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Page 1 (1/31/20) Waltz in E-Flat Major, Op. 19 FRÉDÉRIC CHOPIN
Page 1 (1/31/20) Waltz in E-flat major, Op. 19 FRÉDÉRIC CHOPIN (1810-1849) Composed in 1831. Chopin’s Waltz in E-flat major, Op. 18, his first published specimen of the genre and one of his most beloved, was composed in 1831, when he was living anxiously in Vienna, almost unknown as a composer and only slightly appreciated as a pianist. In 1834, he sold it to the Parisian publisher Pleyel to finance his trip with Ferdinand Hiller to the Lower Rhineland Music Festival at Aachen, where Hiller introduced him to his long-time friend Felix Mendelssohn. The piece was dedicated upon its publication to Mlle. Laura Horsford, one of two sisters Chopin then counted among his aristocratic pupils. (Sister Emma had received the dedication of the Variations on “Je vends des scapulaires” from Hérold’s Ludovic, Op. 12 the year before.) The Waltz in E-flat follows the characteristic Viennese form of a continuous series of sixteen- measure strains filled with both new and repeated melodies that are capped by a vigorous coda. Ballade No. 1 in G minor, Op. 23 FRÉDÉRIC CHOPIN Composed 1831. In the Ballades, “Chopin reaches his full stature as the unapproachable genius of the pianoforte,” according to Arthur Hedley, “a master of rich and subtle harmony and, above all, a poet — one of those whose vision transcends the confines of nation and epoch, and whose mission it is to share with the world some of the beauty that is revealed to them alone.” Though the Ballades came to form a nicely cohesive set unified by their temporal scale, structural fluidity and supranational idiom, Chopin composed them over a period of more than a decade. -
Die Ukraine Zwischen Ost Und West
Ernst-Moritz-Arndt-Universität Greifswald Greifswalder Ukrainistische Hefte Heft 4 Die Ukraine zwischen Ost und West Rolf Göbner zum 65. Geburtstag Herausgegeben von Ulrike Jekutsch und Alexander Kratochvil Shaker Verlag Aachen 2007 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Gedruckt mit finanzieller Unterstützung der Philosophischen Fakultät der E.-M.-Arndt-Universität Greifswald und der Deutschen Assoziation der Ukrainisten Greifswalder Ukrainistische Hefte Herausgeber: Alexander Kratochvil Redaktionsrat: Guido Hausmann, Timofij Havryliv, Michael Moser Copyright Shaker Verlag 2007 Alle Rechte, auch das des auszugsweisen Nachdruckes, der auszugsweisen oder vollständigen Wiedergabe, der Speicherung in Datenverarbeitungs- anlagen und der Übersetzung, vorbehalten. Printed in Germany. ISBN 978-3-8322-6625-7 ISSN 1860-2215 Shaker Verlag GmbH • Postfach 101818 • 52018 Aachen Telefon: 02407 / 95 96 - 0 • Telefax: 02407 / 95 96 - 9 Internet: www.shaker.de • E-Mail: [email protected] 3 4 Inhaltsverzeichnis Geleitwort der Herausgeber 9 Anatolij Tkaenko Ukrainicum – – (-) 12 LITERATURWISSENSCHAFT Mychajlo Najenko . 15 Mykola Sulyma „“ 26 Anna-Halja Horbatsch Tschornobyl in der ukrainischen Literatur 33 Stefanija Andrusiv 0* 0 40 Jutta Lindekugel Pseudonyme schreibender Frauen in der ukrainischen Literatur Ende 19. - Anfang 20. Jahrhundert: -
Christoph Eschenbach Dirigiert Mahler 6
Eschenbach dirigiert Mahler 6 Samstag, 08.04.17 — 19.30 Uhr Lübeck, Musik- und Kongresshalle GUSTAV MAHLER Sinfonie Nr. 6 a-Moll ChristopH ESchenbAcH Dirigent „Glück flammt hoch am Rande des Grauens“ Am 20. Mai 1906 machte sich Gustav Mahler auf die Meine VI. wird Reise nach Essen, um die Uraufführung seiner Sechs Rätsel aufgeben, ten Sinfonie vorzubereiten – mit gemischten Gefüh len. Denn zum einen zweifelte er an der Leistungs an die sich nur fähigkeit des Essener Orchesters, das qualitativ dem eine Generation Kölner GürzenichOrchester, mit dem er zwei Jahre zuvor seine