DOCSLIB.ORG

Virtuosity, Aesthetics, and the Artist in Liszt's Weimar Prose (1848-1861)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Virtuosity, Aesthetics, and the Artist in Liszt's Weimar Prose (1848-1861) Liszt as Critic: Virtuosity, Aesthetics, and the Artist in Liszt’s Weimar Prose (1848-1861) A Dissertation Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Musicology Allan Keiler, Advisor In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Elizabeth Perten August 2014 The signed version of this form is on file in the Graduate School of Arts and Sciences. This dissertation, directed and approved by Elizabeth Perten’s Committee, has been accepted and approved by the Faculty of Brandeis University in partial fulfillment of the requirements of the degree of: DOCTOR OF PHILOSOPHY Eric Chasalow, Dean Graduate School of Arts and Sciences Dissertation Committee: Allan Keiler, Department of Music Eric Chafe, Department of Music Dana Gooley, Department of Music, Brown University Copyright by Elizabeth Perten 2014 Acknowledgements This dissertation is the product of several different avenues of love and support. I would like to acknowledge and thank so many people who have helped me on the long, winding path to my dissertation’s completion. Firstly, thank you to my advisor, Allan Keiler, for all of his guidance throughout the past six years and through the dissertation process especially. His comments and edits were consistently thought-provoking and valuable to the enrichment of each chapter. From Professor Keiler’s fantastic seminars to our enjoyable dissertation meetings, I know that I have greatly benefited from spending the past few years under his guidance. I would also like to recognize the other two members of my dissertation committee, Eric Chafe and Dana Gooley. Professor Chafe has not only provided me with a wonderful outlet for my academic frustrations during my tenure at Brandeis (not to mention the delicious cups of coffee and licorice products we happily shared), but also provided essential feedback on my dissertation and has been a truly reliable support system for me over the years. Dana Gooley was perhaps the epitome of an outside reader – his detailed notes were instrumental in the revisions of my draft into its final product and his endorsement of my project is greatly appreciated. I am grateful for the time and effort all three of these men have put into reading and commenting upon my dissertation. James Deaville and Hilary Poriss both proved to be fantastic mentors and friends to me throughout this process. Both were selfless in their guidance and are such wonderful role models for me, not only as scholars, but as people too. At our meetings both in the States and in Germany, Jim’s suggestions proved to be absolutely indispensable to my work in every stage of this dissertation writing process. He is a wonderful and thoughtful person and has a salacious sense of humor! Hilary was vital to my being granted a 10-month DAAD Research Grant. She iv has also happily provided feedback on my post-doctoral and job applications, as well as other research abstracts…and read a chapter of my dissertation as well! I was always surprised at the time and effort she so willingly put into editing and commenting on my work. And she always seems so happy! Hilary, to me, is really a model of a successful academic who is able to continue producing important scholastic work, while having time for her family, and also time to selflessly help others. I appreciate both of their support more than they could possibly know. I am enormously grateful for a special group of friends, without whom I would have been miserable and could not have completed this project in a timely fashion. These friends provided fun social distractions and academic inspiration. Several also functioned as a soundboard for my ideas – some which were certainly better than others – and provided valuable feedback, especially during some of my intellectual lulls this past year. To Paula Musegades – I could not have asked for a better partner and friend with whom to go through the crazy process of earning a doctorate. To Erin Jerome – you were my first friend at Brandeis and have proved to be a beacon of support, enjoyment, and realism throughout the past six years. To Jessica Fulkerson – I always felt so much better about life and my work after our weekly coffee dates. To Alison DeSimone – our friendship is so special to me and it’s so wonderful to know that we are (and continue to be) each other’s biggest fans. To Casey Clevenger – as I have already told you, except for the funding, you were clearly the most wonderful thing to come out of my Mellon Dissertation Year Fellowship. You were indispensable in making this past year academically fruitful. I can’t wait to celebrate your defense next year! Mark Kagan and Cheryl Nalbach have both proved crucial in my successful journey through