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Jan Dismas Zelenka's Missae Ultimae
Jan Dismas Zelenka's Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) Item Type text; Electronic Dissertation Authors Cho, Hyunjin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 20:42:28 Link to Item http://hdl.handle.net/10150/195489 JAN DISMAS ZELENKA‟S MISSA DEI PATRIS (1740): THE USE OF STILE MISTO IN MISSA DEI PATRIS (ZWV 19) by HyunJin Cho ______________________ Copyright © HyunJin Cho 2010 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by HyunJin Cho entitled Jan Dismas Zelenka‟s Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) and recommend that it be accepted as the fulfilling requirements for the degree of Doctor of Musical Arts ___________________________________________________ Date: 07/16/2010 Bruce Chamberlain ___________________________________________________ Date: 07/16/2010 Elizabeth Schauer ___________________________________________________ Date: 07/16/2010 Robert Bayless Final approval and acceptance of this document is contingent upon the candidate‟s submission of the final copy of the document to the Graduate College. -
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............................................................................... -
In the Footsteps of Beethoven Bonn, Dresden, Prague, Vienna
IN THE FOOTSTEPS OF BEETHOVEN BONN, DRESDEN, PRAGUE, VIENNA SEPTEMBER 6-20, 2021 TOUR LEADER: ROYNA MCNAMARA PRELIMINARY ITINERARY IN THE FOOTSTEPS Overview OF BEETHOVEN BONN, DRESDEN, PRAGUE, VIENNA Academy Travel is delighted to offer this tour “In the Footsteps of Beethoven.” Join us as we travel from Bonn to Dresden, Leipzig, Prague Tour dates: September 6-20, 2021 and Vienna, celebrating the life and music of this extraordinary composer. The touring program includes nine performances, and allows you to Tour leader: Royna McNamara immerse yourself in the cultural, artistic and musical world of each city. Tour Price: $10,190 per person, twin share The musical journey begins with the Beethoven Festival in Bonn. We continue to Dresden to enjoy world class opera performances. In Prague, Single Supplement: $1,800 for sole use of we attend the annual Dvorak Festival, which attracts performers from double room around the world. Vienna was the centre of one of Europe’s great empires and has an extraordinary cultural legacy, from the music of Mozart, Haydn Booking deposit: $3,000 per person and Beethoven, to the psychology of Freud and the art and architecture of Gustav Klimt and Otto Wagner. While there has always been great wealth for the cultural traveller in Vienna, the city will be alive with performances Recommended airline: Emirates and exhibitions honouring Beethoven’s outstanding musical legacy. Maximum places: 20 The itinerary features performances of opera and orchestral music in some of Europe’s leading music venues, such as the Vienna Staatsoper and Itinerary: Bonn (3 nights), Dresden (4 nights), Prague’s Rudolfinium The music of Beethoven forms the basis of the nine Prague (3 nights), Vienna (4 nights) scheduled performances we will attend and, although Beethoven is the inspiration for our tour, the musical palette is of broad appeal to those with Date published: July 21, 2020 a love of classical music from all periods. -
The Historical Figures of the Birthday Cantatas of Johann Sebastian Bach
Southern Illinois University Carbondale OpenSIUC Theses Theses and Dissertations 5-15-2010 The iH storical Figures of the Birthday Cantatas of Johann Sebastian Bach Marva J. Watson Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/theses Recommended Citation Watson, Marva J., "The iH storical Figures of the Birthday Cantatas of Johann Sebastian Bach" (2010). Theses. Paper 157. This Open Access Thesis is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH by Marva Jean Watson B.M., Southern Illinois University, 1980 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale May 2010 THESIS APPROVAL THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH By Marva Jean Watson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Music History and Literature Approved by: Dr. Melissa Mackey, Chair Dr. Pamela Stover Dr. Douglas Worthen Graduate School Southern Illinois University Carbondale April 2, 2010 AN ABSTRACT OF THE THESIS OF MARVA JEAN WATSON, for the Master of Music degree in Music History and Literature, presented on 2 April 2010, at Southern Illinois University Carbondale. TITLE: THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH MAJOR PROFESSOR: Dr. -
Johann Sebastian Bach
