DOCSLIB.ORG

Johannes Brahms, Robert Franz, and Continuo Practice in the Late Nineteenth Century

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Johannes Brahms, Robert Franz, and Continuo Practice in the Late Nineteenth Century Edinburgh Research Explorer Evolution versus Authenticity: Johannes Brahms, Robert Franz, and Continuo Practice in the Late Nineteenth Century Citation for published version: Kelly, E 2006, 'Evolution versus Authenticity: Johannes Brahms, Robert Franz, and Continuo Practice in the Late Nineteenth Century', 19th-Century Music, vol. 30, no. 2, pp. 182-204. https://doi.org/10.1525/ncm.2006.30.2.182 Digital Object Identifier (DOI): 10.1525/ncm.2006.30.2.182 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: 19th-Century Music Publisher Rights Statement: ©Kelly, E. (2006). Evolution versus Authenticity: Johannes Brahms, Robert Franz, and Continuo Practice in the Late Nineteenth Century. 19th-Century Music, 30(2), 182-204. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 19TH CENTURY MUSIC Evolution versus Authenticity: Johannes Brahms, Robert Franz, and Continuo Practice in the Late Nineteenth Century ELAINE KELLY The early-music revival in the second half of debate lay the fact that the nineteenth-century the nineteenth century was a hotbed of contro- preoccupation with the past had its origins in versy. Bitter disputes arose over performing and two diametrically opposed philosophies. Much editorial practices, and throughout the 1860s of nineteenth-century thought was evolution- and 70s, the period during which Brahms was ary in outlook, centering on the concept of most active as a performer, arranger, and edi- progress over time. A new value was placed on tor, the German music press was inundated the past, but it was fueled primarily by the with a barrage of editions, pamphlets, articles, belief that awareness of the past was essential and correspondence—all emphatically staking to understanding the present. This standpoint, positions in the debate.1 At the crux of the articulated most influentially by Hegel in Ger- many, had considerable implications for the early-music revival: if art, like civilization, A shorter version of this article was presented at the Thir- manifested itself in increasingly perfect forms, teenth International Conference on Nineteenth-Century then revivalists were justified in modernizing Music at the University of Durham in 2004. I am very grateful to Jan Smaczny and Margaret Notley for their early art to appeal to the more sophisticated perceptive and helpful comments on this article. demands of nineteenth-century audiences. 1Two of the most valuable sources on the controversy are Hans-Joachim Hinrichsen, “Die Bach-Gesamtausgabe und die Kontroversen um die Aufführungspraxis der Vokal- seiner Zeit,” Robert Franz (1815–1892): Bericht über die werke,” Bach und die Nachwelt 2, ed. Michael Heinemann wissenschaftliche Konferenz anläßlich seines 100. and Hans-Joachim Hinrichsen (Laaber: Laaber Verlag, 1999), Todestages am 23. und 24. Oktober 1992 in Halle/Saale, pp. 227–97; and Dieter Gutknecht, “Robert Franz als ed. Konstanze Musketa (Halle: Händel-Haus, 1993), pp. Bearbeiter der Werke von Bach und Händel und die Praxis 219–47. 182 19th-Century Music, vol. 30, no. 2, pp. 182–204. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2006 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Rights and Permissions website, at http://www.ucpressjournals.com/ reprintInfo.asp. DOI: ncm.2006.30.2.182. This content downloaded from 129.215.19.194 on Fri, 13 Dec 2013 05:47:56 AM All use subject to JSTOR Terms and Conditions Hegel himself advocated a process of “neces- rise of musicology as a discipline. As height- ELAINE 2 KELLY sary anachronism,” whereby old works should ened scholarly awareness gave credence to Brahms, Franz, be adapted to cater to the cultural requirements Thibaut’s mandate, certain musicians became and the of a modern audience: increasingly concerned with presenting early Continuo music in as unaltered a form as possible. Among Even the most excellent things require adaptation in the first to show a concern for authenticity was view of this. Admittedly, people could say that the Mendelssohn, who, in the preface to his edi- truly excellent must remain excellent for all time; tion of Handel’s Israel in Egypt for the London but the work of art also has a transient, mortal side, Handel Society in 1844, declared: and it is this that requires alteration. For the beauti- ful appears for different people, and those for whom I think it my first duty, to lay before the Society the it is brought to appearance