1.International Joseph Mayseder Violin Competition
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This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Techniques of expression in Viennese string music (1780-1830) : reconstructing fingering and bowing practices Moran, John Gregory The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 23. Sep. 2021 Techniques of Expression in Viennese String Music (1780-1830): A Reconstruction of Fingering and Bowing Practices John Gregory Moran King's College University of London PhD 2000 LcL bs Abstract Though Viennese classical music for strings is central to the standard repertory and is steadily attracting more performances by 'historically informed' players, awareness of the practices of the Viennese players amongst whom Haydn and Beethoven worked remains limited. -
Diabelli's Vaterländischer Künstlerverein Part II As a Representation of the Development of the Waltz Within the Socio-Polit
Diabelli’s Vaterländischer Künstlerverein Part II as a representation of the development of the waltz within the socio-political context of Vienna ca. 1820 Willem de Beer Mini-dissertation submitted in partial fulfilment of the requirements for the MMus degree Department of Music Faculty of Humanities University of Pretoria Date: April 2018 Supervisor: Prof. Wessel van Wyk Acknowledgements I would like to thank the following people, without whose support, I would not have been able to complete this mini-dissertation: Professor Wessel van Wyk for his persistent and patient guidance, advice and motivation. It was an honour to be able to work alongside Professor. Mrs Marianne Feenstra for introducing me to the Vaterländischer Künstlerverein Part II, and for her editorial insights later on. Lastly, I would like to thank my wife, Renée de Beer, for her unwavering support; hier is dit nou, Blom. - Soli Deo Gloria - 2 Contents Abstract ....................................................................................................................... 6 Keywords .................................................................................................................... 8 List of examples .......................................................................................................... 9 CHAPTER 1 .............................................................................................................. 11 1. Introduction ................................................................................................ -
Die Uraufführungen Von Beethovens Sinfonie Nr. 9 (Mai 1824) Aus Der Perspektive Des Orchesters
Die Uraufführungen von Beethovens Sinfonie Nr. 9 (Mai 1824) aus der Perspektive des Orchesters Theodore Albrecht The history of the Uraufführung of Beethoven’s Symphony No. 9 is so well known that even school children might have heard the tale of the pitifully deaf composer who could not hear the applause that rewarded his music at the end. Earlier histories, beginning with Schindler and repeated (and elaborated upon) by Thayer,1 as well as many subsequent myth-making accounts, have related that Beethoven actually composed the Ninth Symphony on commission from the Philharmonic Society in London for a first performance there; that Beethoven possibly wanted to move the first performance from Rossini- loving Vienna to Berlin; that he received a mysterious Petition imploring him to retain the first performance for Vienna; that Beethoven’s friends had a long debate over the hall in which the concert should take place; that Beethoven composed the horn solo in the third movement for a hornist named Lewy, who possessed a valved horn; that there was an unpleasant and unprecedented plan to replace concertmaster Franz Clement with Beethoven’s favorite Ignaz Schuppanzigh; that there were a large number of amateurs in the orchestra; that there was an inadequate performance after only two rehearsals; that the Imperial box of the theater was insultingly empty; that Beethoven’s deafness prevented him from hearing the applause at the end; that cheers from the audience were unfairly suppressed by the Police; and that Beethoven earned unexpectedly small profits from the May 7 and 23 concerts. This essay will follow Beethoven’s progress with the Symphony No. -
By Moisés Kaufman Directed by Nick Bowling
