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Der „Bonner“ Beethoven
Bürger für Beethoven Schriftreihe für Beethoven No 6 Ulrich Konrad Der „Bonner“ Beethoven (Juni 2017) Bürger für Beethoven - Kurfürstenallee 2-3, D-53177 Bonn Tel. 0228 36 62 74 - Fax 0228 184 76 37 – [email protected] Vorsitzender: Dr. Stephan Eisel– [email protected] Bankverbindung: Sparkasse KölnBonn IBAN: DE52 3705 0198 0034 4004 32 - BIC: COLSDE33 www.buerger-fuer-beethoven.de 1 Prof. Dr. Ulrich Konrad wurde 1967 in Bonn geboren und studierte an den Universitäten Bonn und Wien Musikwissenschaft, Germanistik und Geschichte. Nach einer Professur an der Staatlichen Hochschule für Musik in Freiburg im Breisgau wurde er 1996 Ordinarius für Musikwissenschaft an der Universität Würzburg. 2001 erhielt er als erster und bislang einziger Musikwissenschaftler den Gottfried-Wilhelm-Leibniz-Preis. Er ist auch Vorsitzender des wiss. Beirates des Beethoven Hauses Bonn. Der hier abgedruckte Vortrag ist im Jahrbuch der BÜRGER FÜR BEETHOVEN 2015 dokumentiert. Es handelt sich dabei um den Eröffnungsvortrag zur Jahrestagung der Görres-Gesellschaft in Bonn am 26. September 2015. Eine erweiterte Fassung erscheint in den Bonner Beethoven-Studien, Band 12. Nach wie vor grundlegend zum Thema sind Alexander Wheelock Thayer, Ludwig van Beethovens Leben. Nach dem Original-Manuskript deutsch bearbeitet von Hermann Deiters; Erster Band, 3. Auflage, Revision der von H. Deiters bewirkten Neubearbeitung (1901) von Hugo Riemann, Leipzig 1917, und Ludwig Schiedermair, Der junge Beethoven, Leipzig 1925, Nachdruck Hildesheim 1978. Jüngste biographische Überblicksdarstellungen: Lewis Lockwood, Beethoven. Seine Musik. Sein Leben, Kassel 2009 (zuvor New York und London 2003), und Jan Caeyers, Beethoven. Der einsame Revolutionär, München 2012 (zuvor Amsterdam 2009). Die Lebenszeugnisse liegen in wissenschaftlichen Referenzausgaben vor: Ludwig van Beethoven. -
Beethoven's Fourth Symphony: Comparative Analysis of Recorded Performances, Pp
BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY 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 Mark Christopher Ferraguto August 2012 © 2012 Mark Christopher Ferraguto BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY Mark Christopher Ferraguto, PhD Cornell University 2012 Despite its established place in the orchestral repertory, Beethoven’s Symphony No. 4 in B-flat, op. 60, has long challenged critics. Lacking titles and other extramusical signifiers, it posed a problem for nineteenth-century critics espousing programmatic modes of analysis; more recently, its aesthetic has been viewed as incongruent with that of the “heroic style,” the paradigm most strongly associated with Beethoven’s voice as a composer. Applying various methodologies, this study argues for a more complex view of the symphony’s aesthetic and cultural significance. Chapter I surveys the reception of the Fourth from its premiere to the present day, arguing that the symphony’s modern reputation emerged as a result of later nineteenth-century readings and misreadings. While the Fourth had a profound impact on Schumann, Berlioz, and Mendelssohn, it elicited more conflicted responses—including aporia and disavowal—from critics ranging from A. B. Marx to J. W. N. Sullivan and beyond. Recent scholarship on previously neglected works and genres has opened up new perspectives on Beethoven’s music, allowing for a fresh appreciation of the Fourth. Haydn’s legacy in 1805–6 provides the background for Chapter II, a study of Beethoven’s engagement with the Haydn–Mozart tradition. -
Privilege and Property: Essays on the History of Copyright
Privilege and Property Essays on the History of Copyright Edited by Ronan Deazley, Martin Kretschmer and Lionel Bently To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/26 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Daniel Chodowiecki’s allegorical copper plate of 1781 shows unauthorised reprinters and original publishers, respectively as highwaymen and their victims while the Goddess of Justice is asleep. The full title reads: ‘Works of Darkness. A Contribution to the History of the Book Trade in Germany. Presented Allegorically for the Benefit of and as a Warning to All Honest Booksellers.’ The identities of most of the characters have been identified: the bandit chief is the Austrian publisher Johann Thomas von Trattner (1717-1798) who made a fortune by reprinting books from other German- speaking territories. His victims are the publishers Friedrich Nicolai (in the centre), and Philipp Erasmus Reich (fleeing into the background). The small bat-like monster hovering overhead (a position normally reserved for angels in religious paintings!) is modelled on Gerhard van Swieten (1700-1772), an influential adviser and doctor of Maria Theresa of Austria who eased censorship regulations but encouraged the reprinting of foreign books in Austria. Nicolai’s right arm extends the bat monster’s line of gaze and points to the head of the Goddess Justitia, sleeping as if drugged by the poppy blossoms above her head. -
Young Nietzsche and the Wagnerian Experience
Young Nietzsche and the Wagnerian Experience From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Young Nietzsche and the Wagnerian Experience frederick r. love UNC Studies in the Germanic Languages and Literatures Number 39 Copyright © 1963 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Love, Frederick R. Young Nietzsche and the Wagne- rian Experience. Chapel Hill: University of North Carolina Press, 1963. doi: https://doi.org/10.5149/9781469657837_Love Library of Congress Cataloging-in-Publication Data Names: Love, Frederick R. Title: Young Nietzsche and the Wagnerian experience / by Frederick R. Love. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 39. Description: Chapel Hill : University of North Carolina Press, [1963] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 63063585 | isbn 978-0-8078-8039-5 (pbk: alk. paper) | isbn 978-1-4696-5783-7 (ebook) Subjects: Nietzsche, Friedrich Wilhelm, 1844-1900. -
