65 9. Bibliography………………………………………………………………72 1 Foreword Robert Schumann’s 3rd Piano Sonata Op. 14, known also as “Concerto without Orchestra,” belongs to a relatively small group of the composer’s unpopular and least performed piano works. It rarely appears in recital programs, and when it happens to be performed, it is usually and erroneously listed under both titles. The adverse publication history of this composition, along with the sporadic revisions and substitutions made by the composer and editors, might well be among the key reasons for existing confusions about Op. 14 and its reputation of a bizarre by-product of Schumann’s young years. Though surrounded chronologically by some of his most famous works, such as the Symphonic Etudes, Kinderszenen, the 1st and 2nd Piano Sonatas, and the Fantasia, the Op. 14, composed around the same time, has rarely earned the interest of performers. The textual ambiguities in several of Schumann’s compositions that underwent revision after being published, and therefore exist in earlier and later versions, have often been the subject of arguments. However, the array and the nature of textual discrepancies between the manuscript and various editions of Op. 14 are of a particular interest. Schumann’s dissatisfaction with the 1836 version of the piece (which incorporated three out of five movements of the manuscript) was the likely reason behind considering the second edition of 1853, though still different from the original intent. The composer’s discontent with either version was apparently the motivation for careful preservation of both accounts of the piece in Clara Schumann’s 1893 edition of her late husband’s complete works for Breitkopf & Härtel. The later editors, though acknowledging the ambiguities of the work, gave priority to the 1853 edition as the ultimate version, thus carrying over the inaccuracies and mistakes in it. These sometime evident and 2 unresolved discrepancies are likely to be one of the causes of this composition’s dubious reputation. In working on the present document by studying the most important editions and the manuscript and researching all available information related to Op. 14, I have sought to scrutinize and analyze the evident textual discrepancies in the piece. If the version of 1836 was based on three out of five original movements, the version of 1853 incorporated the second Scherzo, thus getting closer to the original text: four movements out of five in the manuscript. It is very likely that Schumann’s death in 1856 prevented us from seeing at least one more edition/version of the piece, and my strong belief is that knowing the composer’s original intent should be considered a key issue in any attempt to study and perform the Op. 14. After all, it was Robert Schumann who wrote, “The first conception is always the most natural and the best. Reason errs, but never feeling.”1 That is why the restoration of the piece in its original form should be a crucial step in correcting the subsequent errors of reason. Performance largely depends on the performer’s choice of the edition of the musical score. The tendency toward authenticity, which dominates today’s professional music performance world, has significantly cast aside editions of doubtful trustworthiness. Browsing through various editions of the same piece, today’s performer looks for the score that enables the artist to communicate the work without the interference of an intermediary: the editor. Not to reduce the importance of editorial work in preparation of the hand-written material for publishing, but the fact that editors frequently were assumed to be arrangers creates a peculiar array of choices for the 1Robert Schumann, Gesammelte Schriften über Musik und Musiker, ed. F. Gustav Jansen, (Leipzig, 1891), Vol. I, p. 25. 3 performer. The result of such editing often distorts the music so substantially that a publication such as J.S. Bach’s Chromatic Fantasy and Fugue in Hans von Bülow’s edition (available today from G. Schirmer) is viewed by the present day Bach scholars as rather a free fantasy on the source. The materials used in this document include the six most authoritative editions of Op. 14: - 1836 – Haslinger (original edition) - 1853 - Schuberth & Co. (second edition, revised by composer) - 1893 - Breitkopf & Härtel (Clara Schumann – Johannes Brahms) - 1900 - Peters (Adolf Ruthard) - 1983 - Henle (Wolfgang Boetticher) - 1985 - Breitkopf (Clara Schumann –Wilhelm Kempff) I also make use of the precious microfilm of the manuscript of Op. 14 from the archives of the British Library in London - the only microfilm of the