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The Cambridge Haydn Encyclopedia Edited by Caryl Clark , Sarah Day-O'connell Frontmatter More Information
Cambridge University Press 978-1-107-12901-6 — The Cambridge Haydn Encyclopedia Edited by Caryl Clark , Sarah Day-O'Connell Frontmatter More Information The Cambridge Haydn Encyclopedia For well over two hundred years, Joseph Haydn has been by turns lionized and misrepresented – held up as a celebrity, and disparaged as a mere forerunner or point of comparison. And yet, unlike many other canonic composers, his music has remained a fixture in the repertoire from his day until ours. What do we need to know now in order to understand Haydn and his music? With over eighty entries focused on ideas and seven longer thematic essays to bring these together, this distinctive and richly illustrated encyclopedia offers a new per- spective on Haydn and the many cultural contexts in which he worked and left his indelible mark during the Enlightenment and beyond. Contributions from sixty-seven scholars and performers in Europe, the Americas, and Oceania capture the vitality of Haydn studies today – its variety of perspectives and methods – and ultimately inspire further exploration of one of Western music’s most innovative and influential composers. CARYL CLARK is Professor of Music History and Culture at the Faculty of Music, University of Toronto, and a Fellow of Trinity College. Editor of The Cambridge Companion to Haydn (Cambridge, 2005), and author of Haydn’s Jews: Representation and Reception on the Operatic Stage (Cambridge, 2009), her research interests include Enlightenment aesthetics, interdisciplinary opera studies, Orpheus and Orphic resonances, and the politics of musical reception – all generously funded by the Social Sciences and Humanities Research Council of Canada. -
Playing with Art: Musical Arrangements As Educational Tools in Van Swieten’S Vienna
Playing with Art: Musical Arrangements as Educational Tools in van Swieten’s Vienna WIEBKE THORMÄHLEN We have the honour of announcing that the Creation, which was re- cently issued in score, may now be had not only in quintets for 2 vio- lins, 2 violas and violoncello arranged by Hrn. Anton Wranizky, but also for the klavier or fortepiano with all vocal parts arranged by Hrn. Sigmund Neukomm with every precision, energy and great fidelity to the beauties and originality of the full score. 342 Wiener Zeitung In March 1800, the Viennese publisher Artaria is- sued this announcement in the Wiener Zeitung, offering Joseph Haydn’s Creation arranged for string quintet. It is clear in a letter Haydn sent to Georg August Griesinger in October 1801 that the composer ap- proved of this arrangement: he applauded Anton Wranitzky’s skill in producing it and suggested that he should be invited to arrange The Seasons as well.1 What is more, Haydn’s letter shows that the question The epigraph is from the Wiener Zeitung, 24 (1800); quoted and trans. in H. C. Robbins Landon, Haydn: Chronicle and Works: The Years of “The Creation,” 1796–1800 (Bloomington: Indiana University Press, 1977), 542. 1 “As far as the arrangement of the Seasons for quartet or quintet is concerned, I think that Herr Wranizky, (Kapellmeister) at Prince Lobkowitz, should receive the pref- erence, not only because of his fine arrangement of the Creation, but also because I am The Journal of Musicology, Vol. 27, Issue 3, pp. 342–376, ISSN 0277-9269, electronic ISSN 1533-8347. -
Symphonies Arranged for String Quartet
Eighteenth Century Music http://journals.cambridge.org/ECM Additional services for Eighteenth Century Music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here HAYDN'S FORGOTTEN QUARTETS: THREE OF THE ‘PARIS’ SYMPHONIES ARRANGED FOR STRING QUARTET DAVID WYN JONES Eighteenth Century Music / Volume 8 / Issue 02 / September 2011, pp 287 - 305 DOI: 10.1017/S147857061100008X, Published online: 25 July 2011 Link to this article: http://journals.cambridge.org/abstract_S147857061100008X How to cite this article: DAVID WYN JONES (2011). HAYDN'S FORGOTTEN QUARTETS: THREE OF THE ‘PARIS’ SYMPHONIES ARRANGED FOR STRING QUARTET. Eighteenth Century Music, 8, pp 287-305 doi:10.1017/S147857061100008X Request Permissions : Click here Downloaded from http://journals.cambridge.org/ECM, IP address: 131.251.254.13 on 24 Feb 2014 Eighteenth-Century Music 8/2, 287–305 © Cambridge University Press, 2011 doi:10.1017/S147857061100008X haydn’s forgotten quartets: three of the ‘paris’ symphonies arranged for string quartet david wyn jones ABSTRACT In 1787 Artaria, Haydn’s publisher in Vienna, issued three versions of The Seven Last Words: the original orchestral version, a quartet arrangement prepared by the composer and a keyboard arrangement sanctioned by him. A year later, in September 1788, Artaria issued three of the recent ‘Paris’ Symphonies, Nos 84, 85 and 86,in an arrangement for quartet. While the quartet version of The Seven Last Words has always been accepted as part of the canon, the three quartet arrangements of the symphonies have been ignored. Sympathetic consideration of a range of evidence, including the bibliographical, historical and text-critical, suggests that Haydn may have been the author of these three quartets. -