By Moisés Kaufman Directed by Nick Bowling STUDY GUIDE Prepared by Maren Robinson, Dramaturg This Study Guide for 33 Variations was prepared by Maren Robinson and edited by Kerri Hunt and Lara Goetsch for TimeLine Theatre, its patrons and educational outreach. Please request permission to use these materials for any subsequent production. © TimeLine Theatre 2012 — STUDY GUIDE — Table of Contents The Playwright: Moisés Kaufman .................................................................... 3 Tectonic Theater Project .................................................................................... 4 The Play: Production History............................................................................. 4 The Play: A Note on Structure........................................................................... 4 The Conversation: PJ Powers and Andrew Hansen ........................................ 5 The Historical Context ....................................................................................... 9 Timeline of Beethoven’s Life and Times ......................................................... 10 The Composer: Ludwig Van Beethoven .......................................................... 14 The Associates: Anton Diabelli and Anton Schindler..................................... 16 Selected Music Terminology ............................................................................ 17 33 Variations on a Waltz by Anton Diabelli op. 120........................................ 18 Thoughts on the Diabelli Variations from -
An Exploration of Underplayed Violin Concertos Appropriate for Intermediate and Advanced Students Heather Ann Wolters Hart
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 An Exploration of Underplayed Violin Concertos Appropriate for Intermediate and Advanced Students Heather Ann Wolters Hart Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXPLORATION OF UNDERPLAYED VIOLIN CONCERTOS APPROPRIATE FOR INTERMEDIATE AND ADVANCED STUDENTS By HEATHER ANN WOLTERS HART A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the treatise of Heather Ann Wolters Hart defended on August 26, 2005. ___________________ Eliot Chapo Professor Directing Treatise _____________________ James Mathes Outside Committee Member _____________________ Beth Newdome Committee Member _____________________ Melanie Punter Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables iv List of Figures v Abstract viii INTRODUCTION 1 1. OVERVIEW OF THE GENRE: THE VIOLIN CONCERTO 4 The Baroque Violin Concerto 4 The Classical Violin Concerto 9 The Romantic Violin Concerto 16 Summary and Conclusion 23 2. INTERMEDIATE VIOLIN CONCERTOS BY TARTINI, DE BERIOT, AND VIOTTI 25 Giuseppe Tartini: Concerto in D Minor for Violin and Piano, revised by Emilio Pente 25 Charles- Auguste de Beriot: Concerto No 9, op. 104 32 Giovanni Battista Viotti: Concerto No. 22 in A Minor 39 Summary and Conclusion 49 3. ADVANCED VIOLIN CONCERTOS BY RODE, SPOHR, AND CONUS 50 Pierre Rode: Concerto No.7, op. -
1. Title Page
MUSIC IN PUBLIC LIFE: VIENNESE REPORTS FROM THE ALLGEMEINE MUSIKALISCHE ZEITUNG, 1798-1804 A dissertation submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Carol Padgham Albrecht May 2008 Dissertation by Carol Padgham Albrecht B.A., North Texas State University, 1974 M.M., North Texas State University, 1980 Ph.D., Kent State University, 2008 Approved by _______________________________ , Chair, Doctoral Dissertation Committee _______________________________ , Members, Doctoral Dissertation Committee _______________________________ , _______________________________ , _______________________________ , Accepted by _______________________________ , Director, Hugh A. Glauser School of Music _______________________________ , Dean, College of the Arts ii TABLE OF CONTENTS Page APPROVAL PAGE . ii TABLE OF CONTENTS . iii PREFACE . iv ACKNOWLEDGEMENTS . xiv CHAPTER I. VOLUME I: OCTOBER 3, 1798-SEPTEMBER 25, 1799 . 1 II. VOLUME II: OCTOBER 1, 1799-SEPTEMBER 24, 1800 . 28 III. VOLUME III: OCTOBER 1, 1800-SEPTEMBER 23, 1801 . 41 IV. VOLUME IV: OCTOBER 1, 1801–SEPTEMBER 22, 1802 . 103 V. VOLUME V: OCTOBER 1, 1802-SEPTEMBER 21, 1803 . 116 VI. VOLUME VI: OCTOBER 1, 1803-SEPTEMBER 26, 1804 . 170 APPENDIXES A. VIENNA HOFTHEATER SALARY LISTINGS, COMBINED CASTS . 231 B. GERMAN OPERAS GIVEN IN THE COURT THEATER, 1798-1800 . 233 C. ITALIAN OPERAS GIVEN IN THE COURT THEATER, 1798-1800 . 234 BIBLIOGRAPHY . 236 iii PREFACE The Allgemeine musikalische Zeitung (General -
99103 Lissy Booklet.Indd
Joseph Mayseder Kammermusik Vol. 1 Lissy Quartett Joseph Mayseder (1789–1863) Chamber Music Vol. 1 Kammermusik Vol. 1 1 „Souvenir à Baden“ 19:44 Variations Concertantes / Concert Variations for Piano, Violin, Viola and Cello in E major, Op. 63 Konzertante Variationen für Klavier, Violine, Viola und Violoncello E-Dur op. 63 2 Variations Concertantes / Concert Variations 14:34 for Piano, Violin, Viola and Cello in D major, Op. 57 Konzert-Variationen für Klavier, Violine, Viola und Violoncello D-Dur op. 57 3 Divertimento for Violin and Piano in D major, Op. 35 7:38 Divertimento für Violine und Klavier D-Dur op. 35 4 Variations Concertantes / Concert Variations 15:51 for Piano, Violin, Viola and Cello in F major, Op. 24 Konzertante Variationen für Klavier, Violine, Viola und Violoncello F-Dur op. 24 World Premiere Recordings Weltersteinspielungen Lissy Quartett Raimund Lissy violin / Violine Robert Bauerstatter viola / Viola Maria Grün cello / Violoncello Srebra Gelleva piano / Klavier 2 3 Lebenslauf von Joseph Mayseder Joseph Mayseder wurde am 26. Oktober 1789 in Leitung von Beethoven mit, ebenso ein Jahr später Wien geboren. Seinen ersten Violinunterricht erhielt bei der Uraufführung der Kantate „Der glorreiche er im Alter von acht Jahren von Joseph Suche, dem Augenblick“ mit einem großen Violinsolo unter der Konzertmeister im Theater auf der Wieden, später Leitung des Komponisten. 