Schubert David Finckel and Wu Han, Artistic Directors July 17–August 8, 2015
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THIS DOCUMENT IS COMPILED by ROBERT JOHANNESSON, Fader
THIS DOCUMENT IS COMPILED BY ROBERT JOHANNESSON, Fader Gunnars väg 11, S-291 65 Kristianstad, Sweden and published on my website www.78opera.com It is a very hard work for me to compile it (as a hobby), so if you take information from it, mention my website, please! The discographies will be updated about four times a year. Additions and completitions are always welcome! Contact me: [email protected] SAABYE, Christian F. 1875, 13/8 – 1954, 18/5. Baritone. Pathé, 1905/1906 17264 Nærmere Gud til dig (Mason) 17264 17265 Vi vil os et land (Sinding) (?) 17265 17266 Sønner af Norge (?) 17266 17267 Jeg vil værge mit land (Tischendorf) 17267 17268 Husmandssang 17268 17269 Eg elskar dei voggande toner (Lepsøe) 17269 17270 Millom bakkar og berg utmed havet (Lindeman) 17270 17271 Jerusalem (Adams) 17271 17272 Lover den Herre 17272 17273 Kirken den er et gammelt hus 17273 Pathé, 1909? (many remakes) 17264 Nærmere Gud til dig (Mason) 17264 17265 Vi vil os et land (Sinding) 17265 17266 Sønner af Norge 17266 17267 Jeg vil værge mit land (Tischendorf) 17267 17268 Ja vi elsker (Nordraak) 17268 17269 Eg elskar dei voggande toner (Lepsøe) 17269 17270 Millom bakkar og berg utmed havet (Lindeman) 17270 17272 Lover den Herre 17272 17273 Kirken den er et gammelt hus 17273 17274 Glade jul (Gruber) 17274 17275 Jeg synger julekvad (In dulci jubilo) 17275 17276 Vor Gud har er saa fast en borg (Luther) 17276 17277 Mens Nordhavet bruser 17277 17278 Hvor herligt er mit fødeland 17278 17298 Gluntarne (Wennerberg): Här är gudagodt att vara (w. -
Franz Schubert: Inside, out (Mus 7903)
FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E. -
Schubert's Late Style and Current Musical Scholarship
Cambridge University Press 978-1-107-11129-5 — Schubert's Late Music Edited by Lorraine Byrne Bodley , Julian Horton Excerpt More Information Introduction: Schubert’s late style and current musical scholarship lorraine byrne bodley The theme of lateness When discussing Schubert’s ‘late’ works it is worth remembering that wearereferringtoacomposerinhislatetwenties.Whythen,dowe ascribe the classification ‘late’? And in what sense do we mean ‘late’? Istherenot,inallSchubert’s‘latemusic’,simplyanexperiencedcomposer’s calm and confident grasp of the tools of his trade? Or did Schubert’s knowledge that he was dying propel an early flowering of a ‘late’ style? If so, then how can we define this style as distinct from maturity? While Schubert scholars generally agree that the composer’s style changed, there is a distinct division in how we approach such questions, the contentious issuebeingwhetheritisevenviabletospeakoflatestyleinacomposerwho died so young. Behind this debate lies the biblical belief in the timeliness of human life, where ‘lateness’ is perceived as the final phase. But is ‘lateness’ always an indication of lateness in life, or can it emerge through a recognition that the end is near? In attempting to answer this question it is important to problema- tize the ways in which biology and psychology are often co-opted to explain the imprint composers left on their art. Goethe is often recognized as the progenitor of Alterstil (old-age style) as a positive phenomenon that involved a gradual withdrawal from appearances and a consequent approach to the infinite and mystical.1 From him we derive the attributes of non-finito, subjectivity and the blending of formal with expressive ele- ments that are still widely accepted as markers of late style, as is the perception that old age can lead to transcendence. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