Brandeis’ Musicology doctoral program. Their friendly faces, kind words, and speedy assistance are not forgotten. I would also like to thank Sabine von Mering for her help with some v of my more prickly German translations and for all of the grants and travel opportunities she has granted me throughout the years through Brandeis’ Center for German and European Studies. I am equally as grateful for funding provided to me by the Mellon Foundation, German Academic Exchange Service (DAAD), the Klassik Stiftung Weimar, Brandeis University, and the Maurice E. Gordon Fellowship, in addition to travel grants from the Brandeis Graduate School of Arts and Sciences, Women’s and Gender Studies program, and the American Musicological Society. Without this support to undergo my archival research as well as to then present my findings at various academic conferences, my dissertation would have suffered and my academic experiences would be sorely limited. I know how fortunate I am to have had so much additional (and unexpected!) financial assistance to complete my dissertation and I am grateful for the support of so many people and organizations that were able to make it so. Finally, I turn to my family. I am not even sure where to begin or how to put my feelings and thankfulness and love into words. Your endless excitement, encouragement, assurance, and love have carried me through this process. To know that I have such a special family waiting for me in New York is not only comforting, but equally as motivating. Every trip home is full of laughter, warmth, and nurtures my soul and spirit. It’s why I always have trouble leaving! Thank you to my siblings Ari, Rachel, and Amy, both as a group and as individuals. To my parents, Iris and Herb, I thank you for always believing in me and supporting me and providing me with a life-changing undergraduate education at Barnard College which started me on the path to study music and eventually, to earning my doctorate in Musicology. I love you all so much! vi ABSTRACT Liszt as Critic: Virtuosity, Aesthetics, and the Artist in Liszt’s Weimar Prose (1848-1861) A dissertation presented to the Faculty of the Graduate School of Arts and Sciences of Brandeis University Waltham, MA By Elizabeth Perten ` In this dissertation, I explore Liszt’s significance as author and music critic through an analysis of four of his series of character portraits from his Weimar period (1848-1861). In these writings, Liszt not only contributes to the mid-century debate over musical aesthetics on the side of the musical progressives (the New Germans), but he also effectively continues to promote his own musical values and aesthetics to his audience, many ideas of which he had introduced in earlier prose works. Through examination of Liszt’s essays on John Field, Clara Schumann, Robert Franz, and Pauline Viardot-Garcia, I illustrate how Liszt strives to achieve the overarching goal of his prose works: to educate the musical public (both contemporary and in the future) to recognize, support, and promote “true” musical artists and artistry. By deconstructing the talents of these well-known musical figures in his character portraits, Liszt explains to his reader why this specific artist should be venerated. Liszt is seldom viewed in music history as an influential writer, nor is the content of his literary works frequently examined in scholarship. Through my analysis of Liszt’s character portraits I will demonstrate his importance as a music critic, thus acknowledging Liszt’s significance in each facet of his life, of which his role as author is of integral importance. vii Table of Contents Acknowledgments iv Abstract vii Introduction 1 Chapter One: “On John Field’s Nocturnes” 23 Chapter Two: “Clara Schumann” 66 Chapter Three: “Robert Franz” 113 Chapter Four: “Pauline Viardot-Garcia” 154 Conclusion 202 Bibliography 206 viii A Note to Readers All translations in this dissertation are my own unless otherwise noted. The exception lies with the Field chapter in which all translations are done by Schuberth, unless stated. In the Viardot, Schumann, and Franz chapters, paragraph numbers refer to the essay as it is was published in the 1881 Ramann edition. The edits Ramann makes are inconsequential to the content of these works, but her separation of the portrait into several (more) paragraphs helps me (and the reader as well) to more clearly refer to specific elements of the prose in my analyses. The same logic applies to the Field chapter, wherein paragraph numbers refer to the Schuberth edition. ix Introduction My dissertation examines the significance of Franz Liszt (1811-1886) as a music critic and author during his Weimar period (1848-1861). Musicological scholarship tends to approach Liszt from three perspectives: as the touring virtuoso of the 1830s and 1840s, as the creator of the symphonic poem in the 1850s, or as the contemplative composer of his later years.