must be able to be at Score as Handel wrote it, without introducing the home in this external side of its appearance. The least alteration, and without mixing up any remarks inner substance of that which is represented remains or notes of my own with those of Handel. In the next the same, but cultural change makes necessary a place, as there is no doubt that he himself intro- conversion of its expression and form.3 duced many things at the performance of his works which were not accurately written down, and which For adherents of the opposing “Romantic” even now, when his music is performed, are sup- school, however, the past represented some- plied by a sort of tradition according to the fancy of thing very different, something to be appreci- the Conductor and the Organist, it becomes my ated for its own sake. In the wake of the French second duty to offer an opinion in all such cases; but Revolution and Napoleonic Wars, a strong sense I think it of paramount importance that all my re- of disillusionment with the present helped fos- marks should be kept strictly separate from the Origi- ter a longing among Romantics for an idealized nal Score, and the latter should be given in its entire past. William Vaughan has perceptively de- purity, in order to afford every one an opportunity of scribed this as “a mythical golden age, an ‘age resorting to Handel himself, and not to obtrude any suggestions of mine upon those who may differ from of faith’ to be contrasted with the degenerate me in opinion.6 atheism and materialism of modern times.”4 For followers of this school of thought, early The founding of the Bach Gesellschaft in music was to be treated with reverence. Anton 1850, with its lofty scholarly aims for the pro- F. J. Thibaut, as James Garratt points out, advo- posed complete edition of the composer’s works, cated performing early church compositions “as firmly grounded the new erudite approach to purely as the master intended” and denigrated the revival of early music. The Gesellschaft’s Mozart’s arrangement of Handel’s Messiah as objective, as outlined in the preface to its first “meddling.”5 volume in 1850, was to offer true representa- This opposition took a new shape in the tions of Bach’s works, based on the original second half of the nineteenth century with the sources and with no changes, cuts, or addi- tions.7 Musicologists including Friedrich Chrys- ander, Philipp Spitta, and Heinrich Bellermann 2Georg Wilhelm Friedrich Hegel, Ästhetik, ed. Friedrich Bassenge, 2 vols. (2nd edn. Berlin: Aufbau-Verlag, 1965), I, embraced this ideal in their later scholarly 272. The term is translated by James Garratt in Palestrina endeavors. They found strong opposition, and the German Romantic Imagination (Cambridge: Cam- however, in a faction led by the composer Rob- bridge University Press, 2002), p. 224. 3Ibid., pp. 224–25. ert Franz, whose aesthetic drew heavily on the 4William Vaughan, German Romantic Painting (New Ha- Hegelian premise of progress. Franz and his ven, Conn.: Yale University Press, 1980), p. 2. chief supporters, Selmar Bagge and Julius 5Anton F. J. Thibaut, Über Reinheit der Tonkunst (Heidel- berg: Mohr, 1825). Cited in James Garratt, Palestrina and Schaeffer, were largely unconcerned with his- the German Romantic Imagination, p. 224. Garratt touches on the two opposing approaches that affected the early- music revival. For a more general account of the two schools of thought, see the “Progress and historicism” sec- 6Handel, Israel in Egypt (London: London Handel Society, tion of Glenn Stanley’s article on “Historiography” in the 1844), preface. New Grove Dictionary of Music and Musicians (2nd edn. 7J. S. Bach’s Werke (Leipzig: Breitkopf and Härtel, 1850), London: Macmillan, 2001), vol. 11, pp. 546–61. p. iv. 183 This content downloaded from 129.215.19.194 on Fri, 13 Dec 2013 05:47:56 AM All use subject to JSTOR Terms and Conditions 19TH torical performance practices.8 They were clear- ments for a number of Handel’s Italian duets CENTURY 11 MUSIC ly committed to the revival, but maintained and trios. He also allowed Carl Grädener to that music, instruments, and listener expecta- publish his figured-bass arrangement of the cho- tions had evolved since the time of Bach and rale “Ach Gott, wie manches Herzeleid,” from Handel, a fact that had to be taken into ac- Bach’s Sie werden euch in den Bann tun, BWV count if early music was to find an audience. 44, in Grädener’s textbook System der Harmo- Underlying their assertions was an unwavering nielehre.12 sense that their actions ultimately served the Brahms’s scholarly inclinations have been composer.