COMENTARIOS SOBRE LA VIDA Y OBRA DE JOHANN SEBASTIAN BACH Darío Valencia Restrepo COMENTARIOS SOBRE LA VIDA Y OBRA DE JOHANN SEBASTIAN BACH COMENTARIOS SOBRE LA VIDA Y OBRA DE JOHANN SEBASTIAN BACH 1685-1750 Retrato al óleo del compositor por Haussmann (c. 1748) Trabajo elaborado por Darío Valencia Restrepo y dedicado a sus amigos miembros de la tertulia musical “Divertimento” MEDELLÍN-COLOMBIA 2021 Derechos reservados Diseño y diagramación por el autor Impreso en Digital Express Medellín-Colombia Año 2021 El autor, Darío Valencia Restrepo, es ingeniero civil de la Facultad de Minas y se desempeña como consultor independiente. Posee títulos de posgrado en matemáticas de la Universidad Nacional de Colombia y en recursos de agua del Instituto Tecnológico de Massachusetts. Fue rector de la Universidad de Antioquia, gerente general de las Empresas Públicas de Medellín y rector de la Universidad Nacional de Colombia. Es Profesor Emérito y Doctor Honoris Causa de esta última institución. Fue distinguido por el Gobierno nacional de Colombia con la Orden al Mérito Julio Garavito en el Grado de Gran Cruz. Condecorado como “Gran Maestro de la Ingeniería Antioqueña” por la Sociedad Antioqueña de Ingenieros y Arquitectos. Es Miembro Honorario de la Academia Antioqueña de Historia. En los últimos años, como Miembro Honorario de la Academia Colombiana de Ciencias Exactas, Físicas y Naturales, viene estudiando y difundiendo la obra de Francisco José de Caldas y Alexander von Humboldt. Sus principales áreas de trabajo universitario han sido hidrología y recursos hidráulicos. Y ha escrito libros, artículos y columnas de prensa sobre ciencia, técnica, educación y cultura. -
Ludwig Van Beethoven: the Heard and the Unhearing
Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Translated by Andrew Horsfield ® MIX Papier aus verantwor- tungsvollen Quellen ® www.fsc.org FSC C083411 © Verlag Herder GmbH, Freiburg im Breisgau 2020 All rights reserved www.herder.de Cover design by University Hospital Bonn Interior design by SatzWeise, Bad Wünnenberg Printed and bound by CPI books GmbH, Leck Printed in Germany ISBN 978-3-451-38871-2 Words of welcome from Nike Wagner Bonn is not only the birthplace of Beethoven. The composer spent the first two decades of his life here, became a professional musician in this city and absorbed here the impulses and ideas of the Enlightenment that shaped his later creative output, too. To this extent, it is logical that Bonn is preparing to celebrate Beethoven with a kind of “Cultural Capital Year” to mark his 250th birthday. In this special year, opportunities have been cre- ated in abundance to engage with the “great mogul,” as Haydn called him. There is still more to be discovered in his music, as in his life, too. In this sense, a symposium that approaches the phenomenon of Beethoven from the music-medicine perspective represents an additional and necessary enrichment of the anni- versary year. When I began my tenure as artistic director of the Beethoven- feste Bonn in 2014, I set out to bring forth something that was always new, special and interdisciplinary. -
New at the Morgan Checklist
New at the Morgan: Acquisitions Since 2004 April 17 through October 18, 2009 WALLS Red Grooms American, b. 1937 Rudy Burckhardt at Machu Picchu, 1974 Pencil and colored ink This impressive portrait records Grooms’s friendship with photographer and cinematographer Rudy Burckhardt (1914–1999), with whom he collaborated on several films in the 1960s. The drawing was made from a sketch Grooms did during a trip the two artists took to the pre-Columbian Inca site of Machu Picchu, Peru. The mix of humor and tenderness is characteristic of Grooms’s style, which relates to the aesthetics of the comic strip. Having started with the head, Grooms eventually ran out of space for the feet and continued on another sheet of paper. Gift of Lysiane Luong Grooms and Red Grooms; 2008.3 John Singer Sargent American, 1856–1925 Portrait of Paul-César Helleu, ca. 1882–85 Watercolor in tones of brown, tan, cream, gray, rose, and violet over pencil This is Sargent’s depiction of his close friend, the French painter and printmaker Paul-César Helleu (1859–1927), whom he met in Paris around 1876. A former student of the academic painter Jean-Léon Gérôme, Helleu established his reputation in the 1890s with portraits of fashionable beauties. In 1912 he painted the ceiling of Grand Central Terminal in New York. The present drawing, begun with a pencil sketch and finished with broad strokes of watercolor brush, exhibits an immediacy characteristic of Sargent’s portrait style. Gift of Rose Pitman Hughes and J. Lawrence Hughes in memory of Junius and Louise Morgan; 2005.5 Series of seven photographic portraits of Mark Twain (1835–1910), each inscribed by Twain, 1906 Gelatin silver prints on card Twain sent with these seven photographs with a cover letter explaining that the series registers “with scientific precision, stage by stage, the progress of a moral purpose through the mind of the human race’s Oldest Friend.” The author relaxes in a rocking chair on a porch in Dublin, New Hampshire, chiefly smoking a cigar. -
