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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............................................................................... -
Boston Symphony Orchestra Concert Programs, Season 87, 1967-1968
1 J MIT t / ^ii "fv :' • "" ..."?;;:.»;:''':•::•> :.:::«:>:: : :- • :/'V *:.:.* : : : ,:.:::,.< ::.:.:.: .;;.;;::*.:?•* :-: ;v $mm a , '.,:•'•- % BOSTON ''•-% m SYMPHONY v. vi ORCHESTRA TUESDAY A SERIES EIGHTY-SEVENTH SEASON 1967-1968 -^^VTW-s^ Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer PHILIP K. -
Gustav Mahler and Hans Rott the Musicological Assessment of a Relationship
Gustav Mahler and Hans Rott The Musicological Assessment of a Relationship Rogier van Gulick 3987264 Universiteit Utrecht BA Eindwerkstuk Muziekwetenschap 2016-2017 (block 3) Scriptiebegeleider: Dr. Ruxandra Marinescu 1 Contents: Summary 3 Introduction 4 Chapter 1 7 Chapter 2 13 Conclusion 18 Bibliography 20 2 Summary In 1979, the musicologist Paul Banks rediscovered the Viennese composer Hans Rott (1858-1884), whose symphony (written between 1878 and 1880) seemingly contain some themes and compositional techniques known from Mahler’s works. After this discovery, musicologists have turned their attention to Rott’s life and music. This thesis discusses the key musicological publications after 1980 on the subject of Rott’s life and music, specifically in relation to Mahler. Chapter 1 presents the theoretical framework and introduces the concept of the ‘great composer’ as described by Jim Samson. Further, it discusses how musicologists in general have addressed Rott and his relationship with Mahler, and addresses shortly the musical fragments that Mahler borrowed from Rott’s symphony. Chapter 2 turns to a case study. Two publications by the musicologists Helmuth Kreysing and Frank Litterscheid on the influence of Rott’s symphony on Mahler’s music are being discussed. 3 Introduction “Was die Musik an ihm verloren hat, ist gar nicht zu ermessen: zu solchem Fluge erhebt sich sein genius schon in dieser Ersten Symphonie, die er als zwanzigjähriger Jüngling schrieb und die ihn – es ist nicht zu viel gesagt – zum Begründer der neuen Symphonie macht, wie ich sie verstehe.”1 These words by Gustav Mahler represent the gist of how musicology has always interpreted Hans Rott’s symphony in relation to the composer’s fate. -
Introduction
Cambridge University Press 0521632269 - Anton Bruckner: Symphony No. 8 Benjamin M. Korstvedt Excerpt More information Introduction Meine Achte ist ein Mysterium! Anton Bruckner1 Bruckner’s Eighth Symphony,the last he completed, embodies the com- poser’s work, with all ofits complexities and contradictions, in its late flowering. This symphony, at once extensive and distilled, has attracted the passionate attention oflisteners, musicians, scholars, and critics, yet it remains fascinatingly inscrutable. Bruckner was correct: the Eighth Symphony has proven a mystery. Ofall ofhis symphonies, it poses the most elaborate questions. Musically it stands in complex relationship with the symphonic genre. The grandeur, expressive intensity, and scope of the work directly confront the problem of the symphony after Beethoven and after Wagner, and with its vaguely articulated program it inhabits the crucial space “between absolute and program music.”2 In performance, the symphony has always challenged both interpreters and listeners, and has engendered both exuberant praise and vociferous criticism. Nowadays to address the Eighth Symphony, or indeed any facet of Bruckner’s work, critically means inevitably attending to modern tradi- tions ofreception. Our perceptions ofBruckner are mediated by the conceptual residue ofpreceding generations ofinterpreters; this is true ofany artist, but with Bruckner the situation is particularly acute. Images ofBruckner as a simple genius, an unwitting mystic, a Parsifal- like naïf have long shaped attitudes toward him and his music.His music is also shadowed by a long tradition ofnegative criticism. In the nine- teenth century,one important body ofopinion decried Bruckner’s com- positional approach as illogical, incapable ofsupporting large-scale 1 © Cambridge University Press www.cambridge.org Cambridge University Press 0521632269 - Anton Bruckner: Symphony No. -