original manuscript available in the USA - kindly provided to me by John Roberts, head of Hargrove Music Library at the University of California, Berkeley. There are numerous excerpts from several old and recent editions, which are reproduced and analyzed in the course of the current document. Figures 4, 18, 20-21, 23- 24, 41, 46, 49, 52-62, 69, 71, 76, 79, 81 are reproduced by permission of The British Library (Add. 37056 Sonatas). Figures 6-14, 66, 70, 72, 74, 78, 82 are reproduced from Schumann Klaviersonate f-moll Opus 14 mit Frühfassung Concert sans Orchestre©1983 by G. Henle Verlag, München, used by permission. Figures 28, 37, 38, 65 reprinted from Edition Peters No. 2300e with kind permission from C. F. Peters Corporation (Copyright 4 © by C. F. Peters Corporation, London. All rights reserved.). Musical examples in figures 17, 29, 33 are used by kind permission of Breitkopf & Härtel, Wiesbaden. Some invaluable advice and guidance in newly available materials on Schumann have been given to me by Linda Correll Roesner, one of the most respected researchers of Schumann’s manuscripts and the editor of several modern editions of his music. This work presents a detailed study of the history of the piece, the circumstances around its publication, and editorial notes based on the analysis of the changes (corrections, deletions) made by the composer himself as well as the changes made by editors later. Specifically, the study intends to analyze the options of the original compositional plan of the piece; to determine whether the changes in its structure and details were intentional or accidental; and consider whether these changes improve the music or disfigure and impair an otherwise successful composition. I was also deeply intrigued by the role of Ignaz Moscheles, the dedicatee of Op. 14, in the inspiration and influence on Schumann’s piano writing style. It is also important to note that Op. 14 catalyzed Moscheles’ and Schumann’s personal and professional ties, which are discussed in Chapter 5 of the present document. Moscheles’ influence and guidance of an entire generation of composers is of immense importance and is a subject of a separate study. Under no circumstances will the details of Schumann’s private life, nor facts of his medical history be scrutinized in this document. The present study is entirely based on the widely accessible printed musical scores and on the published correspondence of Schumann available to every reader. My hope is that these notes will provide a useful source of information to those pianists inquisitive enough to study a number of editions of Op. 14 including the 5 facsimile of the manuscript, before performing the piece, instead of relying on any single existing edition of the piece as the ultimate score.
Load more

Recommended publications
  • Music Director Riccardo Muti Appoints Jessie Montgomery As Cso Mead Composer-In-Residence for 2021-24
    For Immediate Release: Press Contacts: April 20, 2021 Eileen Chambers CSOA, 312-294-3092 Glenn Petry 21C Media, 212-625-2038 MUSIC DIRECTOR RICCARDO MUTI APPOINTS JESSIE MONTGOMERY AS CSO MEAD COMPOSER-IN-RESIDENCE FOR 2021-24 CHICAGO—The Chicago Symphony Orchestra Association (CSOA) is pleased to announce the appointment of composer, violinist and educator Jessie Montgomery as its next Mead Composer-in- Residence. A winner of both the Sphinx Medal of Excellence and the ASCAP Foundation’s Leonard Bernstein Award, Montgomery has emerged as one of the most compelling and sought-after voices in new music today. Appointed by Music Director Riccardo Muti, she will begin her three-year tenure on July 1, 2021, and will continue in the role through June 30, 2024. Described as “turbulent, wildly colorful and exploding with life” (Washington Post), Montgomery’s music includes such frequently performed works as Banner (2014), Starburst (2012) and Strum (2006; rev. 2012), which have collectively been programmed almost 500 times to date, with more than 100 live and virtual performances of Starburst in the past year alone. As Mead Composer-in-Residence, she will receive commissions to write three new orchestral works for the Chicago Symphony Orchestra, one to premiere during each of her three seasons in the role. In addition, she will curate MusicNOW, the CSO’s annual contemporary music series, and will receive commissions for a number of new chamber pieces to premiere in the series’ 2022-23 and 2023-24 seasons. MusicNOW will also present the Chicago premieres of some of her existing works. Founded in 1998, MusicNOW strives to bring Chicago audiences the widest possible range of today’s new music.
