SESSION EIGHT November 3, 2016 BEETHOVEN the MAN Last Years Do Not Go Gentle Into That Good Night, Old Age Should Burn and Rave
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Elaine Fitz Gibbon
Elaine Fitz Gibbon »Beethoven und Goethe blieben die Embleme des kunstliebenden Deutschlands, für jede politische Richtung unantastbar und ebenso als Chiffren manipulierbar« (Klüppelholz 2001, 25-26). “Beethoven and Goethe remained the emblems of art-loving Germany: untouchable for every political persuasion, and likewise, as ciphers, just as easily manipulated.”1 The year 2020 brought with it much more than collective attempts to process what we thought were the uniquely tumultuous 2010s. In addition to causing the deaths of over two million people worldwide, the Covid-19 pandemic has further exposed the extraordinary inequities of U.S.-American society, forcing a long- overdue reckoning with the entrenched racism that suffuses every aspect of American life. Within the realm of classical music, institutions have begun conversations about the ways in which BIPOC, and in particular Black Americans, have been systematically excluded as performers, audience members, administrators and composers: a stark contrast with the manner in which 2020 was anticipated by those same institutions before the pandemic began. Prior to the outbreak of the novel coronavirus, they looked to 2020 with eager anticipation, provoking a flurry of activity around a singular individual: Ludwig van Beethoven. For on December 16th of that year, Beethoven turned 250. The banners went up early. In 2019 on Instagram, Beethoven accounts like @bthvn_2020, the “official account of the Beethoven Anniversary Year,” sprang up. The Twitter hashtags #beethoven2020 and #beethoven250 were (more or less) trending. Prior to the spread of the virus, passengers flying in and out of Chicago’s O’Hare airport found themselves confronted with a huge banner that featured an iconic image of Beethoven’s brooding face, an advertisement for the Chicago Symphony Orchestra’s upcoming complete cycle Current Musicology 107 (Fall 2020) ©2020 Fitz Gibbon. -
5 Music Cruises 2019 E.Pub
“The music is not in the notes, but in the silence between.” Wolfgang Amadeus Mozart RHINE 2019 DUDOK QUARTET Aer compleng their studies with disncon at the Dutch String Quartet Academy in 20 3, the Quartet started to have success at internaonal compeons and to be recognized as one of the most promising young European string quartets of the year. In 20 4, they were awarded the Kersjes ,rize for their e-ceponal talent in the Dutch chamber music scene. .he Quartet was also laureate and winner of two special prizes during the 7th Internaonal String Quartet 0ompeon 20 3 1 2ordeau- and won st place at both the st Internaonal String Quartet 0ompeon 20 in 3adom 4,oland5 and the 27th 0harles 6ennen Internaonal 0hamber Music 0ompe7 on 20 2. In 20 2, they received 2nd place at the 8th 9oseph 9oachim Internaonal 0hamber Music 0ompeon in Weimar 4:ermany5. .he members of the quartet ;rst met in the Dutch street sym7 phony orchestra “3iccio=”. From 2009 unl 20 , they stu7 died with the Alban 2erg Quartet at the School of Music in 0ologne, then to study with Marc Danel at the Dutch String Quartet Academy. During the same period, the quartet was coached intensively by Eberhard Feltz, ,eter 0ropper 4Aindsay Quartet5, Auc7Marie Aguera 4Quatuor BsaCe5 and Stefan Metz. Many well7Dnown contemporary classical composers such as Kaija Saariaho, MarD7Anthony .urnage, 0alliope .sou7 paDi and Ma- Knigge also worDed with the quartet. In 20 4, the Quartet signed on for several recordings with 3esonus 0lassics, the worldEs ;rst solely digital classical music label. -
Beethoven, Bonn and Its Citizens
