DOCSLIB.ORG

Mozart, Beethoven, Strauss, Schubert, Brahms & Haydn

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mozart, Beethoven, Strauss, Schubert, Brahms & Haydn The world capital of music. The Wien “Never fear, WIEN MUSEUM WIEN MUSEUM Haydn is here— HAYDNHAUS / BEETHOVEN EROICAHAUS / Museum takes you on a time trip to HAYDNHAUS nothing can “I have been put into this world for nothing BEETHOVEN PASQUALATIHAUS / BEETHOVEN with Brahms Memorial Room happen.” WIEN MUSEUM except composing.” Franz Schubert 1060 Vienna, Haydngasse 19 WOHNUNG HEILIGENSTADT / MOZARTWOHNUNG the original locations. Be the guest of Joseph Haydn, 1809, his reaction SCHUBERT Tue – Sun and public holidays*, to a canon ball landing in front IM MOZARTHAUS VIENNA / SCHUBERT the great—the star composers. 10 a.m. – 1 p.m. and 2 p.m. – 6 p.m. of his house. GEBURTSHAUS Special guided tour available! with Stifter Memorial Rooms WIEN MUSEUM GEBURTSHAUS / SCHUBERT STERBEWOHNUNG / 1090 Vienna, Nußdorfer Straße 54 SCHUBERT JOHANN STRAUSS WOHNUNG The former dwellings of the com- Joseph Haydn spent the last Numerous visitors from home and Tue – Sun and public holidays*, twelve years of his life in his house abroad paid their respects to the 10 a.m. – 1 p.m. and 2 p.m. – 6 p.m. STERBEWOHNUNG posers mostly correspond to their in the “outermost suburb” of most famous composer of his time, Special guided tour available! 1040 Vienna, Kettenbrückeng. 6 Windmühle. He wrote several among them fellow composers Wed and Thu, 10 a.m. – 1 p.m. original state. Portraits, sheet music major works there, including “The and agents of music publishers. Franz Schubert was born in this and 2 p.m. – 6 p.m. ADMISSION Creation” and “The Seasons”, and The permanent exhibition connects house on 31 January 1797. The General Admission EUR 5 Discounted Rate EUR 4 died there on 31 May 1809 during the private life of this musical apartment was hardly conceived Of all the composers’ dwellings and manuscripts, personal belon- Visitors under 19 years of age FREE ENTRY the first weeks of the Napoleonic genius with the political and social for such a large family, consisting belonging to the Wien Museum, First Sunday of every month (all visitors) FREE ENTRY gings and audio samples tell of the occupation of Vienna, at the ripe context of his time. In addition, of only one room and a “Rauch- the house near the Naschmarkt old age of 77. the garden of the house in the kuchl”— a little smokehouse-cum- where Schubert died is perhaps Mozartwohnung – Mozarthaus Vienna General Admission EUR 11 historic part of Vienna has been kitchen with open fire. Today the most haunting in atmosphere. lives and works of geniuses— Discounted Rate EUR 9 refurbished, based on the interior a major part of the top floor is Franz Schubert lived here several but the dominating “genius” and design of the middle classes devoted to the composer’s memory. weeks as his brother’s guest in an CLOSED* around 1800. It provides a moving and graphic apartment consisting of two rooms 1 January, 1 May and 25 December and other public holidays falling on a Monday most important exhibit is the “genius documentation of his musical deve- and a cabinet study on the second INFORMATION FOR VISITORS lopment, his circle of friends and floor of the Biedermeier house un- Tel.: (+43-1) 505 87 47-85173, [email protected] loci”, the place itself. Come and feel important stations of his life. The til his death on 19 November 1828. most fascinating exhibit for many of This is where he wrote his last REGISTRATION FOR SPECIAL TOURS Haydn’s last visitor’s card with its own Leopold Kupelwieser, parlour game of the Schubertians in Atzenbrugg, 1821, Tel.: (+43-1) 505 87 47-85180, Monday to Friday, 9 a.m. to 2 p.m. melody, 1803, lithograph the visitors: Schubert’s spectacles. collotype print after water colour compositions. the aura! [email protected] CONCERT HALL HIRE MOZART, BEETHOVEN, STRAUSS, SCHUBERT, BRAHMS & HAYDN Tel.: (+43-1) 505 87 47-84033, [email protected] Unknown artist, Wolfgang Amadeus Thomas Hardy, Joseph Haydn, DESIGN Mozart, 1803, gouache on parchment c. 1809, photogravure Concert Hall at the Haydnhaus—for music events and performances Wilhelm August Rieder, Franz Schubert, 1825, collotype print after water colour Franz Schubert’s spectacles, c. 1820 Piano owned by the Schubert family buerobauer.com INFORMATION SUBJECT TO CHANGE MAIN SPONSOR OF THE WIEN MUSEUM WWW.WIENMUSEUM.AT “If, dear Ries, you could think of a better place to live, it would suit me very well. WIEN MUSEUM … I would very much like something on a spacious, quiet square, or on the Bastei.” WIEN MUSEUM MOZARTWOHNUNG IM Letter from Ludwig van Beethoven BEETHOVEN to his friend Ferdinand Ries, 1804 MOZARTHAUS VIENNA PASQUALATIHAUS 1010 Vienna, Domgasse 5 WIEN MUSEUM WIEN MUSEUM 1010 Vienna, Mölker Bastei 8 Daily, 10 a.m. – 7 p.m. JOHANN STRAUSS BEETHOVEN WOHNUNG Tue – Sun and public holidays*, WIEN MUSEUM 10 a.m. – 1 p.m. and 2 p.m. – 6 p.m. The only apartment of Mozart WOHNUNG HEILIGENSTADT BEETHOVEN Special guided tour available! still preserved in Vienna is 1020 Vienna, Praterstraße 54 1190 Vienna, Probusgasse 6 on Domgasse 5. The composer Tue – Sun and public holidays*, Tue – Sun and public holidays*, EROICAHAUS The “Pasqualatihaus”, named after moved into the house’s prestigious 10 a.m. – 1 p.m. and 2 p.m. – 6 p.m. 10 a.m. – 1 p.m. and 2 p.m. – 6 p.m. 1190 Vienna, Döblinger Hauptstr. 92 its owner Joseph Benedikt Baron bel étage with his family on 29 Special guided tour available! Special guided tour available! Open upon request only; von Pasqualati, stands on the September 1784 and lived here Tel.: (+43-1) 505 87 47-85713 Mölker Bastei, a remnant of the until April 1787. These two and a Strauss finished writing the This house in the Viennese suburb [email protected] old city fortifications. Ludwig van half years were among the most world-famous waltz “The Blue of Heiligenstadt is dedicated to one Beethoven lived and worked in successful in his life. Here Mozart Danube” (Austria’s “unofficial of the most devastating events in Beethoven frequently spent the Vienna for 35 years, eight of them composed numerous chamber national anthem”!) in this apart- Ludwig van Beethoven’s life: it is a summer months in the wine-grow- here on the fourth floor. music pieces, eight piano concer- ment in 1867. The composer lived remembrance of the “Heiligenstadt ers’ villages in the northwest of Among the pieces he worked on tos and, first and foremost, on Praterstrasse for seven years, Testament” of 1802—the letter Vienna. In 1803, the year he worked in this house were his 4th, 5th, 7th the opera “Le Nozze di Figaro”. at the time an elegant suburban he never sent to his two brothers, primarily on his third symphony, and 8th symphonies, and most The Mozart apartment opens up boule vard. Instruments, furniture in which he expressed his despair the “Eroica”, he is said to have of all his opera “Fidelio”. Many a fascinating trail for the visitor and paintings once belonging over his progressive deafness. spent the summer in idyllic documents are on show illustrat- Flute clock, c. 1796. The flute clock was to follow, clues of his life in to him illustrate Strauss’s work The exhibits document the back- Oberdöbling. Today, numerous ing the life and work of Beethoven, made around 1796 and plays a variation stories, background information and in-fluence as a composer, ground of this personal testament, exhibits in the Eroica house recall also the famous portrait painted of Mozart’s “Andante for a waltz in a small and extraordinary exhibits from musician and conductor—and the compositions of summer 1802, the rural setting of the Viennese in 1804/05 by Willibrord Joseph organ” (KV 616). These four bars are the his time. Everything revolves only ones from a Mozart composition for also show something of his and Heiligenstadt itself, at the time suburb and the works the compos- Mähler, and a number of the a flute mechanism as yet to have been around the question: how did the private life. “The Blue Danube” waltz, Op. 314, 1867, Wiener Männergesang-Verein a spa and recreational resort. er created in this year. composer’s personal belongings. preserved on a historical drum. Mozarts live during this period? “My wish and my hope is – to achieve honour and fame and make money ...” Wolfgang Amadeus Mozart BE THE GUEST OF THE GREAT COMPOSERS Gaming room? Mozart was inordinately fond of gambling and games. The largest Johann Strauss, photograph by Johann Stefan Decker, Beethoven, room overlooking Domgasse was probably used as a gaming room—with a billiards Julius Gertinger, 1884 Living room and study of Johann Strauss Beethoven’s house, Heiligenstadt, view of courtyard 1824, chalk drawing table and perhaps a special table as well for card games, chess or draughts. © Mozarthaus Vienna / David M Peters.