The Intersection of Gender, Religion, and Culture in Nineteenth-Century
THE INTERSECTION OF GENDER, RELIGION, AND CULTURE IN NINETEENTH‐ CENTURY GERMANIC SALONS Jennifer Lauren Psujek A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August: 2010 Committee: Mary Natvig, Advisor Eftychia Papanikolaou ii ABSTRACT Mary Natvig, Advisor Modern salons began as gatherings for conversation among the French aristocracy in the seventeenth century. By the eighteenth century it had become a bourgeois tradition, with its importance cumulating in the French Revolution. The French salon moved to Germany and Austria in the late eighteenth century, however, its heyday in those lands was in the nineteenth century. The salon became a place where women in both France and the Germanic lands could gain an education and power. What has yet to be discussed in scholarship is the extent to which the salon in the Germanic lands moved away from its French roots and Became its own unique tradition. First, purely musical salons began during the Biedermeier period, as will be seen when examining the German salons of Sara Levy, Amalie Beer, Lea Mendelssohn, Fanny Mendelssohn‐Hensel, and Clara Wieck‐Schumann. Second, Germany and Austria saw the first salons hosted by Jewish women. This thesis highlights those of Henriette Herz, Rahel Levin‐Varnhagen, Fanny von Arnstein, Sara Levy, Amalie Beer, Lea Mendelssohn, Fanny Mendelssohn‐Hensel, Berta Zuckerkandl, and Salka Viertel. Finally, to demonstrate the benefits of Germanic salon culture, the last chapter focuses on Johanna Kinkel’s involvement with the Berlin salon tradition. Kinkel was a composer, writer, and political activist. -
The Recorded Heritage of Willem Mengelberg and Its Aesthetic Relevance
Copyright 2014 Samir Ghiocel Golescu THE RECORDED HERITAGE OF WILLEM MENGELBERG AND ITS AESTHETIC RELEVANCE BY SAMIR GHIOCEL GOLESCU DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor William Kinderman, Chair Professor Ian Hobson Associate Professor Sherban Lupu Assistant Professor Katherine Syer ABSTRACT This dissertation explores the art and interpretative aesthetics of the Dutch conductor Willem Mengelberg (1871-1951), as preserved in his sound recordings and, subsidiarily, in his writings. Emphasis is given to issues pertaining to 19th century performance practice, as well as to historical connections between Mengelberg and compositional/interpretative trends in Europe at the time. Mengelberg’s impact on musical life in Amsterdam, New York, and beyond will be considered. The relevance of Mengelberg’s recordings is assessed from both a documentary and aesthetic point of view. The quasi-entirety of Mengelberg’s rich body of recordings has been consulted, yet a few dozens of them have been chosen for an in-depth study meant to illuminate both their historical context and their contemporary relevance. ii ACKNOWLEDGMENTS It is with gratitude that I acknowledge the help and support of the committee members, particularly long-time University of Illinois mentors Ian Hobson and William Kinderman, as well as previous mentors and close musical friends such as Florica Nitzulescu, Ioan Welt, Elena Andriescu, Isabelle Belance-Zank, Hubert Wendel, and Sergei Pavlov. I am indebted to Ingrid Ilinca for her help and support. -
Alberto Basso
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Diposit Digital de Documents de la UAB Doctor Honoris Causa ALBERTO BASSO Discurs llegit a la cerimònia d’investidura celebrada a l’Auditori de la Facultat de Filosofia i Lletres el dia 20 d’octubre de l’any 2004 Editat i imprès pel Servei de Publicacions de la Universitat Autònoma de Barcelona 08193 Bellaterra (Barcelona) Imprès a Catalunya 2 PRESENTACIÓ D’ALBERTO BASSO PER FRANCESC BONASTRE Excel·lentíssim i Magnífic Senyor Rector de la Universitat Autònoma de Barcelona, Senyors Doctors de la Facultat de Filosofia i Lletres, Senyores i Senyors, És per a mi un immerescut honor l’encàrrec de redactar la laudatio del professor Alberto Basso en la solemne