DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

110292bk Viennese 27/4/03 6:22 pm Page 2 1 Als flotter Geist, doch früh verwaist 7 Schenkt man sich Rosen in Tirol @ Im Chambre séparée & Schön wie die blaue Sommernacht ADD from Der Zigeunerbaron 2:52 from Der Vogelhändler 2:44 from Der Opernball 3:03 from Giuditta 3:17 Great Operetta Recordings (Johann Strauss II–Ignaz Schnitzer) (Karl Zeller–Moritz West–Ludwig Held) (Richard Heuberger–Viktor Léon–Heinrich von (Franz Lehár–Paul Knepler–Fritz Löhner) 8.110292 Charles Kullmann, tenor; members of the Chorus Walther Ludwig, tenor; Lillie Claus, soprano; Waldberg) Jarmila Novotná, soprano; Richard Tauber, tenor; & Orchestra of the Staatsoper, Berlin, conducted chorus & orchestra of the Berlin Staatsoper Richard Tauber, tenor; orchestra conducted Vienna Philharmonic Orchestra conducted by by Clemens Schmalstich conducted by Gerhard Steeger by Erich Wolfgang Korngold Franz Lehár 1 Columbia WR 488 (Berlin, 1932) Deutsche Grammophon 933 /2 GE9 Parlophon-Odeon Be 9424-2 (Berlin, 1932) Odeon VE 2099-3 (Vienna, 1934) 2 Vem oss har vigt? (Wer uns getraut?) (Berlin, 1940) # Lippen schweigen * Heimatland from Der Zigeunerbaron 3:11 8 Ich hab’ kein Geld from Die lustige Witwe 2:56 from Monika 3:18 VIENNESE (Johann Strauss II–Ignaz Schnitzer) from Der Bettelstudent 1:39 (Franz Lehár–Viktor Léon–Leo Stein) (Nico Dostal–Hermann Hermecke) Jussi Björling, tenor; Hjördis Schymberg, (Karl Millöcker–Richard Genée–F. Zell) Dusolina Giannini, soprano; Marcel Wittrisch, Anni Frind, soprano; orchestra conducted by OPERETTA soprano; orchestra conducted by Nils Grevillius Franz Völker, tenor; members of the Berlin tenor; orchestra conducted by Bruno Seidler-Winkler (Sung in Swedish) Staatsoper Orchestra conducted by Alois Bruno Seidler-Winkler Electrola ORA 2789 (Berlin, 1938) GEMS Swedish HMV OSB 741-5 (Stockholm, 1938) Melichar Electrola ORA 3228 (Berlin, 1938) ( 1 Ich liebe dich 3 Mein Herr Marquis Deutsche Grammophon 5674 /2 GR 8 $ Ich bin ein Zigeunerkind from Zauber der Bohème 3:01 Classic performances by from Die Fledermaus 3:22 (Berlin, 1934) from Zigeunerliebe 3:18 (Robert Stolz) (Johann Strauss II–Richard Genée–Carl Haffner) 9 Komm’, Zígan’ (Franz Lehár–Viktor Léon–Leo Stein) Marcel Wittrisch, tenor; orchestra conducted by Jussi Björling Elisabeth Schumann, soprano; orchestra from Gräfin Mariza 3:09 Joseph Schmidt, tenor; orchestra conducted by Bruno Seidler-Winkler conducted by Karl Alwin (Emmerich Kálmán–Julius Brammer–Alfred Felix Günther Electrola ORA 2331 (Berlin, 1937) Hilde Gueden HMV Bb 12008 (London, 1927) Grünwald) Odeon 85273-3 (Berlin, 1936) ) Liebe, du Himmel auf Erden Richard Tauber 4 Trinke, Liebchen, trinke schnell Marcel Wittrisch, tenor; orchestra conducted % O Mädchen, mein Mädchen from Paganini 3:10 from Die Fledermaus 3:19 by Ernst Hauke from Friederike 2:44 (Franz Lehár–Paul Knepler–Béla Jenbach) Franz Völker (Johann Strauss II–Richard Genée–Carl Haffner) Electrola OD 1335 (Berlin, 1932) (Franz Lehár–Ludwig Herzer–Fritz Löhner) Hilde Gueden, soprano; Kingsway Symphony Franz Völker, tenor; Elsa Kochhann, soprano; 0 Finale (Act 1) Franz Völker, tenor; orchestra Orchestra conducted by Hans May Marcel Wittrisch orchestra conducted by Joseph Snaga from Die Bajadere 3:17 Polydor 805dk –IV (Berlin, 1928) Decca DR 13392 (London, 1949) Gitta Alpár Polydor 1689br (Berlin, 1929) (Emmerich Kálmán–Julius Brammer–Alfred ^ Bin verliebt, bin so verliebt 5 Lagunenwalzer Grünwald) from Schön ist die Welt 2:50 Walther Ludwig from Eine Nacht in Venedig 3:06 Gitta Alpár, soprano; Herbert Ernst Groh, tenor; (Franz Lehár–Ludwig Herzer–Fritz Löhner) (Johann Strauss II–Richard Genée–F. Zell) orchestra conducted by Otto Dobrindt Gitta Alpár, soprano; orchestra Elisabeth Schumann Julius Patzak, tenor; orchestra of the Berlin Odeon W133554-2 (Berlin, 1932) Parlophon-Odeon 38842-3 (Berlin, 1930) Staatsoper conducted by Alois Melichar ! Sei gepriesen, du lauschige Nacht Julius Patzak 1 Polydor 6143 /2 GD8 (Berlin, 1934) from Die Landstreicher 3:13 Charles Kullmann 6 Hab’ ich nur deine Liebe (Karl Michael Ziehrer–L. Krenn–C. Lindau) Research, Transfers and Digital Restoration by Peter Dempsey from Boccaccio 3:09 Sung and whistled by Elisabeth Schumann, and many others (Franz von Suppé–Richard Genée–F. Zell) soprano; orchestra conducted by Lawrence Julius Patzak, tenor; orchestra of the Berlin Collingwood Staatsoper conducted by Alois Melichar HMV OEA 4683-2 (London, 1937) Original Recordings 1 Polydor 6144 /2 GD8 (Berlin, 1934) 1927-1949 8.110292 56 8.110292 110292bk Viennese 27/4/03 6:22 pm Page 1 VIENNESE OPERETTA GEMS director of the Theater an der Wien, a post he held counterpoint, privately, under Zdenko Fibich and his first operetta success, Clivia, was premièred in returning to Vienna only in 1946. His work in the from 1869 to 1883. In its superbly integrated blend of Antonin Dvorˇák. His first opera, a flop, was produced Berlin, in 1933, starring his wife-to-be, the Viennese genre, however, endured until 1969, long after the Original Recordings 1927-1949 burlesque