    [Show full text]
  • Recasting Gender
    RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Shelley Smith August, 2009 RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN Shelley Smith Thesis Approved: Accepted: _________________________________ _________________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. James Lynn _________________________________ _________________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _________________________________ _________________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. THE SHAPING OF A FEMINIST VERNACULAR AND ITS APPLICATION TO 19TH-CENTURY MUSIC ..............................................1 Introduction ..............................................................................................................1 The Evolution of Feminism .....................................................................................3 19th-Century Gender Ideologies and Their Encoding in Music ...............................................................................................................8 Soundings of Sex ...................................................................................................19 II. ROBERT & CLARA SCHUMANN: EMBRACING AND DEFYING TRADITION
    [Show full text]
  • Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840
    [Show full text]
  • 97679 Digibooklet Schumann Vol
    ROBERT SCHUMANN Complete Symphonic Works VOL. III OREN SHEVLIN WDR Sinfonieorchester Köln HEINZ HOLLIGER ROBERT SCHUMANN Complete Symphonic Works • Vol. III recording date: April 8-11, 2013 Cello Concerto in A minor, Op. 129 23:59 I. Nicht zu schnell 11:51 II. Langsam 4:08 P Eine Produktion des Westdeutschen Rundfunks Köln, 2013 lizenziert durch die WDR mediagroup GmbH III. Sehr lebhaft 8:00 recording location: Köln, Philharmonie executive producer (WDR): Siegwald Bütow recording producer & editing: Günther Wollersheim Symphony No. 4 in D minor, Op. 120 recording engineer: Brigitte Angerhausen (revised version 1851) 28:56 Recording assistant: Astrid Großmann I. Ziemlich langsam. Lebhaft 10:25 photos: Oren Shevlin (page 8): Neda Navaee II. Romanze. Ziemlich langsam 3:57 Heinz Holliger (page 10): Julieta Schildknecht III. Scherzo. Lebhaft 6:45 WDR Sinfonieorchester Köln (page 5): WDR Thomas Kost IV. Langsam. Lebhaft 7:49 WDR Sinfonieorchester Köln (page 9): Mischa Salevic front illustration: ‘Mondaufgang am Meer’ Caspar David Friedrich art direction and design: AB•Design executive producer (audite): Dipl.-Tonmeister Ludger Böckenhoff OREN SHEVLIN e-mail: [email protected] • http: //www.audite.de WDR Sinfonieorchester Köln © 2014 Ludger Böckenhoff HEINZ HOLLIGER Remembering, Narrating Schumann’s Cello Concerto contains movements are recalled in the same way the same in another: only the material is On 2 September 1848 Robert Schumann many recollections of Mendelssohn. It as Beethoven had done in his Ninth Sym- different”. Schumann noted this maxim no composed a piece for piano and called opens with three wind chords similar phony. Schumann also referred to his own later than 1834, at the age of twenty-four, it Erinnerung [recollection], inserting to those in the overtures to A Midsum- works: in the transition from the fi rst to the and he followed it in his ideal of musical the subtitle “4.
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • Pianopalooza 4-27-08.Indd
    Upcoming Events at CCM: CCM Concert Orchestra Annunziata Tomaro, conductor Shostakovich, Respighi, Saint-Saëns College-Conservatory Wednesday, April 30, 2008 of Music Corbett Auditorium presents 8:00 p.m. Admission: free CCM Chamber Choir and Chorale Earl Rivers and L. Brett Scott, conductors Wednesday, May 21, 2008 2007-08 Robert J. Werner Recital Hall 8:00 p.m. Admission: free CCM Philharmonia and Wind Symphony Mark Gibson and Rodney Winther, directors PIANOPALOOZA III: Friday, June 6, 2008 IXTY EARSOME INGERS Corbett Auditorium S F F 8:00 p.m. Admission: free Michael Chertock, Awadagin Pratt, Elizabeth Pridonoff , Eugene Pridonoff , James Tocco, and Frank Weinstock, piano For tickets and the latest performance information, please call the CCM Box Offi ce at 513-556-4183. Marc Wolfl ey, percussion Jack Atherton, master of ceremonies Sunday, April 27, 2008 Corbett Auditorium 4:00 p.m. Performing Arts Series PROGRAM Rondo a capriccio in G Major, Op. 129 Ludwig van Beethoven Passacaglia and Fugue in C Minor Johann Sebastian Bach (“Th e Rage Over the Lost Penny”) (1770-1827) (1685-1750) trans. Awadagin Pratt Frank Weinstock, piano Awadagin Pratt, piano Etude Tableaux in Eb Minor, Op. 39, No. 5 Sergei Rachmaninoff (1873-1943) Klavierstücke, Op. 119 Johannes Brahms Intermezzzo in B Minor (1833-1897) from Tristan und Isolde Richard Wagner Intermezzo in E Minor Liebestod (1813-1883) Intermezzo in C Major trans. Franz Liszt Rhapsodie in Eb Major Michael Chertock, piano Eugene Pridonoff , piano Excursions, Op. 20 Samuel Barber Turkish March: Ruins of Athens, Op. 113 Ludwig van Beethoven Un poco allegro (1910-1981) In slow blues tempo from Rodeo Aaron Copland Allegretto Hoe-Down (1900-1990) Allegro molto Th e Ensemble James Tocco, piano Marc Wolfl ey, percussion Memphisto Waltz No.