The Cambridge Companion to Haydn Edited by Caryl Clark Frontmatter More Information
Cambridge University Press 0521541077 - The Cambridge Companion to Haydn Edited by Caryl Clark Frontmatter More information The Cambridge Companion to Haydn This Companion provides an accessible and up-to-date introduction to the musical work and cultural world of Joseph Haydn. Readers will gain an understanding of the changing social, cultural, and political spheres in which Haydn studied, worked, and nurtured his creative talent. Distinguished contributors provide chapters on Haydn and his contemporaries, his audiences and aesthetics, his working environments in Eisenstadt and Eszterhaza,´ and humor and exoticism in Haydn’s oeuvre. Chapters on the reception of his music explore keyboard performance practices, Haydn’s posthumous reputation, sound recordings and images of his symphonies. The book also surveys the major genres in which Haydn wrote, including symphonies, string quartets, keyboard sonatas and trios, sacred music, miscellaneous vocal genres, and operas composed for Eszterhaza´ and London. © Cambridge University Press www.cambridge.org Cambridge University Press 0521541077 - The Cambridge Companion to Haydn Edited by Caryl Clark Frontmatter More information The Cambridge Companion to HAYDN ............ edited by Caryl Clark © Cambridge University Press www.cambridge.org Cambridge University Press 0521541077 - The Cambridge Companion to Haydn Edited by Caryl Clark Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao˜ Paulo Cambridge University Press The Edinburgh Building, Cambridge CB2 2RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521541077 C Cambridge University Press 2005 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. -
Oswald Jonas Memorial Collection
http://oac.cdlib.org/findaid/ark:/13030/tf4j49n9zc No online items Oswald Jonas memorial collection Processed by Robert Lang and Joan Kunselman; machine-readable finding aid created by Apex Data Services, 1999. Special Collections & University Archives The UCR Library P.O. Box 5900 University of California Riverside, California 92517-5900 Phone: 951-827-3233 Fax: 951-827-4673 Email: [email protected] URL: http://library.ucr.edu/libraries/special-collections-university-archives ©2017 The Regents of the University of California. All rights reserved. Oswald Jonas memorial collection MS 067 1 Descriptive Summary Title: Oswald Jonas memorial collection Date (inclusive): circa 20th century, undated Collection Number: MS 067 Creator: Jonas, Oswald Creator: Schenker, Heinrich, 1868-1935 Creator: Violin, Moriz, 1879-1956 Extent: 85.0 linear feet (86 document boxes, 10 record storage boxes, 1 flat storage box, unboxed material) Repository: Rivera Library. Special Collections Department. Riverside, California 92517-5900 Abstract: The Oswald Jonas memorial collection combines the papers of the Austrian music theorist Heinrich Schenker (1868-1935) with the papers of Oswald Jonas (1897-1978), a distinguished Schenker pupil and loyal disciple. Added to these are the papers of Moriz Violin (1879-1956), concert pianist and Schenker's closest friend, including the monumental Schenker-Violin correspondence extending from 1896 to 1935. The total collection comprises about 75,000 leaves of manuscript largely unpublished, including music manuscripts, theoretical and analytical studies, critical essays, letters, Schenker's Tagebücher kept over forty years (1896-1935), biographical materials and printed scores from Schenker's working library, often heavily annotated. In addition there are books, pamphlets, periodical publications, corrected galley and page proofs, notebooks, drafts and fragments from Schenker's work table, photographs and other memorabilia, together with related correspondence and research materials assembled by Jonas. -
Musical Arrangements As Educational Tools in Van Swieten's Vienna Author(S): Wiebke Thormählen Source: the Journal of Musicology, Vol