Beethoven, Bonn and its citizens by Manfred van Rey The beginnings in Bonn If 'musically minded circles' had not formed a citizens' initiative early on to honour the city's most famous son, Bonn would not be proudly and joyfully preparing to celebrate his 250th birthday today. It was in Bonn's Church of St Remigius that Ludwig van Beethoven was baptized on 17 December 1770; it was here that he spent his childhood and youth, received his musical training and published his very first composition at the age of 12. Then the new Archbishop of Cologne, Elector Max Franz from the house of Habsburg, made him a salaried organist in his renowned court chapel in 1784, before dispatching him to Vienna for further studies in 1792. Two years later Bonn, the residential capital of the electoral domain of Cologne, was occupied by French troops. The musical life of its court came to an end, and its court chapel was disbanded. If the Bonn music publisher Nikolaus Simrock (formerly Beethoven’s colleague in the court chapel) had not issued several original editions and a great many reprints of Beethoven's works, and if Beethoven's friend Ferdinand Ries and his father Franz Anton had not performed concerts of his music in Bonn and Cologne, little would have been heard about Beethoven in Bonn even during his lifetime. The first person to familiarise Bonn audiences with Beethoven's music at a high artistic level was Heinrich Karl Breidenstein, the academic music director of Bonn's newly founded Friedrich Wilhelm University. To celebrate the anniversary of his baptism on 17 December 1826, he offered the Bonn première of the Fourth Symphony in his first concert, devoted entirely to Beethoven. -
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............................................................................... -
Kurz Beethoven B&H E.Qxd
“I give preference to your house above all others” Room 6 (1st floor) Showcase 2: Beethoven considered his Variations for Piano the Fifth Symphony op. 67 to the Mass in C major op. 86 and On display here as an introduction to the exhibition is a man- in F major op. 34 and E flat major op. 35 to be of greater two songs without opus numbers, is confirmed in writing. As Beethoven and the Leipzig Music Publishing uscript of the six Partitas for piano by Johann Sebastian Bach importance than his earlier variation cycles, because they late as 1855 the publishers asked the composer and pianist House Breitkopf & Härtel BWV 825-830, which Beethoven’s most important benefactor were composed in “a new way” based on themes of his own. Ignaz Moscheles, who had been well acquainted with during the first years in Vienna transcribed personally as a He noted this on the title page of the original manuscript of Beethoven, and the cantor of St. Thomas church, Moritz Special Exhibition at the Beethoven House, Bonn student. Count Karl von Lichnowsky copied them from Opus 35, which today is known as the “Eroica Variations”, Hauptmann, to verify the authenticity of Beethoven’s signature since Beethoven later used the theme again for the last move- and even had their verification certified by the commercial 24th May to 18th August 2007 Bach’s later biographer Johann Nikolaus Forkel. It can be assumed that Beethoven knew this manuscript and used it for ment of his Third Symphony. In the letter written in court in Leipzig. -
Bakalářská Práce
UNIVERZITA PALACKÉHO V OLOMOUCI FILOSOFICKÁ FAKULTA BAKALÁŘSKÁ PRÁCE Olomouc 2014 Michal Kadlec UNIVERZITA PALACKÉHO V OLOMOUCI FILOSOFICKÁ FAKULTA Katedra divadelních, filmových a mediálních studií POPULÁRNÍ OBRAZ LUDWIGA VAN BEETHOVENA VE FILMU POPULAR IMAGE OF LUDWIG VAN BEETHOVEN IN MOVIES (Bakalářská diplomová práce) Autor: Michal Kadlec Vedoucí práce: doc. Mgr. Zdeněk Hudec, Ph.D. Olomouc 2014 Univerzita Palackého v Olomouci Filosofická fakulta Tímto prohlašuji, že jsem bakalářskou diplomovou práci na téma Populární obraz Ludwiga van Beethovena ve filmu vypracoval samostatně pod odborným vedením vedoucího práce. V Olomouci, dne...................... Podpis:...................... Univerzita Palackého v Olomouci Filosofická fakulta Poděkování Rád bych poděkoval vedoucímu bakalářské práce doc. Mgr. Zdeňku Hudcovi, Ph.D. za od- borné vedení a pomoc při nalézání konečného tvaru práce. OBSAH OBSAH ...................................................................................................................................... 5 ÚVOD ........................................................................................................................................ 7 1. Téma ............................................................................................................................... 7 2. Cíl práce ......................................................................................................................... 7 2. VYHODNOCENÍ LITERATURY ..................................................................................... -