Load more

Recommended publications
  • Recasting Gender
    RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Shelley Smith August, 2009 RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN Shelley Smith Thesis Approved: Accepted: _________________________________ _________________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. James Lynn _________________________________ _________________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _________________________________ _________________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. THE SHAPING OF A FEMINIST VERNACULAR AND ITS APPLICATION TO 19TH-CENTURY MUSIC ..............................................1 Introduction ..............................................................................................................1 The Evolution of Feminism .....................................................................................3 19th-Century Gender Ideologies and Their Encoding in Music ...............................................................................................................8 Soundings of Sex ...................................................................................................19 II. ROBERT & CLARA SCHUMANN: EMBRACING AND DEFYING TRADITION
    [Show full text]
  • Schubert's!Voice!In!The!Symphonies!
    ! ! ! ! A!Search!for!Schubert’s!Voice!in!the!Symphonies! ! ! ! ! ! ! ! ! ! ! ! Camille!Anne!Ramos9Klee! ! Submitted!to!the!Department!of!Music!of!Amherst!College!in!partial!fulfillment! of!the!requirements!for!the!degree!of!Bachelor!of!Arts!with!honors! ! Faculty!Advisor:!Klara!Moricz! April!16,!2012! ! ! ! ! ! In!Memory!of!Walter!“Doc”!Daniel!Marino!(191291999),! for!sharing!your!love!of!music!with!me!in!my!early!years!and!always!treating!me!like! one!of!your!own!grandchildren! ! ! ! ! ! ! Table!of!Contents! ! ! Introduction! Schubert,!Beethoven,!and!the!World!of!the!Sonata!! 2! ! ! ! Chapter!One! Student!Works! 10! ! ! ! Chapter!Two! The!Transitional!Symphonies! 37! ! ! ! Chapter!Three! Mature!Works! 63! ! ! ! Bibliography! 87! ! ! Acknowledgements! ! ! First!and!foremost!I!would!like!to!eXpress!my!immense!gratitude!to!my!advisor,! Klara!Moricz.!This!thesis!would!not!have!been!possible!without!your!patience!and! careful!guidance.!Your!support!has!allowed!me!to!become!a!better!writer,!and!I!am! forever!grateful.! To!the!professors!and!instructors!I!have!studied!with!during!my!years!at! Amherst:!Alison!Hale,!Graham!Hunt,!Jenny!Kallick,!Karen!Rosenak,!David!Schneider,! Mark!Swanson,!and!Eric!Wubbels.!The!lessons!I!have!learned!from!all!of!you!have! helped!shape!this!thesis.!Thank!you!for!giving!me!a!thorough!music!education!in!my! four!years!here!at!Amherst.! To!the!rest!of!the!Music!Department:!Thank!you!for!creating!a!warm,!open! environment!in!which!I!have!grown!as!both!a!student!and!musician.!! To!the!staff!of!the!Music!Library!at!the!University!of!Minnesota:!Thank!you!for!
    [Show full text]
  • Schubert's Mature Operas: an Analytical Study
    Durham E-Theses Schubert's mature operas: an analytical study Bruce, Richard Douglas How to cite: Bruce, Richard Douglas (2003) Schubert's mature operas: an analytical study, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4050/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Schubert's Mature Operas: An Analytical Study Richard Douglas Bruce Submitted for the Degree of PhD October 2003 University of Durham Department of Music A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. The copyright of this thesis rests with the author. No quotation from it should be published without their prior written consent and information derived from it should be acknowledged. 2 3 JUN 2004 Richard Bruce - Schubert's Mature Operas: An Analytical Study Submitted for the degree of Ph.D (2003) (Abstract) This thesis examines four of Franz Schubert's complete operas: Die Zwillingsbruder D.647, Alfonso und Estrella D.732, Die Verschworenen D.787, and Fierrabras D.796.