    [Show full text]
  • Robert Schumann on the Poems of Heinrich Heine
    DICHTERLIEBE opus 48 A Cycle of Sixteen. Songs by Robert Schumann on the poems of Heinrich Heine An Honors Thesis (Honrs 499) by Shawn L. Harrington Thesis Advisor (u,r$/ Mr. John Meadows", . " (! jl'lrli{Lul ~t;(,cY\' Ball State University Muncie, Indiana November, 1995 Expected date of graduation 12/95 !J,:'( ! __ <l !.", .,.' , j:L. ' .. " Purpose of Thesis This project has two components: a written discussion of the music of the Dichterliebe, and the lives of the composer Robert Schumann and the poet Heinrich Heine; and an audio tape of my performance of the Dichterliebe. The performance was the culmination of my study of the Dichterliebe, in particular, and of my voice studies, in general. Through the performance, I set out to share the wonderful music and poetry of the Dichterliebe as well as share my musical and vocal growth over the past four years. The written portion of the project was undertaken to satisfy my personal curiosity of the men who wrote the music and the poetry of the Dichterliebe. A study of the music without knowing the man who composed it or the man who wrote the words would be only half complete at best. Likewise, a study of the men and not the music would also be incomplete. That is why I included both venues of learning and experiencing in this project; and that is why I have included an audio tape of the performance with this written report. Acknowledgements I would like to thank my voice instructor (and thesis advisor), John Meadows. Without his expertise, advise, and instruction, I would not have been able to present the Dichterliebe in a performance.
    [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]
  • Spohr and Schumann
    SPOHR AND SCHUMANN by Keith Warsop OR MOST PEOPLE the link between Louis Spohr and Robert Schumann is limited to the latter's negative criticism of the Historrcai Symphony. In fact, the two musicians had a high regard for each other's compositions even though they each sometimes had reservations about particular aspects of certain individual works. Unfortunately, Spohr broke off his memoirs when he reached June 1838 shortly before he and Schumann met for the first time so we do not have his considered thoughts about Schumann's music in general. However, in the section of the memoirs added by his second wife, Marianne, after Spohr's death, she records that after the stay in Carlsbad detailed by Spohr in the last paragraphs he wrote down himself, they stopped in Leipzig on their way home. There, Marianne continues, "it was a source of great pleasure to him to make the long-desired acquaintance of Robert Schumann who, though in other respects exceedingly quiet and reserved, yet evinced his admiration of Spohr with great warmth and gratified him by the performanee of several of his interesting fantasias. " The two composers had, however, been in touch a few months before through the agency of a third composer, Felix Mendelssohn. On 24th November 1836, Mendelssohn wrote to Spohr requesting a song for inclusion in the wedding album of his new bride, Cdcilie Jeanrenaud, and on l3th December wrote again to thank Spohr for the song 'Was mir wohl tibrig bliebe', WoO96 (later included by Spohr as No.5 of his Op.139 Lieder collection).