and romance, his greatest success Der at Leipzig in 1896 but by 1903, when he took up the coloratura Lillie Claus. Among his subsequent heyday of the Operette was past. Marked by a Bettelstudent (1882) has been rated the Viennese musical directorship of the Theater an der Wien, he successes were Die Vielgeliebte (1935) and Monika characteristic penchant for the nostalgic and languid, Mythical Vienna and operetta have long been elements of comedy and Singspiel. Among the most counterpart to Lecocq’s French opérette masterpiece was already famed for his popular waltz ‘Gold und (1937 – filmed in 1942 as Heimatland, its hit-song is Stolz’s anachronistic but highly popular works in the synonyms and our brief survey of the Viennese prolific of these was Franz von Suppé (really La fille de Madame Angot. Self-taught, from 1863 Silber’ Op.75. In 1905, after five moderate operetta sung here by the Bohemia-born star of the Berlin Viennese idiom, which were variously mounted in Operette therefore appropriately begins with well- Francesco Ezecchiele Ermenegildo, Cavaliere Suppé- Ziehrer toured Austria and Germany with his own successes, his fortuitous assumption of a libretto operetta stage Anni Frind, 1900-1987). Although Budapest, Berlin, Vienna, London and Zurich, known samples from the landmarks of the Viennese Demelli, 1819-1895). An aristocrat-turned-conductor dance orchestra before promoting popular concerts in rejected by Heuberger altered the dir-ection of only one of his stage works (Liebesbriefe, 1955) was include Der Tanz ins Glück (1920), Venus in Seide ‘Waltz King’ Johann Strauss II (1825-1899). Strauss of Dalmatian origin, Suppé penned more than 200 Vienna. The composer of about 600 marches and Viennese operetta. Die lustige Witwe first ran at the premièred in Vienna, all are moulded in the Viennese (1932) and Zwei Herzen im Dreivierteltakt (1933). was already a fêted exponent of Viennese dance works for the stage, including thirty-odd light operas waltzes he also wrote operettas, his most celebrated Theater an der Wien in 1905 for a record-breaking tradition. His last operetta, Rhapsodie der Liebe, was Outstanding among his many film-musical successes music before he turned to operetta, with Indigo, in and operettas of which several enjoyed high Die Landstreicher (1899). 483 performances. From 1907 it ran in London for first heard in Nuremberg in 1963. were Das Lied ist aus (1930), Liebeskommando 1871. He was born, spent most of his days and died popularity in Vienna. His 1860 work Das Pensionat By the second decade of the last century Viennese 778 and on Broadway for 416 and by 1909, when it A pupil of Robert Fuchs in Vienna and (1931) – both featuring Wittrisch – and Zauber der in Vienna where, with the exception of Eine Nacht in has, rightly or wrongly, been pinpointed as ‘the first operetta was dominated by two figures, both hit Paris, it had sparked new crazes in women’s Humperdinck in Berlin, Graz-born Robert Stolz Bohème, a 1937 re-vamp of Puccini’s opera with Venedig (Berlin, 1883), the premières of his operettas Viennese operetta’, but his most enduring success started his musical career as a répétiteur. A fine extra material by Stolz (including Ich liebe dich) all took place. His masterpieces and the quintessence was Boccaccio (1879), from which comes the Hungarians by birth and ancestry: Franz (originally fashion and altered global trends in operetta writing. pianist, he won early note as a conductor (including originally conceived for Polish opera and film tenor of the Viennese genre, Die Fledermaus and Der superbly lyrical Hab’ ich nur deine Liebe, Ferencz) Lehár (1870-1948) and Emmerich Lehár’s subsequent hits included Der Graf von the première of Lehár’s Die lustige Witwe). For Jan Kiepura (1902-1966) and his Hungarian soprano Zigeunerbaron date from 1874 and 1885 respectively. seamlessly delivered by Vienna-born star tenor Julius (originally Imre) Kálmán (1882-1953). A native of Luxemburg (1909) and Ziguenerliebe (1910 – its twelve years musical director at the Theater an der spouse, Marta Eggerth (born 1912). From the former comes Rosalinde and Alfred’s Act 1 Patzak (1898-1974). Siófok, Kálmán studied with organist-composer tenor solo is sung here with panache by the Romanian Wien, by 1940 he had emigrated to the USA, Peter Dempsey, 2003 ‘Drinking Duet’ (featuring Frankfurt-born tenor Prominent in the next generation, and all Hans Koessler in Budapest and settled in Vienna Joseph Schmidt, 1904-1942), in addition to several Franz Völker (1899-1965), an intermittent star of the Austrians, were Karl Zeller (1842-1898; born at St. where he wrote a succession of tuneful Viennese- vehicles for Linz-born tenor Richard Tauber (1891- Vienna State from 1931 to 1950) and the maid Peter-in-der-Au), Richard Franz Joseph Heuberger style operettas, beginning with Ein Herbstmanöver, 1948), including Paganini (1924 – from this the solo Adele’s coquettish Act 2 Mein Herr Marquis (sung (1850-1914), Karl Millöcker (1842-1899) and Karl first given in Budapest in 1908.
Recommended publications