SWR2 Musikstunde
SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE SWR2 Musikstunde Die Frühvollendeten (4) Hans Rott Von Thomas Rübenacker Sendung: Donnerstag, 06. November 2014 9.05 – 10.00 Uhr Redaktion: Ulla Zierau Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Mitschnitte auf CD von allen Sendungen der Redaktion SWR2 Musik sind beim SWR Mitschnittdienst in Baden-Baden für € 12,50 erhältlich. Bestellungen über Telefon: 07221/929-26030 Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de 2 MUSIKSTUNDE mit Trüb Donnerstag, 6. 11. 2014 … mit Thomas Rübenacker. „Die Frühvollendeten“, heute: Teil 4: Hans Rott. MUSIK: INDIKATIV Wussten Sie, dass Johannes Brahms ein Mörder war? Zumindest behauptete das der damals allerdings schon nicht mehr zurechnungsfähige Hugo Wolf mit Blick auf seinen Komponistenkollegen Hans Rott, der 1858 nahe Wien geboren wurde und 25 Jahre später in geistiger Umnachtung verstarb. Brahms, schon damals der elder statesman der deutschen Musik, hatte Rotts sinfonischen Erstling sowohl für einen Kompositionspreis wie für ein Stipendium abgelehnt und so für Rott, den Lieblingsschüler Anton Bruckners und Kommilitonen Gustav Mahlers, eine Art Erzfeindbild geschaffen: Er und nur er habe Hans Rott auf dem Gewissen. Das trieb die skurrilsten Blüten. Auf einer Zugfahrt nach Straßburg wollte sich ein Fahrgast eine Zigarre anzünden, plötzlich fuchtelte Rott ihm mit einer Pistole vor der Nase herum und schrie, Brahms hätte den Zug mit Dynamit gespickt und wolle sie alle umbringen. -
Béla Bart´Ok's Piano Quintet
BÉLA BARTÓK’S PIANO QUINTET Item Type text; Electronic Dissertation Authors Garreffa, Andrea Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 04:43:06 Link to Item http://hdl.handle.net/10150/195851 BELA´ BARTOK’S´ PIANO QUINTET by Andrea Garreffa Copyright c Andrea Garreffa 2010 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the doc- ument prepared by Andrea Garreffa entitled B´ela Bart´ok’s Piano Quintet and rec- ommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts Date: 6/7/2010 Paula Fan Date: 6/7/2010 Tannis Gibson Date: 6/7/2010 Lisa Zdechlik Final approval and acceptance of this document is contingent upon candidate’s submission of the final copies of the document to the Graduate College. I hearby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Date: 6/7/2010 Director: Paula Fan 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. -
The Critical and Artistic Reception of Beethoven's
THE CRITICAL AND ARTISTIC RECEPTION OF BEETHOVEN’S STRING QUARTET IN C♯ MINOR, OP. 131 Megan Ross A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2019 Approved by: Mark Evan Bonds Tim Carter Annegret Fauser Aaron Harcus Mark Katz ©2019 Megan Ross ALL RIGHTS RESERVED ii ABSTRACT Megan Ross: The Critical and Artistic Reception of Beethoven’s String Quartet in C♯-Minor, Op. 131 (Under the direction of Mark Evan Bonds) Long viewed as the unfortunate products of a deaf composer, Ludwig van Beethoven’s “late” works are now widely regarded as the pinnacle of his oeuvre. While the reception of this music is often studied from the perspective of multiple works, my dissertation offers a different perspective by examining in detail the critical and artistic reception of a single late work, the String Quartet in C♯ minor, Op. 131. Critics have generally agreed that the string quartets best exemplify the composer’s late style, and that of these, Op. 131 stands out as the paradigmatic late quartet. I argue that this is because Op. 131 exhibits the greatest concentration of features typically associated with the late style. It is formally unconventional, with seven movements of grotesquely different proportions, to be played continuously, without a pause, as if to insist on the unity of the whole. It conspicuously avoids a sonata-form movement until its finale, opening instead with an extended fugue; the sonata-form finale, in turn, quotes from the fugue, again reinforcing the notion of formal wholeness. -