1824 spielte er bei der von Anton Wranitzky und Ignaz Schuppanzigh. Er Uraufführung der 9. Symphonie unter dem Dirigat erhielt auch Klavier und Kompositionsunterricht Beethovens im Orchester mit. Der Kontakt zu von Emanuel Aloys Förster. Den ersten belegten Beethoven ist auch durch einen Brief belegt, in dem Auftritt als Solist absolvierte er als 10-Jähriger im Beethoven Mayseder bittet, bei einer Aufführung Wiener Augarten, weitere folgten unmittelbar. -
Giuliani's Guitar and Vienna's Musical Markets, 1806–1819
Music by the Ducat: Giuliani’s Guitar and Vienna’s Musical Markets, 1806–1819 by Lindsay Jones A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Faculty of Music University of Toronto © Copyright by Lindsay Jones 2020 Music by the Ducat: Giuliani’s Guitar and Vienna’s Musical Markets, 1806–1819 Lindsay Jones Doctor of Philosophy Faculty of Music University of Toronto 2020 Abstract Amidst ambivalent attitudes held toward the guitar, Italian-born guitar virtuoso Mauro Giuliani (1781-1829) composed and performed in Vienna from 1806 to1819. Giuliani’s time in the city was punctuated by his participation in the market for goods related to the Congress of Vienna. He entered this market by gearing his performances and publications towards representing the Congress’s mandate of cooperation and conversation, as well as the recent interest in Austrian folk songs alongside patriotic sentiments for an emerging Austrian state. Giuliani’s solo guitar performances were defined by his unique ability to overcome what critics regarded as the guitar’s seemingly unsurmountable deficiencies. His active participation in the virtuoso concert culture of Vienna—a market that was removed from a growing “serious” concert culture—was defined by his increasing involvement in the commercially-driven subscription concert. Underlying Giuliani’s participation in the Congress of Vienna and the popular virtuoso concert was his interest in the burgeoning folk music movement. Related to Austrian patriotic sentiments, Giuliani’s folk-inspired Ländler and variation sets reveal his preoccupation with a more quotation-based approach to folk song composition, an approach that—while attractive in terms of print music sales—jeopardized the longevity of his folk-inspired works by obscuring his authorial ingenuity. -
GERMAN & AUSTRIAN SYMPHONIES from the 19Th
GERMAN & AUSTRIAN SYMPHONIES From The 19th Century To The Present Composers other than Beethoven, Brahms, Bruckner, Mahler, Mendelssohn, Schubert & Schumann A Discography of CDs and LPs Prepared by Michael Herman Composers A-L JOHANN JOSEPH ABERT (1832-1915) A Sudeten German, he was born in Kochowitz, Bohemia (now Kochovice, Czech Republic). He studied double bass at the Prague Conservatory with Josef Hrabe and also received lessons in theory from Johann Friedrich Kittl and August Wilhelm Ambros. He became a double bassist for the Court Orchestra at Stuttgart and later was appointed Kapellmeister. He composed orchestral and chamber works as well as lieder and several successful operas. His unrecorded Symphonies are: Nos. 1 in B minor (1852), 2 in C minor (1854), 3 in A major (1856), 5 in C minor (1870), 6 in D minor "Lyric Symphony" (1890) and 7 in C major "Spring Symphony" (1894). Symphony No. 4 in D major, Op. 31 "Columbus, A Musical Portrait of the Sea in the Form of a Symphony" (1863) Werner Stiefel/Bohuslav Martinu Philharmonic Orchestra ( + Concerto for Double Bass and Variations for Double Bass and Orchestra) BAYER RECORDS 100160 (1996) AUGUST RITTER VON ADELBURG (1830-1873) Born in Pera, Turkey. The son of a diplomat, he spent his early years in Istanbul before going to Vienna to study music with Joseph Mayseder for violin and with Hoffmann for composition. He then toured Europe as a violinist. He later returned to Istanbul where he played the violin before the Sultan to whom he dedicated this Symphony. He mostly composed operas, chamber, instrumental and vocal works. -
Schubert Edition Liner Notes, Sung Texts