Load more

Recommended publications
  • A Historiography of Musical Historicism: the Case Of
    A HISTORIOGRAPHY OF MUSICAL HISTORICISM: THE CASE OF JOHANNES BRAHMS THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of MUSIC by Shao Ying Ho, B.M. San Marcos, Texas May 2013 A HISTORIOGRAPHY OF MUSICAL HISTORICISM: THE CASE OF JOHANNES BRAHMS Committee Members Approved: _____________________________ Kevin E. Mooney, Chair _____________________________ Nico Schüler _____________________________ John C. Schmidt Approved: ___________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Shao Ying Ho 2013 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work, I, Shao Ying Ho, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS My first and foremost gratitude is to Dr. Kevin Mooney, my committee chair and advisor. His invaluable guidance, stimulating comments, constructive criticism, and even the occasional chats, have played a huge part in the construction of this thesis. His selfless dedication, patience, and erudite knowledge continue to inspire and motivate me. I am immensely thankful to him for what I have become in these two years, both intellectually and as an individual. I am also very grateful to my committee members, Dr.
    [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]
  • Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
    Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F.
    [Show full text]
  • Song Settings of Heinrich Heine: a Comparative Analysis of Song Settings from the Poetry Perspective
    SONG SETTINGS OF HEINRICH HEINE: A COMPARATIVE ANALYSIS OF SONG SETTINGS FROM THE POETRY PERSPECTIVE BY ELISABETH MARSHALL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Johannes Türk, Research Director __________________________________ Carol Vaness, Chairperson __________________________________ Timothy Noble __________________________________ Patricia Stiles ii ACKNOWLEDGMENTS The author wishes to express her sincere gratitude to Johannes Türk, research director, for his long-suffering, generous, and careful guidance; to chairperson Carol Vaness for her consistent encouragement and unfailing support; to committee members Timothy Noble and Patricia Stiles for their faithful contributions of time and support, without which completion of this project would have been impossible. I also wish to thank Oscar Strasnoy, for his time and interviews via e-mail, and especially my friend and colleague, James Kallembach, for his invaluable assistance in the editing process. iii PREFACE Today there is an almost obsessive concern with the question of what is the “most accurate” historical performance of a given piece of music. In many performances and ensembles this leads to an investigation into the types of instruments or techniques of singing used in a given period, the number of performers employed, and other ensemble and technical concerns. Related to this concern for historical performance, but perhaps not as often considered, is the issue of the relationship between the original poem and a musical setting.