Fünfte erarbeitet hatte, klar unterlegen heranwagen darf, NDR ELbpHilharmoNiE war. Zum anderen hatte man aufgrund der großen die meine ersten Orchester Besetzung das Orchester der Stadt Utrecht zur Verstär kung holen müssen, über dessen Güte sich Mahler fünf in sich auf- zuvor bei seinem Freund Willem Mengelberg zwar genommen hat. ausführlich erkundigt hatte und beruhigt worden war. Doch würden sich beide Orchester problemlos zu Gustav Mahler im Jahr 1904 einem Klangkörper zusammenfügen lassen? Mahlers Bedenken sollten sich als unbegründet erweisen. „Sehr zufrieden von der 1. Probe!“, heißt es Gustav Mahler (1860 – 1911) in einem Brief an Alma Mahler vom 2. Mai 1906. Sinfonie Nr. 6 aMoll „Orchester hält sich famos und klingen thut Alles, Entstehung: 1903 – 04 | Uraufführung: Essen, 27. Mai 1906 | Dauer: ca. 85 Min. wie ich es wünschen kann.“ Dennoch wurde die Pre I. Allegro energico, ma non troppo. miere am 27. Mai 1906 im Essener Saalbau nur ein Heftig, aber markig Achtungserfolg, bei dem laut den Erinnerungen des II. Scherzo. Wuchtig – Trio. Altväterisch, grazioso damals anwesenden Dirigenten Klaus Pringsheim III. -
Liszt and Christus: Reactionary Romanticism
LISZT AND CHRISTUS: REACTIONARY ROMANTICISM A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Robert Pegg May 2020 Examining Committee Members: Dr. Maurice Wright, Advisory Chair, Music Studies Dr. Michael Klein, Music Studies Dr. Paul Rardin, Choral Activities Dr. Christine Anderson, Voice and Opera, external member © Copyright 2020 by Robert Pegg All Rights Reserved € ii ABSTRACT This dissertation seeks to examine the historical context of Franz Lizt’s oratorio Christus and explore its obscurity. Chapter 1 makes note of the much greater familiarity of other choral works of the Romantic period, and observes critics’ and scholars’ recognition (or lack thereof) of Liszt’s religiosity. Chapter 2 discusses Liszt’s father Adam, his religious and musical experiences, and his influence on the young Franz. Chapter 3 explores Liszt’s early adulthood in Paris, particularly with respect to his intellectual growth. Special attention is given to François-René, vicomte de Chateaubriand and the Abbé Félicité de Lamennais, and the latter’s papal condemnation. After Chapter 4 briefly chronicles Liszt’s artistic achievements in Weimar and its ramifications for the rest of his work, Chapter 5 examines theological trends in the nineteenth century, as exemplified by David Friedrich Strauss, and the Catholic Church’s rejection of such novelties. The writings of Charles Rosen aid in decribing the possible musical ramifications of modern theology. Chapter 6 takes stock of the movements for renewal in Catholic music, especially the work of Prosper Gueranger and his fellow Benedictine monks of Solesmes, France, and of the Society of Saint Cecilia in Germany. -
Journal November 1998
T rhe Elgar Society JOURNAL I'- r The Elgar Society Journal 107 MONKHAMS AVENUE, WOODFORD GREEN, ESSEX IG8 OER Tel: 0181 -506 0912 Fax:0181 - 924 4154 e-mail: hodgkins @ compuserve.com CONTENTS Vol.lO, No.6 November 1998 Articles Elgar & Gerontius... Part II 258 ‘Elgar’s Favourite Picture’ 285 A Minor Elgarian Enigma Solved 301 Thoughts from the Three Choirs Festival 1929 305 Obituary: Anthony Leighton Thomas 307 More on Elgar/Payne 3 307 Book Reviews 313 Record Reviews 316 Letters 324 100 years ago... 327 I 5 Front cover: Elgar photographed at Birchwood on 3 August 1900, just after completing 3 The Dream of Gerontius. The photo was taken by William Eller, whom Elgar met through their mutual friend, Richard Arnold. **********=)=*****H:****H==HH:************:(=***=t:*****M=****=|i******************=|c* The Editor does not necessarily agree with the views expressed by contributors nor does the