Volume 46, Number 01 (January 1928) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1928 Volume 46, Number 01 (January 1928) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 46, Number 01 (January 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/752 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Journal of the ^Musical Home Everywhere THE ETUDE ) ''Music MCagazi January 1928 NEW YEARS AMBITIONS Panted by C. W. Snyder PRICE 25 CENTS $2.00 A YEAR •/ ' * ' . • - - - V ■ / * ETV D E jssMastf-r ift 1 Outstanding Piano Composen Whose Works Are Worth Knowing festers fjruguay.H Canada,’ tiS* STjE? Auditor! Td WARD^JwOTtHHIPOTER “? , Subscrib/rs We will gladly send any ot tnese compositions to piano teachers, allowing the privilege of ex¬ amining them on our “On Sale” plan and per¬ mitting the return ofot those not desired.aesirea. Askask forior “On Order Blank and the details of ?his helpful plan if you have never enjoyed its jVL/ 12 IS d-1 ffir n kJ> PRINTED IN THE UN,TED STATES OP AMERICA * — ' - ™L,SHE, > -V THEODORE PRESSER CO. -
Ludwig Van Beethoven Hdt What? Index
LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father. -
Conversations with Beethoven/ by Sanford Friedman ; Introduction by Richard Howard
Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. CONVERSATIONS I WITH BEETHOVEN l A Novel SANFORD FRIEDMAN Introduction by RICHARD HOWARD NEW YORK REVIEW BOOKS Efiiit New York THIS IS A NEW YORK REVIEW BOOK PUBLISHED BY THE NEW YORK REVIEW OF BOOKS 435 Hudson Street, New York, NY wo14 www.nyrb.com Copyright© 2014 by Sanford Friedman Introduction copyright© 2014 by Richard Howard All rights reserved. Library of Congress Cataloging-in-Publication Data Friedman, Sanford, 1928-20!0. Conversations with Beethoven/ by Sanford Friedman ; introduction by Richard Howard. pages cm. - (New York Review Books classics) ISBN 978-1-59017-762-4 (alk. paper) I. Beethoven, Ludwig van, 1770-1827-Fiction. 2. Composers-Germany Fiction. I. Title. PS3556.R564C66 2014 813'.54-de23 ISBN 978-1-59017-762-4 Available as an electronic book; ISBN 978-1-59017-788-4 Printed in che United Scates of America on acid-free paper. 10 9 8 7 6 5 4 J 2 l It is known that conversation with Beethoven had in part to be written; he spoke, but those with whom he spoke had to write down their questions and answers. -
Neuerwerbungen Bibliothek Januar Bis Juni 2020 Auswahlliste 2020,1
1 BEETHOVEN-HAUS BONN Neuerwerbungen Bibliothek Januar bis Juni 2020 Auswahlliste 2020,1 1. Musikdrucke 1.1. Frühdrucke bis 1850 S. 1 1.2. Neuausgaben S. 5 2. Literatur 2.1. Frühdrucke S. 11 2.2. Neuere Bücher und Aufsätze S. 24 2.3. Rezensionen S. 28 3. Tonträger S. 32 2 1. Musikdrucke 1.1. Frühdrucke bis 1850 C 5 / 32 Beethoven, Ludwig van : [Op. 5 - Artaria, 689] Deux grandes sonates pour le clavecin ou piano-forte avec un violoncelle obligé : oeuvre 5me / composées, et dediées à sa Majesté Frédéric Guillaume II Roi de Prusse par Louis van Beethoven. - [Stimmen, spätere Auflage der Originalausgabe]. - Vienne : Artaria et Compagnie, [um 1820]. - 42 S. (Kl), 16 S. (Vc) ; Querformat Preisangabe: Pr. 3 f. - Stich. - Spätere Auflage 2 nach WV, mit Bogenzählung auf S. 1 (16B), die vollständige Preisangabe wäre Pr. 3 f 12 x C.M., teilweise getilgt (s. das digitalisierte Ex. der ÖNB http://data.onb.ac.at/rep/1026375E). - Datierung: Laut WV, Anhang Verlage wurde bei Artaria um 1820 in manchen Fällen eine Bogenzählung ergänzt. - Zahlr. Plattenkorrekturen sichtbar, etwa S. 28 (Kl), 2. System, 5. T., linke Hand; 3. System, 5. T., linke Hand; 5. System, Violinschlüssel, linke Hand. Änderungen vermutlich schon vor der Veröffentlichung gemacht worden, eine letzte Sicherheit hierin läßt sich nicht an Hand dieser Sammlung herstellen (vgl. Stroh: Op. 2). - Die Plattenrisse sind an denselben Stellen wie bei HCB C op. 5, aber ausgeprägter. - Mit Bogenzählung, s.a. C 5 / 25; HCB C op. 5 frühere Auflage ohne Bogenzählung. - Prägestempel auf der Titelseite: H. F. MUNSTER / TRIESTE. -