    [Show full text]
  • Die Werke Georg Friedrich Händels in Göttingen
    Die Werke Georg Friedrich Händels in Göttingen Eine Darstellung der Sammlung G. F. Händels in der Niedersächsischen Staats- und Universitätsbibliothek Göttingen unter Berücksichtigung des identischen Bestandes in weiteren ausgewählten Göttinger Institutionen T e x t von Poupak Amirazodi Göttingen, November 2005 I N H A L T S V E R Z E I C H N I S Seite Vorwort Einleitung 1 1 Allgemeines 1.1 Die Niedersächsische Staats- und Universitätsbibliothek Göttingen 4 1.1.1 Anfänge 5 1.1.2 Das 20. Jahrhundert 9 1.2 Die Musiksammlung 11 1.2.1 Umfang 12 1.2.2 Aufstellung – Signierung 15 2 Übersicht über die Kataloge der Universitätsbibliothek 17 2.1 Der Akzessionskatalog 18 2.2 Alphabetische Kataloge 21 2.3 Systematische und Sachkataloge 24 2.4 Sonderkataloge 26 2.5 Der Ars-Musica-Katalog 28 2.5.1 Der Ars Musica Catalogus realis 29 2.5.2 Der Ars Musica Catalogus alphabeticus 33 2.5.3 Besonderheiten der Katalogisierung im Göttinger Musikalienkatalog 36 3 Musikalien und Musikliteratur 38 3.1 Die Ära Notendrucke und musikalische Literatur 38 3.2 Musiksammlungen und Musikbibliotheken 40 3.3 Musik in der bibliothekarischen Praxis 43 4 Georg Friedrich Händel 45 4.1 Lebensgeschichte 46 4.2 Werke 49 5 Das Projekt G. F. Händel 50 5.1 Bericht über die Arbeit 51 5.2 Händel in der SUB Göttingen 55 5.2.1 Umfang des Händel-Bestandes 55 5.2.2 Aufbau und Erschließung 58 6 Musik und Händel in Göttingen 60 6.1 Musikwissenschaft und Musikpflege in Göttingen 61 6.2 Musikwissenschaftliche Institutionen 63 6.3 Das Musikwissenschaftliche Seminar der Universität Göttingen 64 6.3.1 Die Bibliothek 65 6.3.2 Der Händel-Bestand 67 6.4 Die Göttinger Händel-Gesellschaft 68 6.4.1 Entwicklung der Gesellschaft 69 6.4.2 Die Händel-Festspiele Göttingen 69 6.4.3 Bestandsaufbau und Erschließung 71 6.5 Das Stadtarchiv Göttingen 72 6.5.1 Geschichte des Stadtarchivs 72 6.5.2 Händel im Stadtarchiv 75 6.6 Die Werke Händels im Programm des Göttinger Symphonie Orchesters 75 7 Zusammenfassung 76 8 Literaturverzeichnis 8.1 Literatur 79 8.2 Internet-Veröffentlichungen 85 8.3 Unveröffentlichtes Material 87 9.
    [Show full text]
  • Junior Recital: Timothy Marshall, Bass-Baritone
    Kennesaw State University College of the Arts School of Music presents Junior Recital Timothy Marshall, bass baritone Brenda Brent, piano Saturday, October 25, 2014 5:00 p.m. Music Building Recital Hall Twenty-fifth Concert of the 2014-15 Concert Season program I. GEORGE FRIDERIC HANDEL (1685-1759) Leave Me, Loathsome Light from Semele HENRY PURCELL (1659-1695) Arise, Ye Subterranean Winds from The Tempest II. ROBERT FRANZ (1815-1892) Widmung FRANZ SCHUBERT (1797-1828) Schäfers Klagelied Die Forelle III. GABRIEL FAURE (1845-1924) Le Secret REYNALDO HAHN (1874-1947) Quand je fus pris au Pavillon IV. F. PAOLO TOSTI (1846-1916) La Serenata V. CELIUS DOUGHERTY (1902-1982) Shenandoah BRUNO HUHN (1871-1950) Invictus This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Marshall studies voice with Oral Moses. program notes I. Leave Me, Loathsome Light from Semele GEORGE FREDRIC HANDEL (1685-1759) A German born English composer, Handel, is said to be one of the greatest composers of the Baroque period. He was born in Halle, Germany, on February 23rd, 1685, and died in London, England, on April 14th, 1759. He was buried in Westminster Abbey. He is best known for his orchestral works and English Oratorios, a musical form he was the first to use. The Messiah is one of his most famous. Semele was composed in 1743 and tells of a beautiful mortal, Semele, whose short but spectacular love affair with Jupiter, King of the Gods, comes to a terrifying end in consequence of both her own vanity and the scheming of Jupiter’s insanely jealous wife, Juno.
