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Walter Georgii's Klaviermusik, Part II: a Translation and Commentary

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Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1983 Walter Georgii's Klaviermusik, Part II: a Translation and Commentary. Howard Gerald Aultman Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Aultman, Howard Gerald, "Walter Georgii's Klaviermusik, Part II: a Translation and Commentary." (1983). LSU Historical Dissertations and Theses. 3829. https://digitalcommons.lsu.edu/gradschool_disstheses/3829 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. 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Zeeb Road Ann Arbor, Ml 48106 8317992 Aultman, Howard Gerald WALTER GEORGII'S KLAVIERMUSIK, PART II: A TRANSLATION AND COMMENTARY The Louisiana State University and Agricultural and Mechanical Col PH.D. 1983 University Microfilms International 300 N.Zeeb Road, Ann Arbor, MI 48106 Copyright 1983 by Aultman, Howard Gerald All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V I. Glossy photographs or pages ?. Colored illustrations, paper or print 3. Photographs with dark background 4. Illustrations are poor copy 5. Pages with black marks, not original copy 6. Print shows through as there is text on both sides of page 7. Indistinct, broken or small print on several pages / 8. Print exceeds margin requirements 9. Tightly bound copy with print lost in spine 10. Computer printout pages with indistinct print II. Page(s) lacking when material received, and not available from school or author. 12. Page(s) seem to be missing in numbering only as text follows. 13. Two pages numbered . Text follows. 14. Curling and wrinkled pages 15. Other University Microfilms International WALTER GEORGII'S KLAVIERMUSIK, PART II A TRANSLATION AND COMMENTARY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Music by Howard Gerald Aultman B.M., Mississippi College, 1976 M.C.M., New Orleans Baptist Theological Seminary, 1978 May 19, 1983 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES iv ABSTRACT vii CHAPTER I. INTRODUCTION 1 PART I. THE TRANSLATION Chapter 19. FROM THE BEGINNINGS TO THE CONTEMPORARIES OF MOZART 13 20. MOZART H 21. BEETHOVEN 43 22. 3CHU3ER? 49 23. CLASSICISTS AND ROMANTICISTS IN THE FIRST HALF OF THE NINETEENTH CENTURY 70 24. THE FOUR-HANDED PIANO MUSIC AROUND THE MIDDLE OF THE NINETEENTH CENTURY; ROBERT SCHUMANN AND OTHERS 76 25. 3RAHM3 AND DVORAK 31 26. THE GERMAN LATE ROMANTIC [PERIOD] IN THE SECOND HALF OF THE NINETEENTH CENTURY; THE INFLUENCE OF BRAHMS1 WALTZES IN AND OUTSIDE OF GERMANY 91 27. THE MUSIC OUTSIDE OF GERMANY FROM THE MIDDLE OF THE NINETEENTH CENTURY TO THE PRESENT 104 28. GERMANY AND AUSTRIA FROM REGER TO THE PRESENT 118 APPENDIX: OVERVIEW OF PIANO MUSIC FOR ONE HAND, FOR THREE, FIVE, AND SIX HANDS 132 ii in PART II: THE COMMENTARY COMMENTARY: CHAPTER 19 149 COMMENTARY: CHAPTER 20 " 170 COMMENTARY: CHAPTER 21 185 COMMENTARY: CHAPTER 22 200 COMMENTARY: CHAPTER 25 221 COMMENTARY: CHAPTER 24 2^9 COMMENTARY: CHAPTER 25 , 237 COMMENTARY: CHAPTER 26 242 COMMENTARY: CHAPTER -7 2 50 COMMENTARY: JHAPTER 23 270 COMMENTARY: APPENMM 277 CHAPTER II. CONCLUSIONS nNU *ECOKl-IENLATIONS .... 288 BIBLIOGRAPHY 293 VITA 301 LIST OF MUSICAL EXAMPLES PART I: THE TRANSLATION • Example 303. Ernst .Vilhelm V/olf: Sonata in C major 15 304. W. A. Mozart: Sonata in C major, K. 19d 18 305. Johann Christian Bach: Sonata in C major .... 23 306„ w. A. Mozart: Sonata in 0 major, X. 19d 30 307. './. A. Mozart: Sonata in D major, K. 381 33 308. .7. -fi. Mozart: Sonata in ? major, K. 497 34 309. //. A. Mozart: Sonata in G major, K. 357 38 310. Franz Schubert: Rondo in D major, op. 138 .... 50 311. Franz Schubert: Grand Sonata in B-ilat major, op. 30 50 312. Franz Schubert: Variationen in S minor 52 313. Franz Schubert: Sonata in C major, op. 140 ... 60 314. Franz Schubert: Fantasy in F minor, op. 103 . 64 315. Robert Schumann: Polonaises, op. Ill, no. 3 ... 77 316. Robert Schumann: Album for the Young;, op. 85, no. 3 79 317. Johannes Brahms: Ungarischer Tanz, no. 10 . .86 318. Antonin Dvorak: Slawische Tanze, no. 13 88 319. Antonin Dvorak: Slawische Tanze, no. 3 ..... 89 320. Hermann Go'tz: Sonata, op. 17 92 321. Claude Debussy: Epigraphes antiques, no. 6 . .107 iv 322. Edvard Grieg: Norwegische Tanze, op. 35, no. 2. .115 323. Christian Sinding: '.Valzer, op. 59, no. 1 115 324. Max Reger: Waltz-Caprice, op. 9, no. 2 119 325. Max Reger: Waltz-Caprice, op. 9, no. 10 119 326. Max Reger: V/altz-Caprice, op. 3, no. 12 120 327. Max Reger: Sechs Burlesken, op. 58, no. 6 . .122 328. Paul Hindemith: Sonata (1938) 123 329. Alexander Scriabin: Preiuae et Nocturne 135 PART ii: J?HE 00;#:SNTARY Example 1. .V. A. i-iosart: Jonaia in C major, }.. 19d 175 2. '.,'. A. Mozart: Sonata in C major, K. 19d "Rcnao" 176 3. .'/. A. Mozart: -'Jonata in 3-flat major, II. 358 . .177 4. W. A. ilozar:: Sonata in 2-ilat major, K. 358 . .1^3 5. './. A. Mozart: Sonata in D major, K. 381 1^3 6. Ludwig van Beethoven: \i -ldstein Variations . .185 7. Carl M. von .Veber: oechs Stu'cke, op. 10, nc. 3 . .199 8. Franz Schubert: Overture, D. 592 ^07 9. Queen Hortense: "Reposez vous, bon chevalier" . .211 10. Franz Schubert: Divertissement, op. 54 213 11. Franz Schubert: Fugue, D. 952 220 12. J. S. Bach: Fugue in F-sharp minor 220 13. John Field: Air russe varie 227 14. Robert Schumann: Polonaises, op. Ill, no. 4 . .230 VI Robert Schumann: Papillons, op. 2, no. 11 . 230 Robert Schumann: Bilder aus Osten, op. 66, no. 5 231 Robert Schumann: "Am Springbrunnen," op. 68, no. 9 23^ Hugo Wolf: "Begegnung" 235 Johannes Brahms: Per Gang zum Liebchen 238 Johannes Brahms: V/alzer, op. 39, no. 5 239 Johannes Brahms: Liebeslieder Walzer, op. 52a . 239 Hermann Gotz: Sonata 242 Alfredo Gasella: Pupazetti, op. 27, no. 2 . 250 peter Tchaikovsky: Jifty Russian j'olksonK^, 262 no. 5 Igor Stravinsky: Jrei leichte 'itu'cke, no. 2 . 265 Igor Stravinsky: ?unf leichte St'u'cke, no. 5 . 266 Paul Hindemith: Sonata, third movement 275 ABSTRACT In the European musical world, one of the most sig­ nificant personalities of recent years was Walter Georgii (1887-1967). He was respected not only as one of Germany's most prominent pianist-pedagogues, but also as one of the most authoritative writers in the areas of piano perfor­ mance and literature. One of Georgii's most important writings was a large work entitled Klaviermusik, the third edition of which appeared in 1956. The book is divided into two parts. The first part involves a comprehensive examination of the literature for solo piano and the second part involves an examination of the literature for piano duet; both sections are written in an historical-descriptive fashion with critical evaluations of selected pieces. Following Part II is a short Appendix devoted to piano pieces written for one hand and for three, five, and six hands. The litera­ ture discussed in Part II of Klaviermusik ranges from the very earliest pieces for four hands at one keyboard (ca. mid-eighteenth century) to the mid-twentieth century. Georgii's comments, though sometimes brief, are authori­ tative and thorough.
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    THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize.
  • A/L CHOPIN's MAZURKA