Playing with Art: Musical Arrangements as Educational Tools in van Swieten's Vienna Author(s): Wiebke Thormählen Source: The Journal of Musicology, Vol. 27, No. 3 (Summer 2010), pp. 342-376 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/jm.2010.27.3.342 . Accessed: 07/05/2013 19:04 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org This content downloaded from 152.78.130.202 on Tue, 7 May 2013 19:04:37 PM All use subject to JSTOR Terms and Conditions Playing with Art: Musical Arrangements as Educational Tools in van Swieten’s Vienna WIEBKE THORMÄHLEN We have the honour of announcing that the Creation, which was re- cently issued in score, may now be had not only in quintets for 2 vio- lins, 2 violas and violoncello arranged by Hrn. Anton Wranizky, but also for the klavier or fortepiano with all vocal parts arranged by Hrn. Sigmund Neukomm with every precision, energy and great fidelity to the beauties and originality of the full score. -
Haydn's "Farewell" Symphony: the Musical Aftermath of an Anecdote
HAYDN: The Online Journal of the Haydn Society of North America Volume 1 Number 1 Fall 2011 Article 3 November 2011 Haydn's "Farewell" Symphony: the Musical Aftermath of an Anecdote Christine Siegert Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Siegert, Christine (2011) "Haydn's "Farewell" Symphony: the Musical Aftermath of an Anecdote," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 1 : No. 1 , Article 3. Available at: https://remix.berklee.edu/haydn-journal/vol1/iss1/3 This Article is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Haydn’s “Farewell” Symphony: the Musical Aftermath of an Anecdote Christine Siegert Unlike the situation concerning e.g. Johann Sebastian Bach, Ludwig van Beethoven or Wolfgang Amadé Mozart, the compositional response to Haydn’s oeuvre has up to this point only scarcely been investigated.1 Nevertheless, composers have shown a general interest in Haydn’s music, particularly his more prominent works. Such interest notably increased during the twentieth century, perhaps sparked by the 1909 centennial Haydn tribute made by a group of French composers, each writing works on his name.2 Jean Françaix, e.g., wrote his Onze variations sur un thème de Haydn (1982) based on the Surprise Symphony; the Austrian composer Hans Erich Apostel seemed deeply impressed by the Drumroll Symphony, which he reflected upon in no fewer than three compositions: the “Variations on a Haydn Theme” op. -
Viennese Music in the Third Reich By
UNIVERSITY OF CALGARY Waltzing in 4/4 March Tempo: Viennese Music in the Third Reich by Keith M. Fewster A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF GERMAN, SLAVIC AND EAST ASIAN STUDIES CALGARY, ALBERTA APRIL, 2012 © Keith M. Fewster 2012 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-87909-2 Our file Notre reference ISBN: 978-0-494-87909-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
The Seventeenth Season: Incredible Decades July 12–August 3, 2019 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
The Seventeenth Season: Incredible Decades July 12–August 3, 2019 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY WITH US Stay Productive and Meet Eat and Drink Our Guest Rooms • 20,000 sq. ft. of flexible, • Enjoy breakfast, lunch or dinner • Guest rooms designed for renovated meeting space at 4290 Bistro productivity and relaxation • Comfortable common areas with • Power through with grab and go • Luxurious bedding and eclectic décor bites from The Market eclectic décor • Always-open business center • Continue the conversation and • Aromatherapy sleep kits and fitness center productivity at our bar • Keurig coffee maker and • Complimentary high-speed Wi-Fi and lounge spa bath amenities • Audio Visual company on site • In-room dining from 6:30 am to • Personal refrigerator 11:00 pm • Unwind in our outdoor pool and • 11 suites, 91 kings, and 93 Jacuzzi • Sunday champagne brunch double queens Crowne Plaza® Palo Alto offers flexible meeting spaces, comfortable CROWNE PLAZA PALO ALTO accommodations, delicious drink and dining options, on-site amenities 4290 El Camino Real and all the personalized services needed to ensure your event is a Palo Alto, CA 94306 success. Whether you’re looking to host a meeting, private dinner or celebrate a special occasion, our friendly and knowledgeable Event 650-628-0138 Planners are ready to assist you. Not to mention, we’re conveniently [email protected] situated right in the heart of Silicon Valley. www.cabanapaloalto.com Music@Menlo Incredible Decades the seventeenth -
Auf Der Suche Nach Authentizität Anthony Van Hoboken Und Joseph