A Guide to Franz Schubert's Religious Songs
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks A GUIDE TO FRANZ SCHUBERT’S RELIGIOUS SONGS by Jason Jye-Sung Moon Submitted to the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice December 2013 Accepted by the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice. __________________________________ Mary Ann Hart, Chair & Research Director __________________________________ William Jon Gray __________________________________ Robert Harrison __________________________________ Brian Horne ii Copyright © 2013 by Jason Jye-Sung Moon All rights reserved iii Acknowledgements I would like to express my deepest gratitude to my committee chair and research director, Professor Mary Ann Hart, for the excellent guidance, caring, patience, and encouragement I needed to finish this long journey. I would also like to thank Dr. Brian Horne, who supported me with prayers and encouragement. He patiently corrected my writing even at the last moment. I would like to thank my good friend, Barbara Kirschner, who was with me throughout the writing process to help me by proofreading my entire document and constantly cheering me on. My family was always there for me. I thank my daughters, Christine and Joanne, my parents, and my mother-in-law for supporting me with their best wishes. My wife, Yoon Nam, deserves special thanks for standing by me with continuous prayers and care. I thank God for bring all these good people into my life. -
The Singer's Guide to German Diction: Supplements
The Singer’s Guide to German Diction Supplements Valentin Lanzrein and Richard Cross The Singer's Guide to German Diction: Supplements Contents LYRIC DICTION IN MUSICAL CONTEXT Vowels in Singing The Glottal Separation in Singing Diphthongs in Singing Schwa and Vocalic-R in Singing Word Stress in Singing Consonants in Singing Initial Consonant Anticipation Final Consonant Suspension Consonant Clusters Consonant Assimilation: Merges and Implosions Anticipation of Sustainable Consonants for Expressiveness SUPPLEMENTAL EXERCISES AND WORKSHEETS Musical Exercises Musical Exercises for [iː], [i], [i̯], and [ɪ] Musical Exercises for [eː], [ɛː], [ɛ], and [ə] Musical Exercises for [ɑː] and [a] Musical Exercises for [oː] and [ɔ] Musical Exercises for [uː] and [ʊ] Musical Exercises for [øː] and [œ] Musical Exercises for [yː] and [ʏ] Musical Exercises for [a͡e], [ɑ͡o], and [ɔ͡ø] Musical Exercises for [f] and [v] Musical Exercises for [s] and [z] Musical Exercises for [ʃ] and [ʒ] Musical Exercises for [ʝ], [ç], and [x] Musical Exercises for [h] and [ǀ] Musical Exercises for [p] and [b] Musical Exercises for [t] and [d] Musical Exercises for [k] and [ɡ] Musical Exercises for [m], [n], and [ŋ] Musical Exercises for [l] Musical Exercises for [r], [ɾ], and [ɐ] Musical Exercises for [p͡s], [p͡f], [ts],͡ [tʃ͡ ], [k͡s], and [k͡v] Worksheets Worksheet 2.5: Word Structure Worksheet 2.6: Word Stress Worksheet 4.1: [iː], [i], [i̯], and [ɪ] Worksheet 4.2: [eː], [e], [ɛː], [ɛ], and [ə] Worksheet 4.3: [ɑː] and [a] The Singer's Guide to German Diction: Supplements Worksheet 5.1: [oː], [o], and [ɔ] Worksheet 5.2: [uː], [u], and [ʊ] Worksheet 6.1: [øː] and [œ] Worksheet 6.2: [yː], [y], and [ʏ] Worksheet 7.1: [a͡e], [ɑ͡o], and [ɔ͡ø] Worksheet 9.1: [f] and [v] Worksheet 9.3: [s], [z], [ʃ], and [ʒ] Worksheet 9.4: [ʝ], [ç], and [x] Worksheet 9.6: [h] and [ǀ] Worksheet 10.3: [p], [b], [t], [d], [k], and [ɡ] Worksheet 11.3: [m], [n], and [ŋ] Worksheet 12.2: [l], [r], [ɾ], and [ɐ] Worksheet 13.1: [p͡s], [p͡f], [ts],͡ [tʃ͡ ], [k͡s], and [k͡v] Worksheet: Review Section II. -
