DOCSLIB.ORG

The Gustav Mahler-Alfred Rosé Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Gustav Mahler-Alfred Rosé Collection WESTERN ARCHIVES FINDING AID FOR The Gustav Mahler-Alfred Rosé Collection AFC 382 Prepared by Astrid Ramos under the supervision of University Archivist Robin Keirstead and with the assistance of Music Library Director Brian McMillan. Table of Contents ........................................................................................................................Biographical Sketch/Administrative History .........................................................................................................................4 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................Scope and Content .........................................................................................................................4 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................Languages .........................................................................................................................4 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................Arrangement .........................................................................................................................4 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................AFC 382-SF1 Gustav Mahler .........................................................................................................................6 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................AFC 382-SF1-S1 Correspondence .........................................................................................................................7 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................AFC 382-SF1-S2 Documents .........................................................................................................................36 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................AFC 382-SF1-S3 Photographs .........................................................................................................................42 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................AFC 382-SF1-S4 Recordings .........................................................................................................................44 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................AFC 382-SF1-S5 Memorabilia .........................................................................................................................45 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................AFC 382-SF1-S6 Artifacts .........................................................................................................................46 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................AFC 382-SF2 Alfred Rosé .........................................................................................................................46 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................AFC 382-SF2-S1 Correspondence .........................................................................................................................48 .......................................................................................................................................................................................................................................................................................................................................................................................................................... ........................................................................................................................AFC 382-SF2-S2 Documents .........................................................................................................................57 .........................................................................................................................................................................................................................................................................................................................................................................................................................
Load more

Recommended publications
  • Gustav Mahler : Conducting Multiculturalism
    GUSTAV MAHLER : CONDUCTING MULTICULTURALISM Victoria Hallinan 1 Musicologists and historians have generally paid much more attention to Gustav Mahler’s famous career as a composer than to his work as a conductor. His choices in concert repertoire and style, however, reveal much about his personal experiences in the Austro-Hungarian Empire and his interactions with cont- emporary cultural and political upheavals. This project examines Mahler’s conducting career in the multicultural climate of late nineteenth-century Vienna and New York. It investigates the degree to which these contexts influenced the conductor’s repertoire and questions whether Mahler can be viewed as an early proponent of multiculturalism. There is a wealth of scholarship on Gustav Mahler’s diverse compositional activity, but his conducting repertoire and the multicultural contexts that influenced it, has not received the same critical attention. 2 In this paper, I examine Mahler’s connection to the crumbling, late nineteenth- and early twentieth-century depiction of the Austro-Hungarian Empire as united and question whether he can be regarded as an exemplar of early multiculturalism. I trace Mahler’s career through Budapest, Vienna and New York, explore the degree to which his repertoire choices reflected the established opera canon of his time, or reflected contemporary cultural and political trends, and address uncertainties about Mahler’s relationship to the various multicultural contexts in which he lived and worked. Ultimately, I argue that Mahler’s varied experiences cannot be separated from his decisions regarding what kinds of music he believed his audiences would want to hear, as well as what kinds of music he felt were relevant or important to share.
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ VIOLIN ETUDES: A PEDAGOGICAL GUIDE A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2006 by Semi Yang [email protected] B.M., Queensland Conservatorium of Music, Griffith University, Australia, 1995 M.M., Queensland Conservatorium of Music, Griffith University, Australia, 1999 Advisor: Dr. Won-bin Yim Reader: Prof. Kurt Sassmannshaus Reader: Dr. Robert Zierolf ABSTRACT Studying etudes is one of the most essential parts of learning a specific instrument. A violinist without a strong technical background meets many obstacles performing standard violin literature. This document provides detailed guidelines on how to practice selected etudes effectively from a pedagogical perspective, rather than a historical or analytical view. The criteria for selecting the individual etudes are for the goal of accomplishing certain technical aspects and how widely they are used in teaching; this is based partly on my experience and background. The body of the document is in three parts. The first consists of definitions, historical background, and introduces different of kinds of etudes. The second part describes etudes for strengthening technical aspects of violin playing with etudes by Rodolphe Kreutzer, Pierre Rode, and Jakob Dont. The third part explores concert etudes by Wieniawski and Paganini.