James, Hans Rott
Volume 5, Number 1, January 1999 Copyright © 1999 Society for Music Theory * Tess James KEYWORDS: Bruckner, Mahler, Vienna, Rott, Brahms, string quartet, Richter, symphony ABSTRACT: The relationship between Gustav Mahler and his friend/significant influence Hans Rott is discussed in this essay, as well as the relationship of Bruckner and his favourite student Rott. The essay contains a brief treatment of Rott’s major work, the symphony in E Major and discusses how the history of music would have changed, had he lived longer. [1] What music has lost in him is unmeasurable. His first symphony soars to the heights of such genius as to make him the founder of the new symphony as I know it. (Mahler on Rott) [1a] You will not find a finer young man or a better musician (Bruckner on Rott) [1b] Every once in a while, a name is resurrected from the forgotten shrouds of musical history which has remained there unjustly, giving rise to an exciting new field of research. One of these is Viennese-born composer Hans Rott, who lived from 1858–1884. He was a favourite student of Bruckner as well as one of the major influences on his friend and contemporary Gustav Mahler. [1c] This past summer, I was in Vienna, together with Bob Freeman and Patricia Hall, both from the music department of UCSB. We found ourselves sitting in a little café, somewhere behind the Spanish riding school. Bob expertly ordered the most delightful pastries from the menu as he informed me that I was in shock, and needed something to get me on my feet again, preferably something with plenty of cream on top. -
Biopolitics in German Musical Culture, 1850-1910 by Jonathan
Sound Bodies: Biopolitics in German Musical Culture, 1850-1910 By Jonathan Gentry M.A., Portland State University, 2007 Dissertation Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of History at Brown University PROVIDENCE, RHODE ISLAND MAY 2015 © Copyright 2015 by Jonathan Gentry This dissertation by Jonathan Gentry is accepted in its present form by the Department of History as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date____________ __________________________________ Michael P. Steinberg, Advisor Recommended to the Graduate Council Date____________ __________________________________ Dana Gooley, Reader Date____________ __________________________________ Ethan Pollock, Reader Approved by the Graduate Council Date____________ __________________________________ Peter M. Weber, Dean of the Graduate School iii ACKNOWLEGEMENTS This dissertation has been written on dozens of surfaces. From attics to offices, I have called numerous desks my own. But I also made use of library carrels, the broad tables of reading rooms, and mucky table tops in coffee shops and cafes. I would like to thank the countless people that provided those surfaces: family, friends, colleagues, librarians, archivists, baristas, and servers. It has been a progressive dinner of writing, moving from place to place, finding material and shaping it. I would like to thank the institutions that allowed me to undertake this project and the specific people therein who aided its completion. I am first of all grateful to the members of the History Department at Brown University for all their guidance and the funding, including a grant from the Church Travel Fund that allowed me to conduct research at the Staatsbibliothek in Berlin. -
Aesthetics and Ideology in the Fin-De-Siecle Mozart Revival *
Aesthetics and Ideology in the Fin-de-Siecle Mozart Revival * By Leon Botstein Back to Mozart? Why back? Why to Mozart? ... If we observe the major works of music that have been written since the death of Wagner, we find that there is much to be praised, . : . but neverthe less one cannot suppress the feeling, however unclear, that in gen eral terms, something is wrong and somewhere things are rotten in the\development of music today.... None of the great masters is as far removed from us as Mozart. ... The public ... closes its eyes in wonderment when one speaks of him but remains distant when his works are played. It would behoove us first to find