cerimònia de col·lació del grau de doctor honoris causa de la nostra universitat. Immerescut perquè el prestigi del candidat demana una congruïtat d’escaiença que no crec estar en condicions de posseir; honor perquè és bo, des de la discreta talaia del postulador d’aquesta causa, poder pouar en l’excel·lència del llegat que Alberto Basso ens ha estat oferint des de més de cinquanta anys ençà. La seva vocació per la música sorgeix amb força en la jovenesa, amb la monografia escrita el 1952 titulada L’opera di Igor Stravinskij, amb la qual aconseguí el premi del concurs nacional organitzat pel Ministeri d’Instrucció Pública. L’Stravinsky de 1952 havia iniciat un canvi radical en la seva activitat compositiva; mort Schœnberg el 1951, el compositor rus —naturalitzat nord-americà— es decanta pel dodeca- fonisme, al qual dóna un tractament tonal, que seguirà fins als Requiem Canticles, la darrera obra de la seva vida. -
J.S. BACH COMPLETE ORGAN MUSIC Liner Notes
J.S. BACH COMPLETE ORGAN MUSIC Liner notes CD1 and reflects the influence of Georg Böhm and the tastes The majority of the recordings made using the Trost of central and southern Germany. The cantus firmus (on organ in Waltershausen consist of trio sonatas that were the pedal) alludes to death, but with serenity not originally conceived as compositions for the organ. reminiscent of the chorales from the Orgelbüchlein Only No.6 was deliberately composed for the collection, (BWV 616 and 617) on the Canticle of Simeon, with while many derive from other trios. Sonatas Nos. 2, 5 subdivision of the phrases and imitations of the and 6 are homogeneous, in that they share common individual elements. The BWV736 version in D major, features: the structure of the first movement in the which was composed later, also expresses serenity, concerto style, for instance, with alternating solo and though the way it is constructed is different, in that the ensemble parts; and that of the third movement in the chorale, played by the pedal, emerges from the weft in style of the fugue. Bach had envisaged the collection for triplets of the upper voices. his son Wilhelm Friedemann, introducing some The partita O Gott, du frommer Gott BWV767 (and remarkably innovative developments in form and Sei gegrüßet BWV768) appears to be a series of content, and in general adhering to the style of the variations on a chorale often used in the Thuringian sonata and the Italian concerto. That said, however, the (Buttstett) tradition. It was probably intended as a focus is largely on the keyboard, with the pedal generally collection of material that could be alternated with the ‘simplified’ in the themes (with respect to compositions canto. -
Ludwig Van Beethoven Egmont Op
Ludwig van Beethoven Egmont op. 84 · Wellingtons Sieg op. 91 Three Overtures opp. 62, 124 & 115 Raffaela Lintl · Frederic Böhle Cappella Aquileia Marcus Bosch Cappella Aquileia (© Hans Georg Fischer) Ludwig van Beethoven (1770–1827) 38'34 Egmont op. 84 Beethovens Musik zu Goethes Trauerspiel Egmont durch Deklamation verbunden Friedrich Mosengeil/Franz Grillparzer · Kürzung/Adaption: Stephan Knies 1 Ouvertüre 6'36 2 Vernommen habt ihr die gewaltgen Töne 2'36 3 Die Trommel gerühret [Sopran] 2'41 4 So freue dich, denn kurz ist alle Freude 0'17 5 Entract (No. 2) 2'41 6 Die List des Herzog Alba, den aus Spanien 1'33 7 Larghetto (No. 3) 3'38 8 Freudvoll und leidvoll – Das ist das Los des Lebens und der Liebe 1'05 9 Freudvoll und leidvoll. Lied (No. 4) [Sopran] 1'18 10 Und Egmont tritt herein! mit Alegretto (No. 5) 3'15 11 Umgarnt vom Netz des schlauen Jägers 1'20 12 Poco sostenuto (No. 6) 2'45 13 O Clärchen! Treues Herz! 0'54 14 Larghetto (No. 7) 1'48 15 Melodram (No. 8): Süßer Schlaf 3'59 16 Trommeln näher: Ja, führt sie nur zusammen! 0'43 17 Die Sieges-Symphonie rasch einfallend 1'25 18 Coriolan. Ouvertüre op. 62 6'58 19 Die Weihe des Hauses. Ouvertüre op. 124 9'35 20 Zur Namensfeier. Ouvertüre op. 115 7'03 Wellingtons Sieg 9'30 oder Die Schlacht bei Vittoria op. 91 21 1. Abteilung: Die Schlacht 8'05 22 2. Abteilung: Sieges-Symphonie 1'25 T.T.: 76'34 Raffaela Lintl, Sopran · Frederic Böhle, Sprecher Cappella Aquileia · Marcus Bosch Frederic Böhle (© Elena Zaucke) Raffaela Lintl (© Simon Pauly) Ode an die Literatur Jahren taube, vereinsamte und verbitterte Komponist ver- körperte den Typus des tragischen Künstlers schlechthin, Seit Jahrhunderten bildet die Literatur eine fruchtbare der in der Literatur der Romantik seine Blütezeit erlebte Inspirationsquelle für Komponisten, die durch Gedichte, und auch weit darüber hinaus Wirkung zeigte.