    [Show full text]
  • Repertoire Report 2012-13 Season Group 5 & 6 Orchestras
    REPERTOIRE REPORT 2012-13 SEASON GROUP 5 & 6 ORCHESTRAS Composer Work First Perf. Conductor Orchestra Soloist(s) Adams, John COMMON TONES IN SIMPLE TIME Feb. 9, 2013 Brett Mitchell Saginaw Bay Symphony Orchestra Auerbach, Lera 24 PRELUDES FOR VIOLONCELLO & Jan. 26, 2013 Delta David Gier South Dakota Symphony Alessio Bax, piano PIANO Ramiro Alvarez, cello Bach, J. S. BRANDENBURG CONCERTO NO. 1 IN F Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 2 IN F Nov. 17, 2012 unknown unknown South Dakota Symphony unknown unknown, trumpet MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 3 IN G Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 4 IN G Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 5 IN D Nov. 17, 2012 unknown unknown South Dakota Symphony MAJOR Bach, J. S. BRANDENBURG CONCERTO NO. 6 IN B- Nov. 17, 2012 unknown unknown South Dakota Symphony FLAT MAJOR Bach, J. S. PIANO CONCERTO NO. 1 IN D MINOR Mar. 22, 2013 Daniel Hege Boise Philharmonic Association, Roberto Plano, piano Inc. Bach, J. S. SUITE NO. 3 IN D MAJOR, BWV 1068 Nov. 3, 2012 Brian Groner Fox Valley Symphony Baker, Claude CANTI GUERRIERI ED AMOROSI (SONGS Mar. 23, 2013 Gerhardt Zimmermann Canton Symphony Orchestra OF WAR AND LOVE) Ballard, Louis INCIDENT AT WOUNDED KNEE Jan. 12, 2013 Delta David Gier South Dakota Symphony Barber, Samuel ADAGIO FOR STRINGS Jun. 28, 2013 Martin Majkut Rogue Valley Symphony Barber, Samuel CONCERTO, PIANO AND ORCHESTRA, Oct.
    [Show full text]
  • Adaptation of Handel's Castrato Airs for Bass: a Lecture Recital, Together with Three Recitals of Selected Works of J
    57? NS/d Ho, ADAPTATION OF HANDEL'S CASTRATO AIRS FOR BASS: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J. S. BACH, W. MOZART, M. RAVEL, G. FINZI, R. SCHUMANN, A. CALDARA, G. HANDEL, H. WOLF, H. DUPARC, C. IVES AND S. BARBER AND AN OPERATIC ROLE BY VERDI DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Terry L. Fern, B. M., M. M. Denton, Texas May, 1986 Fern, Terry Lee, Adaptation of Handel's Castrato Airs for Bass, A Lecture Recital Together With Three Recitals of Selected Works of J. S. Bach, W. Mozart, M. Ravel, G. Finzi, R. Schumann, A. Caldara, G. Handel, H. Wolf, H. Duparc, C- Ives and S. Barber and an Operatic Role by Verdi. Doctor of Musical Arts (Vocal Performance), May, 1986, 31 pp., 5 illustrations, bibliography, 52 titles. The lecture recital was given on April 18, 1977. The subject was Adaptation of Handel's Castrato Airs for Bass, and it included a discussion of conventions peculiar to Handelian opera seria, concerns regarding adaptation of Handel's castrato airs and a comparison of adaptation practices in eighteenth- and twentieth-century presentations of Handel's operas. Three coloratura castrato airs and two virtuoso bass airs were performed at the conclusion of the lecture. In addition to the lecture recital, one operatic role and three recitals of solo literature for voice, piano and chamber ensemble were publicly performed. These included the role of "Samuele" in A Masked Ball, by Verdi, performed in English on March 19, 1975 with the Opera Theatre of North Texas State University, a program presented on November 24, 1975,of solo literature for voice, piano, and chamber ensemble, including works by J.