Elgar Society accept responsibility for such views. ELGAR SOCIETY JOURNAL ISSN 0143 - 1269 « ELGAR & GERONTIUS: the early performances Lewis Foreman Part II Ludwig Wiillner We should note that there were two Wullners. Ludwig was the singer and actor; Franz was his father, the Director of the Cologne Conservatoire and conductor of the Gurzenich Concerts. He was there at Diisseldorf and promised to consider Gerontius for a concert in 1902, but I cannot trace that it ever took place. We need to consider Ludwig Wullner, for he would sing Gerontius again on two further key occasions, the second Diisseldorf performance at the Lower Rhine Festival in May 1902, and then in London at Westminster Cathedral in June 1903, as well as the Liverpool premiere in March 1903. -
Boston Symphony Orchestra Concert Programs, Season 39,1919
ACADEMY OF MUSIC . PHILADELPHIA Monday Evening, January 5, at 8.15 *'.. 1% "v V Mly$fr BOSTON ^wd -^ SYMPHONY ORCHESTRA INCORPORATED THIRTY-NINTH SEASON J9J9-J920 / ',i V ll |U«.,....,|.U PRSQRsnnc THIS IMSTBUMEINIT ©F QUALITY SlOJXOtir CL6AB AS A ©5'I~L " TZ^ Highest Class Talking Machine in the World" Josef Hofmann says: "The Orchestra is the greatest MUSICAL MEDIUM and stimu- lus of the Community." The Talking Machine is the only Musical Instrument that brings the orchestra into the home 1311 WALNUT STREET PHILADELPHIA ACADEMY OF MUSIC, PHILADELPHIA Thirty-fifth Season in Philadelphia INCORPORATED Thirty-ninth Season, 1919-1920 PIERRE MONTEUX, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 5 AT 8.15 COPYRIGHT, 1920, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager — ww% I 1 Xl p <m* A name that is spoken with the full pride of ownership—that carries with it the deep satis- faction of possessing the ultimate expression of man's handiwork in Musical Art. A name that is cherished as a Family Tradition that keeps afresh for the next generation the associations and fond remembrances which cluster around the home piano. Supreme achievement of patience, skill and ex- perience, founded on inborn Ideals of Artistry. vmp i mmm iJPs f Catalogue and prices on application Sold on convenient payments Old pianos taken in exchange Inspection invited 107-109 East 14th Street New York Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Thirty-ninth Season, 1919-1920 PIERRE MONTEUX, Conductor Violins. -
Boston Symphony Orchestra Concert Programs, Season 34,1914-1915, Trip
ACADEMY OF MUSIC, PHILADELPHIA Thirtieth Season in Philadelphia Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, MARCH 15 AT 8.15 COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER DPI H V l C T O R S The Talking Machine You Want is to be found at Heppe's Whether it be an ordin- ary Victor or a superb Victrola, every artistic possibility of the Talking Machine is assured when it comes from Heppe's. Experts adjust every ma- chine that leaves our establish- ment and our service is best because we are both wholesale and retail distributors. LOWEST FACTORY PRICES GUARANTEED, WHETHER YOU BUY FOR CASH OR ON TIME Victors, $10 to $60 $ $ Victrolas, 1 5 to 200 1117-1119 Chestnut Street, 6th and Thompson Streets Wholesale and Retail Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor per: Violins. r Witek, A. m*W£ .If Roth, O. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Kurth,R s Griinberg, M. Pinfield, C. Gerardi, A. Ringwall, R. | Gunderson, B Gewirtz, J. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos. Warake, H. Keller, J. MpTBarth, C. Belinski, M. Steinke, B. Malkin, J. -
72001 for PDF 11/05