    [Show full text]
  • Halle, the City of Music a Journey Through the History of Music
    HALLE, THE CITY OF MUSIC A JOURNEY THROUGH THE HISTORY OF MUSIC 8 WC 9 Wardrobe Ticket office Tour 1 2 7 6 5 4 3 EXHIBITION IN WILHELM FRIEDEMANN BACH HOUSE Wilhelm Friedemann Bach House at Grosse Klausstrasse 12 is one of the most important Renaissance houses in the city of Halle and was formerly the place of residence of Johann Sebastian Bach’s eldest son. An extension built in 1835 houses on its first floor an exhibition which is well worth a visit: “Halle, the City of Music”. 1 Halle, the City of Music 5 Johann Friedrich Reichardt and Carl Loewe Halle has a rich musical history, traces of which are still Johann Friedrich Reichardt (1752–1814) is known as a partially visible today. Minnesingers and wandering musicographer, composer and the publisher of numerous musicians visited Giebichenstein Castle back in the lieder. He moved to Giebichenstein near Halle in 1794. Middle Ages. The Moritzburg and later the Neue On his estate, which was viewed as the centre of Residenz court under Cardinal Albrecht von Brandenburg Romanticism, he received numerous famous figures reached its heyday during the Renaissance. The city’s including Ludwig Tieck, Clemens Brentano, Novalis, three ancient churches – Marktkirche, St. Ulrich and St. Joseph von Eichendorff and Johann Wolfgang von Moritz – have always played an important role in Goethe. He organised musical performances at his home musical culture. Germany’s oldest boys’ choir, the in which his musically gifted daughters and the young Stadtsingechor, sang here. With the founding of Halle Carl Loewe took part. University in 1694, the middle classes began to develop Carl Loewe (1796–1869), born in Löbejün, spent his and with them, a middle-class musical culture.
    [Show full text]
  • Uncivil Alliances: Delacroix, the Private Collector, and the Public Author(S): Elisabeth A
    Uncivil Alliances: Delacroix, the Private Collector, and the Public Author(s): Elisabeth A. Fraser Source: Oxford Art Journal, Vol. 21, No. 1 (1998), pp. 89-103 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/1360698 . Accessed: 13/03/2011 09:56 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=oup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. 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]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Oxford Art Journal. http://www.jstor.org Uncivil Alliances: Delacroix, the Private Collector, and the Public Elisabeth A. Fraser Eugene Delacroix was probablythe most controversialartist of the Bourbon Restorationperiod in France.
    [Show full text]
  • Qt7q1594xs.Pdf
    UC Irvine UC Irvine Previously Published Works Title A Critical Inferno? Hoplit, Hanslick and Liszt's Dante Symphony Permalink https://escholarship.org/uc/item/7q1594xs Author Grimes, Nicole Publication Date 2021-06-28 Peer reviewed eScholarship.org Powered by the California Digital Library University of California A Critical Inferno? Hoplit, Hanslick and Liszt’s Dante Symphony NICOLE GRIMES ‘Wie ist in der Musik beseelte Form von leerer Form wissenschaftlich zu unterscheiden?’1 Introduction In 1881, Eduard Hanslick, one of the most influential music critics of the nineteenth century, published a review of a performance of Liszt’s Dante Symphony (Eine Sym- phonie zu Dantes Divina commedia) played at Vienna’s Gesellschaft der Musikfreunde on 14 April, the eve of Good Friday.2 Although he professed to be an ‘admirer of Liszt’, Hanslick admitted at the outset that he was ‘not a fan of his compositions, least of all his symphonic poems’. Having often given his opinion in detail on those works in the Neue Freie Presse, Hanslick promised brevity on this occasion, asserting that ‘Liszt wishes to compose with poetic elements rather than musical ones’. There is a deep genesis to Hanslick’s criticism of Liszt’s compositions, one that goes back some thirty years to the controversy surrounding progress in music and musical aesthetics that took place in the Austro-German musical press between the so-called ‘New Germans’ and the ‘formalists’ in the 1850s. This controversy was bound up not only with music, but with the philosophical positions the various parties held. The debate was concerned with issues addressed in Hanslick’s monograph Vom Musika- lisch-Schönen, first published in 1854,3 and with opinions expressed by Liszt in a series of three review articles on programme music published contemporaneously in the 1 ‘How is form imbued with meaning to be differentiated philosophically from empty form?’ Eduard Hanslick, Aus meinem Leben, ed.