    [Show full text]
  • Antonín Dvořák Und Das Liedschaffen Seiner Zeit
    Vom Zauber der menschlichen Stimme: Antonín Dvořák und das Liedschaffen seiner Zeit Ein Essay von Jens Malte Fischer aus dem Programmbuch Antonín Dvorák und Seine Zeit Salzburger Festivalspiele 2004 Programmbuch: http://hampsongfoundation.org/antonin‐dvorak‐and‐his‐time/ Das Kunstlied, speziell das Klavierlied der zweiten Hälfte des 19. Jahrhunderts steht unter dem Einfluss, man könnte zugespitzt sagen, im Schatten der unüberbietbaren Leistung von Franz Schubert und Robert Schumann. Es ist eigentlich erst dem Orchesterlied um die Jahrhundertwende gelungen (Chausson in Frankreich und Mahler in Österreich als Beispiele), die Ausdrucksspektren auszuweiten, die von Schubert und Schumann mit ihrer Beschränkung auf den Klang des Klaviers umrissen worden waren, eine Ausweitung, keine Überbietung wohlgemerkt. Der Respekt vor den großen Vorbildern, ja die Einschüchterung durch sie ist gerade jenen Komponisten anzumerken, die Schuberts Liedschaffen besonders gut kannten, das zu jener Zeit beim interessierten Musikpublikum keineswegs die Geltung hatte, die es im 20. Jahrhundert erlangt hat. Brahms etwa, mit seiner umfassenden literarischen und musikalischen Bildung, war als Liedkomponist nicht eingeschüchtert, wusste aber sehr genau, wer Schubert war. Manche seiner Äußerungen lassen erkennen, dass er die damals gängige Einschätzung Schuberts als purem Melodiker überhaupt nicht teilte, sondern ganz im Sinne seines eigenen kompositorischen Verfahrens enthusiastisch darauf hinwies, wie entscheidend es sei, was dieser Komponist aus seinen melodischen Einfällen gemacht habe. Antonín Dvořák hat sich in seinen amerikanischen Jahren einmal in einem größeren Aufsatz über Schubert geäußert. Seine Sicht auf Schubert, dessen Musik er, wie seine Freunde und Schüler bezeugt haben, liebte und dessen Lieder oft auf seinem Flügel lagen, ist bemerkenswert, weil sie erheblich über das am Ende des 19.
    [Show full text]
  • 2 Viardot Sings Handel (With Thanks to George Sand, Chopin, Meyerbeer, Gounod, and Julius Rietz) Ellen T
    C:/ITOOLS/WMS/CUP/410243/WORKINGFOLDER/MRV/9780521889988C02.3D 9 [9–29] 29.6.2009 12:46PM 2 Viardot sings Handel (with thanks to George Sand, Chopin, Meyerbeer, Gounod, and Julius Rietz) ellen t. harris No one has surpassed Handel – no one ever will surpass him. … Handel is superior, even in the opera, to all composers past or present. George Sand, Consuelo (1842) Opera in the Ottocento was not always nineteenth-century in origin nor were its fashions wholly romantic in nature. The revival of Gluck’s operas by Berlioz paralleled Mendelssohn’s recovery of Bach’s vocal music, and one finds, in addition to many operas based on romantic epics and dramas, a small but significant return in newly written operas to topics based on classical history and mythology. Arias and scenas by Lully, Marcello, Handel, and Pergolesi were performed and studied, and these had an important impact on both instrumental music and opera. Among the composers of nineteenth-century opera most affected by these classicizing trends, Berlioz, Meyerbeer, and Gounod stand out in particular. But prob- ably no one was more significant to the legacy of eighteenth-century opera in the Ottocento than the singer Pauline Garcia Viardot (1821–1910). Viardot’s veneration of the music of the eighteenth century is well documented. Her depiction of Orpheus in Gluck’s opera Orphée, which role Berlioz adapted especially for Viardot, became, perhaps, her signature operatic role; this was followed by the title role of Gluck’s Alceste, also adapted by Berlioz. A devotee of Bach, she shared this deep interest at first with Chopin and Mendelssohn and, later, with her Berlin friend Julius Rietz, a conductor, composer, and editor of Mendelssohn’s complete works for Breitkopf & Härtel.