  • ARSC Journal

    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
  • German Operetta on Broadway and in the West End, 1900–1940

    German Operetta on Broadway and in the West End, 1900–1940

    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
  • Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen

    Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen

    Fedora Wesseler, Stefan Schmidl (Hg.), Oscar Straus Beiträge zur Annäherung an einen zu Unrecht Vergessenen Amsterdam 2017 © 2017 die Autorinnen und Autoren Diese Publikation ist unter der DOI-Nummer 10.13140/RG.2.2.29695.00168 verzeichnet Inhalt Vorwort Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................5 Avant-propos Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................7 Wien-Berlin-Paris-Hollywood-Bad Ischl Urbane Kontexte 1900-1950 Susana Zapke (Wien) ................................................................................................................ 9 Von den Nibelungen bis zu Cleopatra Oscar Straus – ein deutscher Offenbach? Peter P. Pachl (Berlin) ............................................................................................................. 13 Oscar Straus, das „Überbrettl“ und Arnold Schönberg Margareta Saary (Wien) .......................................................................................................... 27 Burlesk, ideologiekritisch, destruktiv Die lustigen Nibelungen von Oscar Straus und Fritz Oliven (Rideamus) Erich Wolfgang Partsch† (Wien) ............................................................................................ 48 Oscar Straus – Walzerträume Fritz Schweiger (Salzburg) ..................................................................................................... 54 „Vm. bei Oscar Straus. Er spielte mir den tapferen Cassian vor;
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company