    A/L CHOPIN's MAZURKA

    17, ~A/l CHOPIN'S MAZURKA: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J. S. BACH--F. BUSONI, D. SCARLATTI, W. A. MOZART, L. V. BEETHOVEN, F. SCHUBERT, F. CHOPIN, M. RAVEL AND K. SZYMANOWSKI DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial. Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Jan Bogdan Drath Denton, Texas August, 1969 (Z Jan Bogdan Drath 1970 ALL RIGHTS RESERVED TABLE OF CONTENTS Page INTRODUCTION . I PERFORMANCE PROGRAMS First Recital . , , . ., * * 4 Second Recital. 8 Solo and Chamber Music Recital. 11 Lecture-Recital: "Chopin's Mazurka" . 14 List of Illustrations Text of the Lecture Bibliography TAPED RECORDINGS OF PERFORMANCES . Enclosed iii INTRODUCTION This dissertation consists of four programs: one lec- ture-recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the per- former to project music of various types and composed in different periods. The first program featured two complete sets of Concert Etudes, showing how a nineteenth-century composer (Chopin) and a twentieth-century composer (Szymanowski) solved the problem of assimilating typical pianistic patterns of their respective eras in short musical forms, These selections are preceded on the program by a group of compositions, consis- ting of a. a Chaconne for violin solo by J. S. Bach, an eighteenth-century composer, as. transcribed for piano by a twentieth-century composer, who recreated this piece, using all the possibilities of modern piano technique, b.