    [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]
  • December 3, 2006 2595Th Concert
    For the convenience of concertgoers the Garden Cafe remains open until 6:00 pm. The use of cameras or recording equipment during the performance is not allowed. Please be sure that cell phones, pagers, and other electronic devices are turned off. Please note that late entry or reentry of The Sixty-fifth Season of the West Building after 6:30 pm is not permitted. The William Nelson Cromwell and F. Lammot Belin Concerts “Sixty-five, but not retiring” National Gallery of Art Music Department 2,595th Concert National Gallery of Art Sixth Street and Constitution Avenue nw Washington, DC Shaun Tirrell, pianist Mailing address 2000B South Club Drive Landover, md 20785 www.nga.gov December 3, 2006 Sunday Evening, 6:30 pm West Building, West Garden Court Admission free Program Domenico Scarlatti (1685-1757) Sonata in F Minor, K. 466 (1738) Frederic Chopin (1810-1849) Ballade in F Major, op. 38 (1840) Franz Liszt (1811-1886) Funerailles (1849) Vallot d’Obtrmann (1855) INTERMISSION Sergey Rachmaninoff (1873-1943) Sonata no. 2 in B-flat Minor, op. 36 (1913) The Mason and Hamlin concert grand piano used in this performance Allegro agitato was provided by Piano Craft of Gaithersburg, Maryland. Lento Allegro molto The Musician Program Notes Shaun Tirrell is an internationally acclaimed pianist who has made his In this program, Shaun Tirrell shares with the National Gallery audience his home in the Washington, dc, area since 1995. A graduate of the Peabody skill in interpreting both baroque and romantic music. To represent the music Conservatory of Music in Baltimore, where he studied under Julian Martin of the early eighteenth-century masters of the harpsichord (the keyboard and earned a master of music degree and an artist diploma, he received a instrument of choice in that era), he has chosen a sonata by Domenico rave review in the Washington Post for his 1995 debut recital at the Kennedy Scarlatti.
    [Show full text]
  • PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
    PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and
    [Show full text]
  • Bowen Abstract
    The Rise and Fall of the Bass Clarinet in A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. It was used up to 1990 in about sixty works by over twenty composers, including the Ring cycle, five Mahler symphonies and Rosenkavalier. But it last appeared in Messiaen’s Turangalîla-Symphonie (1948, revised 1990), and the instrument is generally regarded as obsolete.1 Several publications discuss the bass clarinet, notably Rice (2009). However, only Leeson2 and Joppig3 seriously discuss the ‘A’ instrument. Leeson suggests possibilities for its popularity: compatibility with the tonality of the soprano clarinets, the extra semitone at the bottom of the range and the sonority of the instrument. For its disappearance he posits the extension of range of the B¨ bass, and the convenience of having only one instrument. He suggests that its history is more likely to be found in the German than in the French bass clarinet tradition. Joppig examines one aspect of this tradition: Mahler’s use of the clarinet family. The first successful4 bass clarinet was the bassoon form, invented by Grenser in 1793 and made in quantity for almost a century. These instruments descended to at least C and had sufficient range for all parts for the bass clarinet in A.5 They were made in B¨ and C, but no examples in A are known so far. Their main use was in wind bands to provide a more powerful bass than the bassoon.6 For orchestral music, they were perceived to be only partially successful as bass for the clarinet family because of their different principle of construction.7 The modern form was invented by Desfontenelles in 1807 and improved by Buffet (1833) and Adolphe Sax (1838).