EARL WILD LISZT THE 1985 SESSIONS DISC 1 From “Années de Pèlerinage” Second Year: Italy (S161/R10b) 1 Après une lecture du Dante (Fantasia quasi Sonata) 15:58 [“Dante Sonata”] (Andante maestoso - Presto agitato assai - Tempo I (Andante) - Andante (quasi improvvisato) - Andante - Recitativo - Adagio - Allegro moderato - Più mosso - Tempo rubato e molto ritenuto - Andante - Più mosso - Allegro - Allegro vivace - Presto - Andante (Tempo I)) 2 Sonetto 47 del Petrarca 6:20 (Preludio con moto - Sempre mosso con intimo sentimento) 3 Sonetto 104 del Petrarca 6:31 (Agitato assai - Adagio - Agitato) 4 Sonetto 123 del Petrarca 7:04 (Lento placido - Sempre lento - Più lento - (Tempo iniziale)) From “Années de Pèlerinage” Third Year (S163/R10e) 5 Les jeux d’eau à la Villa d’Este 7:41 (Fountains of the Villa d’Este) (Allegretto) 6 Ballade No.2 in B minor (S171/R16) 13:59 (Allegro moderato - Lento assai - Tempo I - Lento assai - Allegretto - Allegro deciso - Allegretto - Allegretto sempre legato - Allegro moderato - Un poco più mosso - Andantino) From “Liebesträume, 3 Notturnos” (S541/R211) 7 Liebesträume (Notturno) No.2 in E flat Major (2nd Version) 4:27 (“Seliger Tod”) (Quasi lento, abbandonandosi) 8 Liebesträume (Notturno) No.3 in A flat Major 4:26 (“O lieb, so lang du lieben kannst!”) (Poco allegro, con affetto) 9 Concert Étude No.3 in D flat Major (“Un Sospiro”) (S144/R5) 5:14 (Allegro affettuoso) Total Playing Time : 72:16 – 2 – DISC 2 Bach/Liszt: Fantasia and Fugue in G minor (S463/R120) 11:12 1 Fantasia (Grave) 5:49 2 Fugue (Allegro) 5:23 Sonata -
Boston Symphony Orchestra Concert Programs, Season
NEW NATIONAL THEATRE, WASHINGTON Twenty-sixth Season, J90^-J907 DR. KARL MUCK, Conductor programme of % Fifth and Last Matinee WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, MARCH 19 AT 4.30 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER 08SIP GABRILOWITSCH the Russian Pianist will play in America this season with the Principal Orchestras, the Kneisel Quartet, the Boston Symphony Quartet, Leading Musical Organizations throughout the country, and in Recital GABRILOWITSCH will play only the ifaun&ife PIANO ifejm&ifaittlhtdk Boston New York For particulars, terms, and dates of Gabrilowitsch, address HENRY L. MASON 492 Boylston Street, Boston 2 Boston Symphony Orchestra PERSONNEL TWENTY-SIXTH SEASON, 1906-1907 Dr. KARL MUCK, Conductor Willy Hess, ConcertmeisUr> and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Moldauer, A. Adamowski, T. Heberlein, H. Mullaly, J. Akeroyd, J. Heindl, A. Muller, F. Heindl, H. Bak, A. Helleberg, J. Nagel, R. Bareither, G. Hess, M. Nast, L. Barleben, C. Hoffmann, J. Barth, C. Hoyer, H. Phair, J. Berger, H. Bower, H. Keller, J. Regestein, E» Brenton, H. Keller, K. Rettberg, A. Brooke, A. Kenfield, L. Rissland, K. Burkhardt, H. Kloepfel, L. Roth, O. Butler, H. Kluge, M. Kolster, A. Sadoni, P. Currier, F. Krafft, W. Sauer, G. Debuchy, A. Krauss, H. Sauerquell, J. Kuntz, A. Sautet, A. Dworak, J. Kuntz, D. Schuchmann, F. Eichheim, H. Kunze, M. Schuecker, H. Eichler, J. Kurth, R. Schumann, C. Elkind, S. Schurig, R. Lenom, C. Senia, T. Ferir E. Loeffler, E. Seydel, T. Fiedler, B. Longy, G. Sokoloff, N. Fiedler, E. Lorbeer, H. -
Franz Liszt: the Ons Ata in B Minor As Spiritual Autobiography Jonathan David Keener James Madison University
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2011 Franz Liszt: The onS ata in B Minor as spiritual autobiography Jonathan David Keener James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Commons, Religious Thought, Theology and Philosophy of Religion Commons, and the Social and Behavioral Sciences Commons Recommended Citation Keener, Jonathan David, "Franz Liszt: The onS ata in B Minor as spiritual autobiography" (2011). Dissertations. 168. https://commons.lib.jmu.edu/diss201019/168 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Franz Liszt: The Sonata in B Minor as Spiritual Autobiography Jonathan David Keener A document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music May 2011 Table of Contents List of Examples………………………………………………………………………………………….………iii Abstract……………………………………………………………………………………………………………….v Introduction and Background….……………………………………………………………………………1 Form Considerations and Thematic Transformation in the Sonata…..……………………..6 Schumann’s Fantasie and Alkan’s Grande Sonate…………………………………………………14 The Legend of Faust……………………………………………………………………………………...……21 Liszt and the Church…………………………………………………………………………..………………28 -