Franz Schubert (1797–1828) 17 Ländler, D
SCHUBERT Ländler Minuets • Écossaises Daniel Lebhardt, Piano Franz Franz Schubert (1797–1828) 17 Ländler, D. 366 • Minuets • 16 Ländler and 2 Écossaises, Op. 67 SCH(17U97–B182E8) RT Franz Schubert was born in Vienna in 1797, the son of a Mayrhofer, an arrangement that continued until near the schoolmaster, and spent the greater part of his short life end of 1820, after which Schubert spent some months 1 17 Ländler, D. 366 (before 1824) 10:29 £ 2 Minuets, D. 91 (1813) 6:32 in the city. His parents had settled in Vienna, his father living alone, now able to afford the necessary rent. 2 No. 1 in A major 0:43 ¢ No. 1 in D major with 2 Trios 3:12 moving there from Moravia in 1783 to join his By this period of his life it seemed that Schubert was 3 No. 2 in A major 0:32 No. 2 in A major with 2 Trios 3:17 schoolmaster brother at a school in the suburb of on the verge of solid success as a composer and 4 No. 3 in A minor 0:41 Leopoldstadt, and marrying in 1785 a woman who had musician. Thanks to his friends, in particular the older her origins in Silesia and was to bear him 14 children. singer Johann Michael Vogl, a schoolfriend of Mozart’s 5 No. 4 in A minor 0:35 16 Ländler and 2 Écossaises, Franz Schubert was the twelfth of these and the fourth to pupil Süssmayr, Leopold von Sonnleithner and others, his No. 5 in A minor 0:37 6 survive infancy. -
SCHUBERT-LIED-EDITION 4 SCHUBERT Mayrhofer-Lieder, Vol
.........m DEUTSCHE NAXOS SCHUBERT-LIED-EDITION 4 SCHUBERT Mayrhofer-Lieder, Vol. 1 Cornelius Hauptmann, Bass Stefan Laux, Piano THE DEUTSCHE SCHUBERT-LIED-EDITION I In 1816 Franz Schubert, together with his circle of friends, decided to publish a collection of all the songs which he had so far written. Joseph Spaun, whom Schubert had known since his schooldays, tried his (and Schuhert's) luck in a letter to the then unquestioned Master of the German language, Johann Wolfgang von Goethe: A selectiofi of Gerrfian sorfgs ~villcorrstitrrte the begifari~rgof this edifio1r;it 1si11corfsist of eight 1~011mies.Tlrefirst hvo (tlrefirst of ~nich,as an e.1-arnrple, yo11 willfiffdirr our letter) corftaifrspoems ~srittenby yorrr Ercellerrcy, tlre tlrird, poefr)' by Sclriller; the forrrtlr artdfifth, 118orksby Klopstock, tlfe .si.xflr by Motthiso~r,Holty, Solis etc., the se1,entlt and eight11 contai~rsorrgs by Ossion, x~lrose works are quite e.~ceptionnl. The Deutsche Schubert-Lied-Edition follows the composer's original concept. All Schubert's Lieder; over 700 songs, will be grouped according to the poets who inspired him, or according to the circle of writers, contemporaries, members of certain literary movements and so on, whose works Schubert chose to set to music. Fragments and alternative settings, providing their length and quality make them worth recording, and works for two or more voices with piano accompaniment will also make up a part of the edition. Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biederrrreier poets, his contemporaries, and, of course, finally, poems by Heinrich Heine, although, sadly, the two never met. -
The Narrative Function of the Piano Voice in Schubert's Winterreise