    [Show full text]
  • Programa Del Otoño Musical Soriano 2016
    PRESIDENCIA DE HONOR S.A.R LA INFANTA Dª MARGARITA DE BORBÓN Y EL EXCMO. SR. D. CARLOS ZURITA. DUQUES DE SORIA Director Festival: Jose Manuel Aceña Notas al programa: Sonia Gonzalo Delgado Diseño y maquetación: Estudioayllón Impresión: Imprenta Provincial de Soria Organiza: Plaza Mayor s/n. 42071· SORIA Tel: 975 23 41 14 / 975 23 28 69 [email protected] www.soria.es/festivalmusical Dep. Leg: SO - 55/2016 Saluda del Alcalde Estimados amigos, estimadas amigas, Gracias por compartir un año más esta cita con la música y la cultura en nuestra Ciudad que es el Otoño Musical Soriano. Como podrán com- probar en este programa de mano, la vigesimocuarta edición de nuestro Festival refleja su carácter accesible, atractivo, completo y ambicioso que reedita la conexión mágica con ustedes, el público, verdadero artífice de que el Otoño Musical Soriano se supere año a año, convirtiéndose en uno de los principales festivales musicales a nivel europeo. Así lo atestigua el galardón “EFFE Label”, recibido el pasado año desde la Asociación Eu- ropea de Festivales como marca de calidad del Otoño Musical Soriano. A punto de celebrar 25 años de historia desde que el trabajo y el cariño del Maestro Odón Alonso hacia Soria alumbrara esta cita por primera vez, las máximas de compromiso con el talento artístico y la excelen- cia internacional están presentes desde la inauguración a la clausura gracias a la labor de su Director, el Maestro José Manuel Aceña, quien ha sabido comprender y transmitir el legado del Maestro Alonso. Sirvan estas líneas para reconocer una vez más su trabajo al frente del Festival.
    [Show full text]
  • California State University, Northridge Collaborative Piano Recital Works by Mozart, Schumann, Schubert, Barber and Stravinsky
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE COLLABORATIVE PIANO RECITAL WORKS BY MOZART, SCHUMANN, SCHUBERT, BARBER AND STRAVINSKY An Graduate project submitted in partial fulfillment of the requirements For the degree of Master of Music in music, in Performance By Ningqi Li May 2016 The Graduate Program of Ningqi Li is approved: _____________________________________ _______________________ Dr. Soo-Yeon Chang Date _____________________________________ _______________________ Dr. Murray, Deanna Date _____________________________________ _______________________ Dr. Dmitry Rachmanov. Chair Date California State University, Northridge ii Table of Contents Signature Page ii Abstract iv Program (Collaborative Piano Recital) 1 iii ABSTRACT COLLABORATIVE PIANO RECITAL WORKS BY MOZART, SCHUMANN, SCHUBERT, BARBER AND STRAVINSKY BY Ningqi Li Master of Music in Music, in performance Violin Sonata in E Minor, K.304 by Wolfgang Amadeus Mozart Mozart lived from 1756 to 1791 in Salzburg. He composed more than 600 brilliant pieces of music such as sonatas, symphonies, concerti, operas, choral pieces, etc. He traveled with his family to Europe many times and The European style influenced him. He also influenced many later composers including Beethoven. In 1777 and 1778, he traveled to Europe again and he fell in love with Aloysia Weber. However, his mother then got sick and died in the same year. Violin Sonata in E Minor, K.304 is special to Mozart, he wrote it in 1778. That year he had traveled to Mannheim, therefore he must have taken some style from there. Also, it was written around his mother’s death. The sonata K.304 may reflect his sad mood and iv it is the only minor key in his violin sonatas.
    [Show full text]