Boston Symphony Orchestra Concert Programs, Season 39,1919
NEW NATIONAL THEATRE . WASHINGTON Tuesday Afternoon, January 6, at 4.30 N :^ mm^-, W uW % BOSTON %y\\i iv^ SYAPHONY ORCHESTRA INCORPORATED THIRTY NINTH SEASON W9-J920 PRSGRSttME UPRIGHT PIANOS GRAND PIANOS THE CHICKERING-AMPICO REPRODUCING PIANOS play the interpretations of the world's foremost pianists—tone for tone, phrase for phrase—the exact duplication of the artists' own renditions from actual recordings. UPRIGHT AND GRAND STYLES ARTHUR JORDAN PIANO CO. 1239 G ST., Cor. 13th WASHINGTON, D. C. HOMER L. KITT. Sec'y-Treas. NEW NATIONAL THEATRE WASHINGTON INCORPORATED Thirty-ninth Season. 1919-1920 PIERRE MONTEUX, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, JANUARY 6 AT 4.30 COPYRIGHT, 1920, BY BOSTONSSYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager — A name that is spoken with the full pride of ownership—that carries with it the deep satis- faction of possessing the ultimate expression of man's handiwork in Musical Art. A name that is cherished as a Family Tradition that keeps afresh for the next generation the associations and fond remembrances which cluster around the home piano. Supreme achievement of patience, skill and ex- perience, founded on inborn Ideals of Artistry. mp <m If 1 £ Jft Catalogue and prices on application Sold on convenient payments Old pianos taken in exchange Inspection invited STE» 107-109 East 14th Street New York Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Thirty-ninth Season, 1919-1920 PIERRE MONTEUX, Conductor Violins. Fradkin, F. Roth, 0. Rissland, K. Mahn, F. Concert-master. -
Arnold Bax and the Poetry of Tintagel
ARNOLD BAX AND THE POETRY OF TINTAGEL A Dissertation submitted to the College of Fine Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by William B. Hannam December, 2008 HANNAM, WILLIAM B., PH.D., DECEMBER, 2008 MUSIC ARNOLD BAX AND THE POETRY OF TINTAGEL (213PP.) Director of Dissertation: Theodore J. Albrecht The latter part of the nineteenth and the early part of the twentieth centuries saw what is commonly accepted as a resurgence in music from the British Isles, but to this day, most of the actual music of this resurgence remains unknown to all but the most knowledgeable of art music aficionados. Among the composers active during this period, one of the most heralded in his day but little recognized now is Sir Arnold Bax (1883 – 1953). To the aforementioned aficionados, he is known for several substantial yet infrequently performed contributions to the symphonic repertoire, among them the tone poem Tintagel. Known in England as a composer, Bax carried on a separate life as a writer of poetry and drama in Ireland, working under the name Dermot O’Byrne. At the time of composition of the tone poem, Bax also wrote a four- stanza verse poem titled “Tintagel Castle.” Both were written for and dedicated to the pianist Harriet Cohen, with whom he was having an affair. The focus of this dissertation is an extensive look at the circumstances surrounding the composition of Tintagel, examining factors of development in Bax’s compositional style, his personal life including the affair with Harriet Cohen, and the influence of Yeats and Irish culture on Bax’s writings as Dermot O’Byrne.