Load more

Recommended publications
  • Elaine Fitz Gibbon
    Elaine Fitz Gibbon »Beethoven und Goethe blieben die Embleme des kunstliebenden Deutschlands, für jede politische Richtung unantastbar und ebenso als Chiffren manipulierbar« (Klüppelholz 2001, 25-26). “Beethoven and Goethe remained the emblems of art-loving Germany: untouchable for every political persuasion, and likewise, as ciphers, just as easily manipulated.”1 The year 2020 brought with it much more than collective attempts to process what we thought were the uniquely tumultuous 2010s. In addition to causing the deaths of over two million people worldwide, the Covid-19 pandemic has further exposed the extraordinary inequities of U.S.-American society, forcing a long- overdue reckoning with the entrenched racism that suffuses every aspect of American life. Within the realm of classical music, institutions have begun conversations about the ways in which BIPOC, and in particular Black Americans, have been systematically excluded as performers, audience members, administrators and composers: a stark contrast with the manner in which 2020 was anticipated by those same institutions before the pandemic began. Prior to the outbreak of the novel coronavirus, they looked to 2020 with eager anticipation, provoking a flurry of activity around a singular individual: Ludwig van Beethoven. For on December 16th of that year, Beethoven turned 250. The banners went up early. In 2019 on Instagram, Beethoven accounts like @bthvn_2020, the “official account of the Beethoven Anniversary Year,” sprang up. The Twitter hashtags #beethoven2020 and #beethoven250 were (more or less) trending. Prior to the spread of the virus, passengers flying in and out of Chicago’s O’Hare airport found themselves confronted with a huge banner that featured an iconic image of Beethoven’s brooding face, an advertisement for the Chicago Symphony Orchestra’s upcoming complete cycle Current Musicology 107 (Fall 2020) ©2020 Fitz Gibbon.
    [Show full text]
  • 5 Music Cruises 2019 E.Pub
    “The music is not in the notes, but in the silence between.” Wolfgang Amadeus Mozart RHINE 2019 DUDOK QUARTET Aer compleng their studies with disncon at the Dutch String Quartet Academy in 20 3, the Quartet started to have success at internaonal compeons and to be recognized as one of the most promising young European string quartets of the year. In 20 4, they were awarded the Kersjes ,rize for their e-ceponal talent in the Dutch chamber music scene. .he Quartet was also laureate and winner of two special prizes during the 7th Internaonal String Quartet 0ompeon 20 3 1 2ordeau- and won st place at both the st Internaonal String Quartet 0ompeon 20 in 3adom 4,oland5 and the 27th 0harles 6ennen Internaonal 0hamber Music 0ompe7 on 20 2. In 20 2, they received 2nd place at the 8th 9oseph 9oachim Internaonal 0hamber Music 0ompeon in Weimar 4:ermany5. .he members of the quartet ;rst met in the Dutch street sym7 phony orchestra “3iccio=”. From 2009 unl 20 , they stu7 died with the Alban 2erg Quartet at the School of Music in 0ologne, then to study with Marc Danel at the Dutch String Quartet Academy. During the same period, the quartet was coached intensively by Eberhard Feltz, ,eter 0ropper 4Aindsay Quartet5, Auc7Marie Aguera 4Quatuor BsaCe5 and Stefan Metz. Many well7Dnown contemporary classical composers such as Kaija Saariaho, MarD7Anthony .urnage, 0alliope .sou7 paDi and Ma- Knigge also worDed with the quartet. In 20 4, the Quartet signed on for several recordings with 3esonus 0lassics, the worldEs ;rst solely digital classical music label.
    [Show full text]
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • Beethoven, Bonn and Its Citizens
    Beethoven, Bonn and its citizens by Manfred van Rey The beginnings in Bonn If 'musically minded circles' had not formed a citizens' initiative early on to honour the city's most famous son, Bonn would not be proudly and joyfully preparing to celebrate his 250th birthday today. It was in Bonn's Church of St Remigius that Ludwig van Beethoven was baptized on 17 December 1770; it was here that he spent his childhood and youth, received his musical training and published his very first composition at the age of 12. Then the new Archbishop of Cologne, Elector Max Franz from the house of Habsburg, made him a salaried organist in his renowned court chapel in 1784, before dispatching him to Vienna for further studies in 1792. Two years later Bonn, the residential capital of the electoral domain of Cologne, was occupied by French troops. The musical life of its court came to an end, and its court chapel was disbanded. If the Bonn music publisher Nikolaus Simrock (formerly Beethoven’s colleague in the court chapel) had not issued several original editions and a great many reprints of Beethoven's works, and if Beethoven's friend Ferdinand Ries and his father Franz Anton had not performed concerts of his music in Bonn and Cologne, little would have been heard about Beethoven in Bonn even during his lifetime. The first person to familiarise Bonn audiences with Beethoven's music at a high artistic level was Heinrich Karl Breidenstein, the academic music director of Bonn's newly founded Friedrich Wilhelm University. To celebrate the anniversary of his baptism on 17 December 1826, he offered the Bonn première of the Fourth Symphony in his first concert, devoted entirely to Beethoven.