    [Show full text]
  • Orchestral Conducting in the Nineteenth Century," Edited by Roberto Illiano and Michela Niccolai Clive Brown University of Leeds
    Performance Practice Review Volume 21 | Number 1 Article 2 "Orchestral Conducting in the Nineteenth Century," edited by Roberto Illiano and Michela Niccolai Clive Brown University of Leeds Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Performance Commons, and the Other Music Commons Brown, Clive (2016) ""Orchestral Conducting in the Nineteenth Century," edited by Roberto Illiano and Michela Niccolai," Performance Practice Review: Vol. 21: No. 1, Article 2. DOI: 10.5642/perfpr.201621.01.02 Available at: http://scholarship.claremont.edu/ppr/vol21/iss1/2 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. Book review: Illiano, R., M. Niccolai, eds. Orchestral Conducting in the Nineteenth Century. Turnhout: Brepols, 2014. ISBN: 9782503552477. Clive Brown Although the title of this book may suggest a comprehensive study of nineteenth- century conducting, it in fact contains a collection of eighteen essays by different au- thors, offering a series of highlights rather than a broad and connected picture. The collection arises from an international conference in La Spezia, Italy in 2011, one of a series of enterprising and stimulating annual conferences focusing on aspects of nineteenth-century music that has been supported by the Centro Studi Opera Omnia Luigi Boccherini (Lucca), in this case in collaboration with the Società di Concerti della Spezia and the Palazzetto Bru Zane Centre de musique romantique française (Venice).
    [Show full text]
  • A Dichterliebe by Robert Schumann
    ,A DICHTERLIEBE BY ROBERT SCHUMANN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Hubert Neil Davidson, B. M. Denton, Texas August, 1957 PREFACE The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 1+8) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and perform- ance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal lit.- erature of the Romantic period. An acquaintance with the life of the poet, Heinrich Heine, as well as the life of the composer of these songs and their relationship to each other contributes toward an understanding of the cycle. Each of the sixteen songs in the cycle is analyzed according to its most important characteristics, including text setting, general harmonic structure, important role of the accompaniment, expressive techniques, mood, tempo, rhythm, and dynamics. It is not the aim of this work to offer an extensive formal or harmonic analysis of this song cycle. iii TABLE OF CONTENTS Page PREFACE . iii LIST OF ILLUSTRATIONS.... ..... .v Chapter I. BACKGROUND OF THE DICHTERLIEBE . .1 Biographical Sketch of Robert Schumann The Life and Work of Heinrich Heine Robert Schumann's Relationship with Heinrich Heine History of Song Cycles up to and Past the Dichterliebe II. ANALYSIS OF THE DICHTERLIEBE . 18 I Im wundersch8ne Monat Mai II lus meinen Thranen spriessen III Die Rose, die Lilie, die Taube IV Wenn ich in!~deine Augen~seh1' V IhwiT miieine Seele tauchen VI Im Rhein, im heiligen Strome VII Ich rolle nicht VIII Und, ssten's die Blumen, die kleinen IX Das ist ein Fl8ten und Geigen x 'Tich das Liedchen~klingen XI Emn J17ling liebt ein Mdchen XII Am leuchtenden Sommemorgen XIII Ich hablimTTraum geweinet XIV llnHEhtlich im Traume seh' ich dich XV Aus alten Murchen Winkt es XVI Die alten b6sen Leider BIBLIOGRAPHY 0.
    [Show full text]
  • A Study of Ludwig Van Beethoven's Piano Sonata Op. 111
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Fall 11-4-2011 A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU Ji Hyun Kim [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Kim, Ji Hyun, "A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU" (2011). Research Papers. Paper 174. http://opensiuc.lib.siu.edu/gs_rp/174 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU by JI HYUN KIM B.M., CHUNG- ANG University, 2006 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale November 2011 RESEARCH PAPER APPROVAL A STUDY OF LUDWIG VAN BEETHOVEN’S PIANO SONATA OP. 111, ROBERT SCHUMANN’S OP.6 AND MAURICE RAVEL’S JEUX D’EAU By JI HYUN KIM A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Piano Performance Approved by: Dr. Junghwa Lee, Chair Dr. Eric Mandat Dr.
    [Show full text]