HEARING VOICES: THE NARRATIVE FUNCTION OF THE PIANO VOICE IN SCHUBERT’S WINTERREISE Mariclare Dempsey 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 May 2020 Committee: Eftychia Papanikolaou, Advisor Ryan Ebright © 2020 Mariclare Dempsey All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Franz Schubert (1797-1828) composed his last song cycle Winterreise in the spring and fall of 1827. The text for this celebrated work comes from a set of twenty-four poems written by Wilhelm Müller (1794-1827) and describes the physical and emotional journey of the protagonist after he has been rejected by his loved one. In this thesis I will analyze the narrative relationship between the voice and the piano and its development throughout the cycle, using the methodologies of Edward T. Cone and Carolyn Abbate. Musico-poetic works can be challenging to view as a seamless piece in which both music and text work together to create a full image of the narrative. By distinguishing the personas of the vocal and piano parts, however, and assessing their distinct “voices” (separately and in collaboration) it is possible to view them as a cohesive whole and grasp the full meaning of the song cycle. The melody sung by the cycle’s protagonist, often referred to as “the Wanderer,” bears much of the obvious burden for narrating Müller’s poetry as the Wanderer’s conscious voice. The Wanderer’s unconscious emotions that guide his journey are found in the piano part which plays an integral role by setting the scene, providing insights before and after the singer’s words, and even actively consoling and inspiring the Wanderer as he pours out the tale on stage for all to hear. -
Kirchenmusik Vom Barock Bis Zum Zeitgenössischen Musical, Konzert Des Musikvereins Teesdorf Am 04.11.2017 Um 19:30 in Der Kirche Teesdorf
Musikverein Teesdorf ZVR 704383871 2524 Teesdorf, Wr.-Neustädterstraße 89 Musikalischer Leiter und Obmann Thomas Strnad 2512 Tribuswinkel, Josefsthal 17 0676 / 47 88 976 [email protected] Teesdorf, am 04.11.2017 _____________________________________________________________________________________ Kirchenmusik vom Barock bis zum zeitgenössischen Musical, Konzert des Musikvereins Teesdorf am 04.11.2017 um 19:30 in der Kirche Teesdorf 1.) „Teesis – Anfängergruppe“, „Kuckuck ruft´s aus dem Wald“ und „Hänschen klein“ 2.) Musikverein Die Ehre Gottes von Ludwig v. Beethoven, Arrangement von Hans Kliment Kleine Festmusik von William Duncombe, Arrangement von Stig Gustafson und Sepp Tanzer Intermezzo aus Cavalleria rusticana von Pietro Mascagni, Arrangement von Norbert Studnitzky Marsch der Priester aus der „Zauberflöte“ von W.A. Mozart, Arrangement von Hans Weber Altniederländisches Dankgebet, erstmalig aufgezeichnet in der Sammlung von Adrianus Valerius Largo von Frederic Chopin, Arrangement von Franz Thomasser St.-Antoni-Choral von Joseph Haydn, Arrangement von Ernst Gruner Des Hirten Abendgebet von Walter Jecker, Arrangement von Emil Ruh Halleluja von Georg Friedrich Händel, Arrangement von Karl Pauspertl Sacred music von Anton Bruckner, Arrangement von Henk van Lijnschooten Jesus-Christ-Superstar von Andrew Lloyd-Webber, Arrangement von Willy Hautvast the young Maria (Ave Maria von Bach-Gounod), Arrangement von Ted Huggens Abendläuten, Walzer von Ota Halama, Arrangement Franz Bummerl 3.) „Teesis-Fortgeschrittenengruppe “, „Offertorium“ und „Sanctus“ aus der deutschen Messe von Franz Schubert. Bankverbindung: Sparkasse Baden, Zweigstelle Teesdorf, Konto lautend auf Musikverein Teesdorf BIC: SPBDAT21XXX IBAN: AT19 2020 5010 0002 0949 Die „Teesis“ „Die Teesis“ sind die Jugend- und Nachwuchsmusikergruppe des Musikvereins Teesdorf. Seit der Ferienspielwoche vom 10.08.-14.08.2015 haben wir jährlich eine Ferienspielwoche angeboten und somit unseren Nachwuchs an Instrumentalschülern wieder aufbauen können. -