    [Show full text]
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • 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...............................................................................
    [Show full text]
  • Kurz Beethoven B&H E.Qxd
    “I give preference to your house above all others” Room 6 (1st floor) Showcase 2: Beethoven considered his Variations for Piano the Fifth Symphony op. 67 to the Mass in C major op. 86 and On display here as an introduction to the exhibition is a man- in F major op. 34 and E flat major op. 35 to be of greater two songs without opus numbers, is confirmed in writing. As Beethoven and the Leipzig Music Publishing uscript of the six Partitas for piano by Johann Sebastian Bach importance than his earlier variation cycles, because they late as 1855 the publishers asked the composer and pianist House Breitkopf & Härtel BWV 825-830, which Beethoven’s most important benefactor were composed in “a new way” based on themes of his own. Ignaz Moscheles, who had been well acquainted with during the first years in Vienna transcribed personally as a He noted this on the title page of the original manuscript of Beethoven, and the cantor of St. Thomas church, Moritz Special Exhibition at the Beethoven House, Bonn student. Count Karl von Lichnowsky copied them from Opus 35, which today is known as the “Eroica Variations”, Hauptmann, to verify the authenticity of Beethoven’s signature since Beethoven later used the theme again for the last move- and even had their verification certified by the commercial 24th May to 18th August 2007 Bach’s later biographer Johann Nikolaus Forkel. It can be assumed that Beethoven knew this manuscript and used it for ment of his Third Symphony. In the letter written in court in Leipzig.
    [Show full text]
  • Ludwig Van Beethoven Franz Schubert Wolfgang
    STIFTUNG MOZARTEUM SALZBURG WEEK LUDWIG VAN BEETHOVEN PIANO CONCERTO NO. 1 FRANZ SCHUBERT SYMPHONY NO. 5 WOLFGANG AMADEUS MOZART PIANO CONCERTO NO. 23 ANDRÁS SCHIFF CAPPELLA ANDREA BARCA WEEK LUDWIG VAN BEETHOVEN Vienna - once the music hub of Europe - attracted all the Piano Concerto No. 1 in C major, Op. 15 greatest composers of its day, among them Beethoven, Schubert and Mozart. This concert given by András Schiff and FRANZ SCHUBERT the Capella Andrea Barca during the Salzburg Mozart Week Symphony No. 5 in B flat major, D 485 brings together three works by these great composers, which WOLFGANG AMADEUS MOZART each of them created early in life at the start of an impressive Piano Concerto No. 23 in E flat major, KV 482 Viennese career. The programme opens with Beethoven’s First Piano Concerto: Piano & Conductor András Schiff “Sensitively supported by the rich and supple tone of the strings, Orchestra Cappella Andrea Barca Schiff’s pianistic virtuosity explores the length and breadth of Beethoven’s early work, from the opulent to the playful, with a Produced by idagio.production palpable delight rarely found in such measure in a pianist”, was Video Director Oliver Becker the admiring verdict of the Salzburg press. Length: approx. 100' As in his opening piece, Schiff again succeeded in Schubert’s Shot in HDTV 1080/50i symphony “from the first note to the last in creating a sound Cat. no. A 045 50045 0000 world that flooded the mind’s eye with images” Drehpunkt( Kultur). A co-production of The climax of the concert was the Mozart piano concerto.