    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.
  • Pynchon's Sound of Music

    Pynchon's Sound of Music

    Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage.
  • ARSC Journal

    ARSC Journal

    HISTORICAL VOCAL RECORDINGS ROSSINI: Le Comte Ory. Michel Roux, basso (Robert); Jeannette Sinclair, soprano (Alice); Juan Oncina, tenor (Count Ory); Monica Sinclair, con­ tralto (Ragonde); Ian Wallace, baritone (The Governor); Cora Canne­ Meijer, mezzo-soprano (Isolier); Sari Barabas, soprano (Countess Adele); Dermot Troy, tenor (A Young Nobleman); The Glyndebourne Festival Or­ chestra and Chorus; Vittorio Gui, conductor. EMI RLS 744. "The delicious Comte Ory," wrote Chorley in 1854, "has, with all the beauty of its music, never been a favorite anywhere. Even in the theater for which it was written, the Grand Oplra of Paris, where it still keeps its place - when Cinti-Damoreau was the heroine - giving to the music all the playfulness, finish, and sweetness which could possibly be given - the work was heard with but a tranquil pleasure ••• " He goes on to blame the libretto (by Scribe and Delaistre-Poirson) which in its day was indeed rather shocking, with Count Ory's "gang" gaining admission, disguised as nuns, to the castle of the Countess he is pursuing - male voices and all! The opera was rediscovered in the 1950's and enjoyed a real success at Glyndebourne in 1954. The recording was made two years later. The New York City Opera finally got around to Le Comte Ory a year or so ago. There are several obvious reasons for the neglect of this gem of an opera. Though the score is full of delights there is no Largo al facto­ tum or Una voce poco fa. The arias are brilliant but not sure fire. It is not a vehicle; the soprano and tenor roles call for virtuosity of a high order, but this is an ensemble opera and no one can take over the spotlight.
  • Chronology 1916-1937 (Vienna Years)

    Chronology 1916-1937 (Vienna Years)

    Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation

    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
  • Franz Schmidt

    Franz Schmidt

    Franz Schmidt (1874 – 1939) was born in Pressburg, now Bratislava, a citizen of the Austro- Hungarian Empire and died in Vienna, a citizen of the Nazi Reich by virtue of Hitler's Anschluss which had then recently annexed Austria into the gathering darkness closing over Europe. Schmidt's father was of mixed Austrian-Hungarian background; his mother entirely Hungarian; his upbringing and schooling thoroughly in the prevailing German-Austrian culture of the day. In 1888 the Schmidt family moved to Vienna, where Franz enrolled in the Conservatory to study composition with Robert Fuchs, cello with Ferdinand Hellmesberger and music theory with Anton Bruckner. He graduated "with excellence" in 1896, the year of Bruckner's death. His career blossomed as a teacher of cello, piano and composition at the Conservatory, later renamed the Imperial Academy. As a composer, Schmidt may be seen as one of the last of the major musical figures in the long line of Austro-German composers, from Haydn, Beethoven, Schubert, Brahms, Bruckner and Mahler. His four symphonies and his final, great masterwork, the oratorio Das Buch mit sieben Siegeln (The Book with Seven Seals) are rightly seen as the summation of his creative work and a "crown jewel" of the Viennese symphonic tradition. Das Buch occupied Schmidt during the last years of his life, from 1935 to 1937, a time during which he also suffered from cancer – the disease that would eventually take his life. In it he sets selected passages from the last book of the New Testament, the Book of Revelation, tied together with an original narrative text.
  • Bruno Walter (Ca

    Bruno Walter (Ca

    [To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒
  • ARSC Journal

    ARSC Journal

    HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote-­ Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be­ zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner­ baron--0 habet acht.