Schubert Edition Liner notes, sung texts (p. 1 – p. 61), full tracklist (p.62) Liner notes SYMPHONIES (CD1-CD4) scherzo, small deviations from these forms in all the first six symphonies Franz Schubert, unlikely symphonist betray a new approach to concord and discord: the distinction between All seven of Schubert’s completed symphonies – plus the B minor fragment harmony in the tonic and the dominant becomes less clear-cut to allow for known as the ‘Unfinished’ (though there are several other such fragments) a much richer language, not only in the development section where by – are played fairly often nowadays, but this wasn’t always the case. During convention harmonic richness is stimulated, but also in the exposition and Schubert’s lifetime (1797–1828) some of them were performed, but only the recapitulation of many movements. The result is a certain loss of the occasionally and in small circles; his most famous pieces instead ranked concision that is so typical of Haydn’s and Mozart’s music, and of energy among his songs and a small group of piano compositions, mainly for four (since Schubert, unlike Beethoven, is very sparing with great dynamic hands. These works fitted perfectly into a bourgeois culture that greatly contrasts), but an increase in lyric expansion. Already in the earlier enjoyed domestic music-making and valued music with an essentially symphonies, one observes Schubert’s inclination towards long passages classical framework as well as a romantic and melancholic character. without great dramatic contrasts but with an essentially continuous sonority. Even in his Fourth Symphony, in the ‘tragic’ key of C minor (the The symphony was regarded as a public genre during Schubert’s day; its nickname ‘Tragic’ is the composer’s own), Schubert is more a lyric than a greatest master was Ludwig van Beethoven, whose offerings combined a tragic composer. -
The Critical Reception of Beethoven's Compositions by His German
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Press -- Sample Books and Chapters University of Nebraska Press 2001 The Critical Reception of Beethoven’s Compositions by His German Contemporaries, volume 2 Wayne M. Senner Arizona State University Robin Wallace William Meredith Follow this and additional works at: https://digitalcommons.unl.edu/unpresssamples Part of the Arts and Humanities Commons Senner, Wayne M.; Wallace, Robin; and Meredith, William, "The Critical Reception of Beethoven’s Compositions by His German Contemporaries, volume 2" (2001). University of Nebraska Press -- Sample Books and Chapters. 5. https://digitalcommons.unl.edu/unpresssamples/5 This Article is brought to you for free and open access by the University of Nebraska Press at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Press -- Sample Books and Chapters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Critical Reception of Beethoven’s Compositions by His German Contemporaries, volume 2 Number 3 in the series North American Beethoven Studies Edited by William Meredith The Critical Reception of Beethoven’s by His German Contemporaries, volume 2 Wayne M. Senner, general editor and compiler Robin Wallace, translator and musicological editor William Meredith, musicological editor Published by the University of Nebraska Press, Lincoln and London, in association with the American Beethoven Society and the Ira F. Brilliant Center for Beethoven Studies, San José State University © 2001 by the University of Nebraska Press All rights reserved Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data The critical reception of Beethoven’s compositions by his German contemporaries / Wayne M. -
Toccata Classics TOCC 0138 Notes
HEINRICH WILHELM ERNST Complete Music for Violin and Piano, Volume 2 by Mark Rowe Heinrich Wilhelm Ernst was one of the most important performers of the nineteenth century. In 1884, reviewing over thirty years of avid concert-going, the Rev. H. R. Haweis wrote: ‘[If], looking back and up to the present hour, I am asked to name off hand, the greatest players – the very greatest I ever heard – I say at once Ernst, Liszt, Rubinstein’.1 His assessment was shared by the professionals. ‘Ernst was the greatest violinist I ever heard,’ said Joseph Joachim, ‘he towered above the others [...]. He became my ideal of a performer, even surpassing in many respects the ideal I had imagined for myself.’2 Similarly, Berlioz could not say enough about the genius of his friend: ‘Let me reiterate, Ernst, who is a great musician as well as a great violinist (as well as being the most delightfully humorous man I know) is the complete rounded artist, profoundly and predominantly expressive in everything he does’.3 As a performer, he was particularly admired for his stupendous technique, his intense and melancholic expressivity, his capricious sense of humour, and a tone which came remarkably close to the human voice. These gifts, moreover, were lavished not only on the solo violin: he also made an outstanding contribution to public chamber music. Sir Julius Benedict, for example, reminiscing about the dismal premiere of one of Beethoven’s late quartets, had no doubts about which violinist finally revealed these works as masterpieces: ‘Not until Ernst had completely imbued himself in the spirit of these compositions could P the world discover their long hidden beauties’.4 When one also discovers that Ernst was Paganini’s most significant rival, the first Jewish violin virtuoso of international renown, an important technical innovator and a highly successful and influential composer, it is natural to wonder who exactly he was.