Download Program Notes
Select Songs Franz Schubert and Richard Strauss n the refined, jewel-like genre of the Lied, bert’s lifetime a few composers were creat - Ithe German art song, the name of Franz ing symphonic arrangements of songs orig - Schubert stands indisputably at the top of a inally written for voice and piano. Most of list that would wend through the 19th cen - these early arrangers are little known today, tury and into the 20th, encompassing such but by the 1860s famous names such as eminences as Schumann, Mendelssohn, Berlioz, Liszt, and Brahms were adding to Brahms, Wolf, Mahler, and Richard Strauss. the repertoire. The set of songs heard in this Matthias Goerne has assembled a set of songs concert affords a glimpse of how gifted by the first and last of those figures, who, in composers paid tribute to Schubert and the classic tradition of the Lied, originally Strauss by adapting their songs to the evolv - crafted their songs for voice with piano. ing orchestral aesthetics of their own Songs with full orchestral accompani - times, as well as to how Strauss crafted ment flourished in the later 19th century, symphonic versions of some songs he had the contributions of Strauss and Mahler originally composed with accompaniments being exemplary — but already in Schu - by piano alone. An Silvia, D.891 Des Fischers Liebesglück, D.933 Greisengesang, D.788 Franz Schubert Born: January 31, 1797, in Liechten thal, then a suburb of Vienna, Austria, now part of the city Died: November 19, 1828, in Vienna Works composed and premiered: An Silvia was composed in early July 1826, and Des Fischers Liebesglück in November 1827; premieres unknown, as Schubert songs were typically unveiled at private gatherings in Vienna, with the composer as piano accompanist to solo vocalists; Alexan - der Schmalcz’s orchestrations were introduced on April 25, 2015, at the Great Hall of the Vienna Musikverein, by the Vienna Symphony Orchestra, Philippe Jordan, conductor, Matthias Goerne, baritone . -
Concert: Elly Ameling, Soprano & Rudolf Jansen, Piano: Songs Of
Ithaca College Digital Commons IC All Concert & Recital Programs Concert & Recital Programs 11-5-1995 Concert: Elly Ameling, Soprano & Rudolf Jansen, Piano: Songs of Franz Schubert Elly Ameling Rudolf Jansen Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ameling, Elly and Jansen, Rudolf, "Concert: Elly Ameling, Soprano & Rudolf Jansen, Piano: Songs of Franz Schubert" (1995). All Concert & Recital Programs. 7939. https://digitalcommons.ithaca.edu/music_programs/7939 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons IC. ITHACA COLLEGE CONCERTS 1995-96 ELLY AMELING, soprano RUDOLF JANSEN, piano Songs of Franz Schubert Romanze aus Rosamunde, D. 797 Der Einsame, D. 800 Der Jungling an der Quelle, D. 300 Auf dem Wasser zu singen, D. 774 Im Freien, D. 880 (Ellen's Gesange) Raste, Krieger, D. 837 Jager, rube von der Jagd, D. 838 Ave Maria, D. 839 IN1ERMISSI0N (Mignon's Gesfinge) Kennst du das Land, D. 321 Heiss mich nicht reden, D. 877(2 Nur wer die Sehnsucht kennt, D. 877/4 So lasst mich scheinen, D. 877/3 An den Mood, D. 193 Im Abendrot, D. 799 Liebe schw!lrmt auf allen Wegen, D. 239/6 Lachen und Weinen, D. 777 Erster Verlust, D. 226 Wiegenlied, D. 867 Ford Hall Auditorium Sunday, November 5, 1995 8:15 p.m. THE ARTISTS Elly Ameling is beloved and admired throughout the world for her splendid and expressive voice and her compelling artistry.