Bonn-Tours 2021
Bonn Tours 2021 Guided Sightseeing and Walking Tours TOUR A 8 Anniversary Tour “Beethoven Story” Windeckstraße 1/am Münsterplatz, 53111 Bonn Discover Ludwig van Beethoven’s birthplace in the Bonn- Tourist advice, accommodation, guided coach gasse 20, where he was born in December 1770. Who at and walking tours, tour guide service, that time could have known that a musical genius was born, Bonn souvenirs, event programmes, ticket whose music would be known all over the world today? service, theatre and concert tickets Beethoven lived in Bonn until 1792, before he moved to Vienna, where he became one of the world’s famous com- Tel.: 0049 (0) 228 - 77 50 00 posers. You will visit places and locations where the com- [email protected] poser worked, and you will gain fascinating insights into his everyday life. Possible stations of the tour could include: Group tours available with own tour guide: The Remigius Church with Ludwig van Beethoven’s baptismal font, the Beethoven monument at the Münsterplatz. [email protected] Tip: Round off the tour with a visit to the Beethoven House. Tel.: 0049 (0) 228 - 77 39 21 Date and Time: 1 May to 30 October, Saturdays at 2 p.m. Opening hours: 4 June to 24 September, Fridays at 4 p.m. Monday - Friday 10 a.m. - 6 p.m. Meeting place: Bonn-Information, Saturday 10 a.m. - 4 p.m. Windeckstr. 1/am Münsterplatz Sunday and (nearby Minster Cathedral Square) public holidays 10 a.m. - 2 p.m. Duration: 2 hours Price: Adults 9.50 Euro, with reduction 5 Euro Tram 16, 18, 61, 62, 63, 66 (children aged 12-17, students, disabled) Stop: Hauptbahnhof (main railway station) Publisher: The Mayor of the Federal City of Bonn, Office for Economic Development – Bonn-Information, Press Office, January 2021, pictures: © Federal City of Bonn, BONN IS BEETHOVEN. -
The “Da Ponte” Operas : Music in the Seventeenth and Eighteenth Cent
The “Da Ponte” Operas : Music In The Seventeenth And Eighteenth Cent... http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... Oxford History of Western Music: Richard Taruskin See also from Grove Music Online Lorenzo da Ponte Le nozze di Figaro THE “DA PONTE” OPERAS Chapter: CHAPTER 9 Enlightenment and Reform Source: MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES Author(s): Richard Taruskin After Die Entführung , Mozart did not complete another opera for four years. Part of the reason for the gap had to do with his burgeoning career in Vienna as a freelancer, which meant giving lots of concerts, which (as we will see) meant writing a lot of piano concertos. But it was also due to Joseph II’s unexpected disbanding of the national singspiel company and its replacement by an Italian opera buffa troupe at court whose regular composers Giovanni Paisiello, Vincente Martìn y Soler, and Antonio Salieri—Italians all (Martìn being a naturalized Spaniard)—had a proprietary interest in freezing out a German rival, especially one as potentially formidable as Mozart. 1 / 4 2011.01.27. 15:29 The “Da Ponte” Operas : Music In The Seventeenth And Eighteenth Cent... http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... fig. 9-7 Lorenzo da Ponte, engraving by Michele Pekenino after a painting by Nathaniel Rogers (Mozarteum, Salzburg). Mozart’s letters testify to his difficulty in gaining access to Lorenzo da Ponte (1749–1838, original name Emmanuele Conegliano), the newly appointed poet to the court theater. (There was a certain typically Joseph II symbolism in the fact that a specialist in opera buffa should have been chosen to replace the aged Metastasio, the paragon of the seria , who died in 1782 at the age of 84.) “These Italian gentlemen are very civil to your face,” Mozart complained to his father in 1783.