    [Show full text]
  • Beethoven to Drake Featuring Daniel Bernard Roumain, Composer & Violinist
    125 YEARS Beethoven to Drake Featuring Daniel Bernard Roumain, composer & violinist TEACHER RESOURCE GUIDE 87TH Annual Young People’s Concert William Boughton, Music Director Thank you for taking the NHSO’s musical journey: Beethoven to Drake Dear teachers, Many of us were so lucky to have such dedicated and passionate music teachers growing up that we decided to “take the plunge” ourselves and go into the field. In a time when we must prove how essential the arts are to a child’s growth, the NHSO is committed to supporting the dedication, passion, and excitement that you give to your students on a daily basis. We look forward to traveling down these roads this season with you and your students, and are excited to present the amazing Daniel Bernard Roumain. As a gifted composer and performer who crosses multiple musical genres, DBR inspires audience members with his unique take on Hip Hop, traditional Haitian music, and Classical music. This concert will take you and your students through the history of music - from the masters of several centuries ago up through today’s popular artists. This resource guide is meant to be a starting point for creation of your own lesson plans that you can tailor directly to the needs of your individual classrooms. The information included in each unit is organized in list form to quickly enable you to pick and choose facts and activities that will benefit your students. Each activity supports one or more of the Core Arts standards and each of the writing activities support at least one of the CCSS E/LA anchor standards for writing.
    [Show full text]
  • Quartet Dimensions
    concert program ii: Quartet Dimensions JOHANN SEBASTIAN BACH (1685–1750)! July 21 WOLFGANG AMADEUS MOZART (1756–1791) Sunday, July 21, 6:00 p.m., The Center for Performing Arts Fugue in E-flat Major, BWV 876, and Fugue in d minor, BWV 877, from at Menlo-Atherton Das wohltemperierte Klavier; arr. String Quartets nos. 7 and 8, K. 405 JOSEPH HAYDN (1732–1809) PROGRAM OVERVIEW String Quartet in d minor, op. 76, no. 2, Quinten (1796) The string quartet medium, arguably the spinal column of the Allegro chamber music literature, did not exist in Bach’s lifetime. Yet Andante o più tosto allegretto Minuetto: Allegro ma non troppo even here, Bach’s legacy is inescapable. The fugues of his semi- Finale: Vivace assai nal The Well-Tempered Clavier inspired no less a genius than Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Mozart, who arranged a set of them for string quartet. The influ- Fredrik Schøyen Sjölin, cello ence of Bach’s architectural mastery permeates the ingenious DMITRY SHOSTAKOVICH (1906–1975) Quinten Quartet of Joseph Haydn, the father of the modern Piano Quintet in g minor, op. 57 (1940) string quartet, and even Dmitry Shostakovich’s Piano Quintet, Prelude composed nearly two hundred years after Bach’s death. The Fugue Scherzo centerpiece of Beethoven’s Opus 132—the Heiliger Dankgesang Intermezzo CONCERT PROGRAMSCONCERT eines Genesenen an die Gottheit (“A Convalescent’s Holy Song Finale PROGRAMSCONCERT of Thanksgiving to the Divinity”)—recalls another Bachian signa- Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; ture: the Baroque master’s sacred chorales.
    [Show full text]
  • The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
    Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your ​ ​ reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart.
    [Show full text]
  • Wolfgang Amadeus Mozart Béla Bartók Franz Schubert
    JANUARY 22, 2016 – 7:30 PM WOLFGANG AMADEUS MOZART Quartet for Flute and Strings in C Major, K. 285b Allegro Andantino Lorna McGhee flute / Erin Keefe violin / Rebecca Albers viola / Robert deMaine cello BÉLA BARTÓK Sonata No. 1 for Violin and Piano, Sz. 75 Allegro appassionato Adagio Allegro James Ehnes violin / Andrew Armstrong piano INTERMISSION FRANZ SCHUBERT Trio for Violin, Cello and Piano in E-flat Major, Op. 100, D. 929 Allegro Andante con moto Scherzo: Allegro moderato Allegro moderato Alexander Kerr violin / Edward Arron cello / Max Levinson piano SEASON SPONSORSHIP PROVIDED BY JAMES F. ROARK, Jr. WOLFGANG AMADEUS MOZART color and fairness to the other players, variations (1756–1791) two and three are led respectively by the violin and Quartet for Flute and Strings in C Major, cello. De rigueur Mozart moves into the darker C K. 285b, K. Anh. 171 (1778) minor for the fourth variation. Having enriched the harmonic color there, he shifts into a slower Adagio Mozart famously complained to his father that for No. 5, perhaps the loveliest in the set. The he detested the flute, a sour declaration that concluding variation returns to C major in a spirited probably drew added venom from his unhappiness dance-like gesture with folk-like intimations. with having to ply his trade in provincial Salzburg in the employ of his formidable foe, Archbishop BÉLA BARTÓK Hieronymus Colloredo. He also griped about (1881–1945) the paltry recompense offered for the task of Sonata No. 1 for Violin and Piano, Sz. 75 composing several pieces commissioned by a (1921) wealthy amateur flutist named De Jean.
    [Show full text]