    [Show full text]
  • IGUSTAV MAHLER Ik STUDY of HIS PERSONALITY 6 WORK
    IGUSTAV MAHLER Ik STUDY OF HIS PERSONALITY 6 WORK PAUL STEFAN ML 41O M23S831 c.2 MUSI UNIVERSITY OF TORONTO Presented to the FACULTY OF Music LIBRARY by Estate of Robert A. Fenn GUSTAV MAHLER A Study of His Personality and tf^ork BY PAUL STEFAN TRANSLATED FROM THE GERMAN EY T. E. CLARK NEW YORK : G. SCHIRMER COPYRIGHT, 1913, BY G. SCHIRMER 24189 To OSKAR FRIED WHOSE GREAT PERFORMANCES OF MAHLER'S WORKS ARE SHINING POINTS IN BERLIN'S MUSICAL LIFE, AND ITS MUSICIANS' MOST SPLENDID REMEMBRANCES, THIS TRANSLATION IS RESPECTFULLY DEDICATED BERLIN, Summer of 1912. TRANSLATOR'S PREFACE The present translation was undertaken by the writer some two years ago, on the appearance of the first German edition. Oskar Fried had made known to us in Berlin the overwhelming beauty of Mahler's music, and it was intended that the book should pave the way for Mahler in England. From his appearance there, we hoped that his genius as man and musi- cian would be recognised, and also that his example would put an end to the intolerable existing chaos in reproductive music- making, wherein every quack may succeed who is unscrupulous enough and wealthy enough to hold out until he becomes "popular." The English musician's prayer was: "God pre- serve Mozart and Beethoven until the right man comes," and this man would have been Mahler. Then came Mahler's death with such appalling suddenness for our youthful enthusiasm. Since that tragedy, "young" musicians suddenly find themselves a generation older, if only for the reason that the responsibility of continuing Mah- ler's ideals now rests upon their shoulders in dead earnest.
    [Show full text]
  • Influences of Late Beethoven Piano Sonatas on Schumann's Phantasie in C Major Michiko Inouye [email protected]
    Wellesley College Wellesley College Digital Scholarship and Archive Honors Thesis Collection 2014 A Compositional Personalization: Influences of Late Beethoven Piano Sonatas on Schumann's Phantasie in C Major Michiko Inouye [email protected] Follow this and additional works at: https://repository.wellesley.edu/thesiscollection Recommended Citation Inouye, Michiko, "A Compositional Personalization: Influences of Late Beethoven Piano Sonatas on Schumann's Phantasie in C Major" (2014). Honors Thesis Collection. 224. https://repository.wellesley.edu/thesiscollection/224 This Dissertation/Thesis is brought to you for free and open access by Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in Honors Thesis Collection by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. A Compositional Personalization: Influences of Late Beethoven Piano Sonatas on Schumann’s Phantasie in C Major Michiko O. Inouye Submitted in Partial Fulfillment of the Prerequisite for Honors in the Wellesley College Music Department April 2014 Copyright 2014 Michiko Inouye Acknowledgements This work would not have been possible without the wonderful guidance, feedback, and mentorship of Professor Charles Fisk. I am deeply appreciative of his dedication and patience throughout this entire process. I am also indebted to my piano teacher of four years at Wellesley, Professor Lois Shapiro, who has not only helped me grow as a pianist but through her valuable teaching has also led me to many realizations about Op. 111 and the Phantasie, and consequently inspired me to come up with many of the ideas presented in this thesis. Both Professor Fisk and Professor Shapiro have given me the utmost encouragement in facing the daunting task of both writing about and working to perform such immortal pieces as the Phantasie and Op.
    [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]
  • Eberhard Waechter“
    DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung ..........................................................................................
    [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]
  • Violin Repertoire List
    Violin Repertoire List In reverse order of difficulty (beginner books at top). Please send suggestions / additions to [email protected]. Version 1.1, updated 27 Aug 2015 ​ List A: (Pieces in 1st position & basic notation) ​ Fiddle Time Starters Fiddle Time Joggers Fiddle Time Runners Fiddle Time Sprinters The ABCs of Violin Musicland Violin Books Musicland Lollipop Man (Violin Duets) Abracadabra - Book 1 Suzuki Book 1 ABRSM Grade Book 1 VIolinSchool Editions: Popular Tunes in First Position ● Twinkle Twinkle Little Star ● London Bridge is Falling Down ● Frère Jacques ● When the Saints Go Marching In ● Happy Birthday to You ● What Shall We Do With the Drunken Sailor ● Ode to Joy ● Largo from The New World ● Long Long Ago ● Old MacDonald Had a Farm ● Pop! Goes the Weasel ● Row Row Row Your Boat ● Greensleeves ● The Irish Washerwoman ● Yankee Doodle Stanley Fletcher, New Tunes for Strings, Book 1 2 Step by Step Violin Play Violin Today String Builder Violin Book One (Samuel Applebaum) A Tune a Day I Can Read Music Easy Classical Violin Solos Violin for Dummies The Essential String Method (Sheila Nelson) Robert Pracht, Album of Easy Pieces, Op. 12 Doflein, Violin Method, Book 1 Waggon Wheels Superstudies (Mary Cohen) The Classical Experience Suzuki Book 2 Stanley Fletcher, New Tunes for Strings, Book 2 Doflein, Violin Method, Book 2 Alfred Moffat, Old Masters for Young Players D. Kabalevsky, Album Pieces for 1 and 2 Violins and Piano *************************************** List B: (Pieces in multiple positions and varieties of bow strokes) ​ Level 1: Tomaso Albinoni Adagio in G minor Johann Sebastian Bach: Air on the G string Bach Gavotte in D (Suzuki Book 3) Bach Gavotte in G minor (Suzuki Book 3) Béla Bartók: 44 Duos for two violins Karl Bohm www.ViolinSchool.org | [email protected] | +44 (0) 20 3051 0080 ​ ​ ​ 3 Perpetual Motion Frédéric Chopin Nocturne in C sharp minor (arranged) Charles Dancla 12 Easy Fantasies, Op.86 Antonín Dvořák Humoresque King Henry VIII Pastime with Good Company (ABRSM, Grade 3) Fritz Kreisler: Berceuse Romantique, Op.