    [Show full text]
  • Full Conference Schedule Wednesday, February 8, 2017
    Full Conference Schedule Wednesday, February 8, 2017 Wednesday, February 8, 2017 3:00 PM KMEA Conference Registration 3:00 PM - 7:30 PM 11:30 AM GHST 2 Meeting Reg. Kentucky Junior High Chorus 11:30 AM - 1:00 PM Counter (B, C, COLL, K–5, 6–12, J, O) Registration GHST 2 Ballroom B (C, 6–12) 3:30 PM Coordinator: Lynn Pryzgoda, Leestown MS, Lexington Band Council Meeting 3:30 PM - 4:30 PM All-State Symphony Orchestra 11:30 AM - 2:00 PM GHST 1 Laffoon Strings Registration GHRT 3 Coat Check (B) (O) Band Chair: Brian Froedge, North Hardin HS, Cecelia Orchestra Chair: Patrick O’Rourke, Bowling Green HS, Bowling Green 5:00 PM 1:00 PM Performance Assessment 5:00 PM - 6:30 PM Managers Meeting GHST 1 Wilkinson Jazz Committee Meeting 1:00 PM - 2:00 PM (B, C, J, O) GHST 1 Sampson Commission for Performance Assessment Chair: David (J) Graham, Warren Central HS, Bowling Green Jazz Coordinator: Matt Yarborough, St. Xavier, Louisville 6:30 PM Kentucky Children’s Chorus 1:00 PM - 2:45 PM Concert: Louisville 6:30 PM - 7:30 PM Registration GHST 3 Stopher Orchestra/Louisville Youth KC Whitney Hall (C, K–5) Orchestra Side-by-Side Coordinator: John Hall, retired, Scottsville (B, O) Conductor: Jason Seber All-State Chorus Registration 1:00 PM - 3:00 PM Program HR 2 Regency Foyer (C) La Forza del Destino........................................Guiseppe Verdi Choral Chair: Megan Puckett, Allen Co.-Scottsville HS, Overture Scottsville Scottish Fantasy in E-flat major, Op. 46..................Max Bruch 2:00 PM Melissa White, violin, Harlem String Quartet, Gheens Artist
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 12, 1892-1893, Trip
    MUSIC HALL, BUFFALO CONCERT BY THE BOSTON SYMPHONY ORCHESTRA. FRANZ KNEISEL, Conductor. Twelfth Season, 1892-93. With Historical and Descriptive Notes prepared by William F. Apthorp, PUBLISHED BY C. A. ELLIS, Manager. TH E ASON & HAMLIN PIANOS represent that same Highest Standard of excellence which has achieved a repu- tation for their Organs as the Standard of the World. F. KNOLL, Local Representative. (2) Boston Music Hall, Symphony ^ Buffalo. Orchestra Season of 1892-93. Mr. FRANZ KNEISEL, Conductor. Thursday Evening, May 4, 1893, at 8 o'clock. PROGRAMME. Robert Schumann - Symphony No. 2, in C major, Op. 61 I. Sostenuto assai (C major) - - - - - 6-4 Allegro ma non troppo (C major) - 3-4 u - II. Scherzo : Allegro vivace (C major) 2-4 Trio 1°: The same tempo (G major) - 2-4 Trio 11°: The same tempo (C major) - 2-4 III. Adagio espressivo (C minor) - 2-4 IV. Allegro molto vivace (C major) - 2-2 Weber - Agathe's Scene and Aria, from "Freischuetz " t Camille Saint-Saens - Concerto for Violin, No. 1, in A major, Op. 20 I. Allegro (A major) _____ e-4 II. Andante espressivo (D major) - - - - 2-4 III. Tempo primo (A major) - - _ _ _ q_4 / Bach - - Praeludium, Adagio, and Gavotte, for String Orchestra j/ Arranged by Bachrich. Moritz Moszkowski Two Movements from Suite No. 1, in F major, Op. 39 - III. Tema con variazioni : Andante (A major) 2-4 V. Perpetuum mobile : Vivace (P major) - - 4-4 , Wagner - Introduction to Act III., Dance of Apprentices and Proces- " sion of the Mastersingers, from " Die Meistersinger SOLOISTS: Miss FELICIA KASCHOSKA.
    [Show full text]