© LandesmuseumAuf der für Burgenland, Suche Austria, nach download Authentizität unter www.biologiezentrum.at Anthony van Hoboken und Joseph Haydns Symphonik Thomas LEIBNITZ, Wien Im Kielwasser eines Unsterblichen selbst eine gewissermaßen 'vermittelte’ Unsterblichkeit zu erlangen: dies wird im Bereich der Musikwissenschaft, so merkwürdig es anmutet, weni ger den Biographen und Analytikern zuteil als den Verfassern von Werkverzeichnissen. Hat sich ein Verzeichnis einmal als Standardwerk durchgesetzt, so ist der Name seines Verfas sers mit dem des Komponisten auf Konzertprogrammen und in wissenschaftlichen Arbeiten untrennbar verbunden, am intensivsten wohl im Falle Mozarts, von dem der Name „Köchel“ kaum wegzudenken ist. Und in ähnlich starker Assoziation klingt bei „Joseph Haydn“ der Name Anthony van Hobokens mit, obwohl das dreibändige Hoboken-Verzeichnis erst in der zweiten Hälfte des 20. Jahrhunderts erschien und somit in wesentlich kürzerer Zeit zum all gemein bekannten Begriff wurde. Es liegt in der Natur des Themas, daß die folgenden Aus führungen, auch sofern sie Haydns Symphonik zum Inhalt haben, ausschließlich vom bibliographischen Aspekt ausgehen. Nur einem kleinen Teil der musikalischen Öffentlichkeit ist bekannt, daß Hoboken im Laufe seines Lebens eine Sammlung von musikalischen Erst- und Frühdrucken anlegte, die unter den vergleichbaren Privatsammlungen dieser Art als die bedeutendste der Welt zu bezeich nen ist, und daß auf seine Initiative in der Musiksammlung der Österreichischen National bibliothek ein Photogrammarchiv musikalischer Meisterhandschriften eingerichtet wurde, das sich als unentbehrliche philologische Quelle erwiesen hat. Dies alles, die Sammlung, das Photogrammarchiv und das Haydn-Verzeichnis, ruht auf einer durch sehr klare Maxi men bestimmten Kunstauffassung, deren Grundzüge und Konsequenzen noch im einzelnen zu besprechen sein werden. Doch zunächst sei in einigen Daten der Lebenweg Hobokens dargestellt, der fast ein Jahrhundert umfaßt. -
Drafts, Page Proofs, and Revisions of Schenker's
DRAFTS, PAGE PROOFS, AND REVISIONS OF SCHENKER’S DER FREIE SATZ: THE COLLECTION AT THE AUSTRIAN NATIONAL LIBRARY AND SCHENKER’S GENERATIVE PROCESS Jennifer Sadoff Auerbach, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2009 APPROVED: Timothy L. Jackson, Major Professor Frank Heidlberger, Committee Member L. Poundie Burstein, Committee Member Eileen M. Hayes, Interim Chair of the Division of Music Theory, History, and Ethnomusicology James C. Scott, Dean of the College of Music Michael Monticino, Interim Dean of the Robert B. Toulouse School of Graduate Studies Auerbach, Jennifer Sadoff, Drafts, Page Proofs, and Revisions of Schenker’s Der freie Satz: The Collection at the Austrian National Library and Schenker’s Generative Process. Doctor of Philosophy (Music Theory), May 2009, 238 pp., 218 tables, bibliography, 52 titles. When Schenkerian theory began to influence scholarly circles in the United States, the primary – although not the only – work to which scholars had access was Schenker’s last monograph, Der freie Satz. Reading textual passages and examining the many musical graphs in the companion volume of examples influenced their concept of the fundamental structure as Schenker understood it, as well as the relationship of the other levels (Schichten) to the larger structure. The problem is that most of the second generation of Schenkerian scholars were reading the 1956 second German edition, not the 1935 first German edition. The second edition had been altered for textual and musical content by Schenker’s student, Oswald Jonas – so there is already a disconnect between the original version and the text scholars were reading at that time (the 1950s, 60s, and 70s). -
Heinrich Schenker
^ I UNIVERSITVJMJ V UIXCJI 1 Y1 Ov^iF Southampton University of Southampton Research Repository ePrints Soton Copyright Notice Copyright and Moral Rights for this chapter are retained by the copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This chapter cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. the content must not be changed in any way or sold commercially in any format or medium without the formal permission of the rights holder. When referring to this work state full bibliographic details including the author of the chapter, title of the chapter, editor of the book , title of the book, publisher, place of publication, year of publication, page numbers of the chapter Author of the chapter William Drabkin Title of the chapter Heinrich Schenker Editor/s Thomas Christensen Title of the book The Cambridge History of Western Music Theory ISBN 0521623715 Publisher Cambridge University Press Place of publication Cambridge, UK Year of publication 2002 Chapter/Page numbers 812-843 • 26 • Heinrich Schenker WILLIAM D RASKIN Long after his major writings on harmony, counterpoint and analysis began to appear, Heinrich Schenker (1868-1935) remains one of the most important and influential theorists in the history of Western music. His achievements have often been compared to those of eminent thinkers of his age working in other fields, e.g., his Viennese com- patriots Sigmund Freud in psychology and Albert Einstein in physics. His influence, modest (though not negligible) in his own lifetime, has grown steadily since the middle of the last century and shows no signs of abating.