    [Show full text]
  • Arnold Schoenberg and Music Criticism
    JOURNAL OF OF RESEARCH ONLINE MusicA JOURNALA JOURNAL OF OF THE THE MUSIC UNIVERSITY COUNCIL OF OF ADELAIDE AUSTRALIA t ‘WHERE POWERS ARE BOLDLY STIRRING, I COUNSEL OPEN War’: ARNOLD SCHOEN- BERG AND MUSIC CRITICISM t is commonplace to contemplate Arnold Schoenberg, the putative father of ALEXANDER CARPENTER modern music, as the subject of music criticism, much of it staunchly negative. It is well-known that Schoenberg’s entire biography is coloured by his oppositional ■ Iorientation towards music critics and criticism: indeed, the title of this article comes Fine Arts and Humanities from Schoenberg’s (1909b/1975) bellicose essay, ‘About Music Criticism’, in which University of Alberta he damns those Viennese critics who prejudge music and who even disrupt or seek Augustana Campus to have performances stopped before a work can have a fair hearing. Over the 4901-46 Avenue course of his professional life, Schoenberg responded to critics and criticism in a number of different ways. First, he fired back, writing letters and essays defending his Camrose, Alberta music but also challenging not only the credentials of critics but the very institution Canada T4V 2R3 of music criticism itself. Second, he painted, literally painted, music critics in rather unflattering terms, representing on canvas what he considered their worst qualities in a series of amateur expressionistic paintings from the early part of the twentieth [email protected] century. And third, he withdrew himself and the modern music he championed into the Society for Private Musical Performance. Most importantly, Schoenberg also penned what I would consider his own music criticism: offering prescriptions for performance and interpretation, proposing a process for journalistic music criticism, musing on musical aesthetics generally and writing critical essays on the significance of specific composers.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • O Legado De Pablo De Sarasate
    O LEGADO DE PABLO DE SARASATE Lígia Maria Leitão Soares Silva Tese apresentada à Universidade de Évora para obtenção do Grau de Doutor em Música e Musicologia Especialidade: Interpretação ORIENTADORA: Professora Doutora Vanda de Sá ÉVORA, NOVEMBRO DE 2018 INSTITUTO DE INVESTIGAÇÃO E FORMAÇÃO AVANÇADA ¡Un genio! ¡He practicado catorce horas diarias durante treinta y siete años, y ahora me llaman genio! Pablo de Sarasate ~ iii ~ ~ iv ~ À memória dos meus pais ~ v ~ ~ vi ~ Agradecimentos Concluir um doutoramento em Música e Musicologia na especialidade de Interpretação implica uma longa trajectória em que a conciliação do trabalho escrito com a prática do instrumento dificilmente se consegue fazer de modo regular e constante. Este trabalho não teria sido possível sem o apoio de diversas pessoas às quais deixo aqui os meus sinceros agradecimentos. Começo por agradecer à Professora Doutora Vanda de Sá, orientadora deste trabalho, a disponibilidade e o interesse, as sugestões que fez e a generosidade com que disponibilizou algumas fontes. Agradeço ainda a forma estimulante como contribuiu para o alargamento de algumas problemáticas iniciais, a amizade demonstrada e a disponibilidade para ler e aconselhar sobre o conteúdo das notas aos programas que elaborei para os recitais que realizei como parte deste doutoramento. Agradeço ao Professor Doutor Félix Andrievsky todos os conhecimentos que me transmitiu ao longo dos anos em que trabalhei com ele e sem os quais não teria sido possível realizar este trabalho. Agradeço também a disponibilidade que continua a ter para mim, cerca de trinta anos após o primeiro contacto, o estímulo, os conselhos e o interesse com que ouviu grande parte do repertório que interpretei nos recitais.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]