Mozart again before debating whether one can return to him.... The deep satisfaction for which we yearn is denied us by the newest music of today.... We are aroused, not satisfied; fired up but not warmed; entranced but not elevated. Music has become hysterical like an unhappy woman who has been wrongly imprisoned for a long time. Music must become healthy again .... With our modern means of expression we must create once more in the spirit of Mozart: that would most likely be the right answer. If we truly look deeply into the wondrously translucent child-like eyes of Mozart's art, can we still speak of a "return?" I think the more truthful answer should be "Forward to Mozart!"! These words were written around 1910 by Felix Weingartner (1863- 1942), the eminent Austrian conductor and composer. Though he began his career under the spell of Liszt and Wagner, by the time he was called to succeed Gustav Mahler at the Imperial Opera in Vienna in 1907 he had established a reputation as both a reformer and a reactionary. -
Peeking Into Mahler's Compositional Workshop
Peeking into Mahler’s Compositional Workshop Elena Minetti All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 20/09/2020 Accepted: 18/05/2021 ORCID iD Elena Minetti: 0000-0001-9044-7110 Institution (Elena Minetti): University for Music and Performing Arts Vienna and Justus Liebig University Gießen Published: 01/06/2021 Last updated: 01/06/2021 How to cite: Elena Minetti, “Peeking into Mahler’s Compositional Workshop,” Musicologica Austriaca: Journal for Austrian Music Studies (June 01, 2021) Tags: 19th century; 20th century; Adorno, Theodor Wiesengrund; Genetic criticism; Mahler's compositional process; Mahler, Gustav; Performative writing; Retuschen; Sonic editing Anna Ficarella, Non guardare nei miei Lieder! Mahler compositore orchestratore interprete Lucca: Libreria Musicale Italiana (LIM), 2020 (Studi e Saggi 33) xiv + 176 pp., € 32.00, ISBN 978-8-85543-033-3 https://www.lim.it/it/saggi/5935-non-guardare-nei-miei-lieder-9788855430333.html Do not Peek at my Songs! [1] Blicke mir nicht in die Lieder!: with these words, and the poem they begin, the poet Friedrich Rückert and the composer Gustav Mahler admonish those who would like to pry into the tireless and brisk activity of bees, with a subtle allusion to those who intend to peek into the artist’s creative process.[1] Blicken, looking into the signs and notes written by Mahler on his manuscripts as well as on printed scores, is precisely what Anna Ficarella pursues with great competence and excellent results in Non guardare nei miei Lieder! -
Who Wrote Bruckner's 8Th Symphony…?
ISSN 1759-1201 www.brucknerjournal.co.uk Issued three times a year and sold by subscription FOUNDING EDITOR: Peter Palmer (1997-2004) Editor: Ken Ward [email protected] 23 Mornington Grove, London E3 4NS Subscriptions and Mailing: Raymond Cox [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME EIGHTEEN, NUMBER THREE, NOVEMBER 2014 Associate Editors Dr Crawford Howie & Dr Dermot Gault In this issue: The Ninth Bruckner Journal Who wrote Bruckner’s 8th symphony…? Readers Biennial Conference A RECENT comment on a concert review web-site was anxious to announcement page 2 assert that the cymbal clash in the 7th symphony “probably” did not Bad Kreuzen - Speculation originate with Bruckner and was not approved of by him. On the basis and no end - by Dr. Eva Marx Page 3 of the inconclusive evidence we have, there is no probability: we just Anton Bruckner’s early stays in do not know. Steyr - by Dr Erich W Partsch Page 10 In the case of the 8th symphony, we are sure that Bruckner alone Book Reviews: wrote the first version of 1887. If one is after ‘pure’ Bruckner in this Paul Hawkshaw: Critical Report symphony, this is the only place to find it. Come the 1890 version, we for Symphony VIII review by Dr. Dermot Gault Page 13 know its very existence was due to Hermann Levi’s rejection of the first version, that to some extent Bruckner involved Josef and Franz David Chapman Bruckner and The Generalbass Tradition Schalk in its extensive revision and re-composition, and that the review by Dr.