Baroque-Heading-Towards-Rococo Piece Is a Great Addition a Cantata with a Pair of Horns That Is Not Too Taxing for the to the Catalogue
Early Music Review EDITIONS OF MUSIC Barbare) for the 10 Ordinary masses are given with critical annotations xcvii-cxiv. Adding a translation to a volume Palestrina: Le messe dei Gonzaga. already weighing 6 or 7 lbs. was not feasible, but a volume with ‘only’ 463 pages of music separate from another of clvii Musiche della cappella di Santa Barbara pages could have provided also in English translation the in Mantova sections about Guglielmo, Palestrina and the compositional Ed. Ottavio Beretta (Vol. IV: Messe di Giovanni Pierluigi style of the masses! da Palestrina) Beretta opted to include the entire correspondence LIM, 2016, pp. clviii + 470. between Palestrina and Guglielmo in a 30-page appendix, ISBN 9788870968163 €100 after which he discusses what the instructions and intentions of Guglielmo were. Both respected the orders hese 12 polyphonic alternatim masses (alternating of the Council of Trent and thereby produced a type of monodic with polyphonic choruses, the monodic mass that the Vatican also desired to have for occasions of Tplainchant by solo, organ, or unison chorus or the highest solemnity, where a second choir replaced the soloists), commissioned by the court of Mantua between organ. Palestrina therefore asked Guglielmo for permission 1568 and 1579, are the only ones written for a liturgy (willingly granted) to use the Mantuan plainchant repertory different from Rome’s by Palestrina and his only masses in Rome. In its variants and rewritings it respected the unity composed between 1575 and 1581. They are of remarkable of mode in each piece, with the finalis and repercussion at the quality and well documented, yet ‘lost’ and unknown until beginning and end of every verse, filled in wide skips with 1950. -
Ludwig Van Beethoven: the Heard and the Unhearing
Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Translated by Andrew Horsfield ® MIX Papier aus verantwor- tungsvollen Quellen ® www.fsc.org FSC C083411 © Verlag Herder GmbH, Freiburg im Breisgau 2020 All rights reserved www.herder.de Cover design by University Hospital Bonn Interior design by SatzWeise, Bad Wünnenberg Printed and bound by CPI books GmbH, Leck Printed in Germany ISBN 978-3-451-38871-2 Words of welcome from Nike Wagner Bonn is not only the birthplace of Beethoven. The composer spent the first two decades of his life here, became a professional musician in this city and absorbed here the impulses and ideas of the Enlightenment that shaped his later creative output, too. To this extent, it is logical that Bonn is preparing to celebrate Beethoven with a kind of “Cultural Capital Year” to mark his 250th birthday. In this special year, opportunities have been cre- ated in abundance to engage with the “great mogul,” as Haydn called him. There is still more to be discovered in his music, as in his life, too. In this sense, a symposium that approaches the phenomenon of Beethoven from the music-medicine perspective represents an additional and necessary enrichment of the anni- versary year. When I began my tenure as artistic director of the Beethoven- feste Bonn in 2014, I set out to bring forth something that was always new, special and interdisciplinary. -
Studies in the History of the Cadence Caleb Michael Mutch Submitted In
Studies in the History of the Cadence Caleb Michael Mutch Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 1 © 2015 Caleb Michael Mutch All rights reserved 2 ABSTRACT Studies in the History of the Cadence Caleb Michael Mutch This dissertation traces the development of the concept of the cadence in the history of music theory. It proposes a division of the history of cadential theorizing into three periods, and elucidates these periods with four studies of particularly significant doctrines of musical closure. The first of these periods is the pre-history of the cadence, which lasted from the dawn of medieval music theory through the fifteenth century. During this time theorists such as John of Affligem (ca. 1100), whose writings are the subject of the first study, developed an analogy between music and the classical doctrine of punctuation to begin to describe how pieces and their constituent parts can conclude. The second period begins at the turn of the sixteenth century, with the innovative theory expounded by the authors of the Cologne school, which forms the subject of the second study. These authors identified the phenomenon of musical closure as an independent concept worthy of theoretical investigation, and established the first robustly polyphonic cadential doctrine to account for it. For the following three centuries theorists frequently made new contributions to the theorizing of the cadence in their writings, as exemplified by the remarkable taxonomy of cadences in the work of Johann Wolfgang Caspar Printz (1641-1717), the subject of the third study. -
Liste Annuelle 2017 Pour
NOUVEAUTÉS ANNUELLES 2017 Une institution Ville de Genève www.bge-geneve.ch/musicale Cette liste concerne les nouvelles acquisitions cataloguées durant la période de janvier à décembre 2017 : si vous désirez la recevoir sous forme électronique, il vous suffit de nous communiquer votre adresse e-mail. Pour les nouveautés récentes, vous les trouverez à l’adresse suivante : http://institutions.ville-geneve.ch/fr/bibliotheque-de- geneve/collections/musiques/acquisitions/ Table des matières Méthodes et ouvrages didactiques p. 4 Musiques d’influences afro-américaines p. 12 Rock et genres apparentés p. 14 Musique instrumentale classique et musique de chambre p. 17 Musique orchestrale classique p. 35 Musique vocale classique p. 39 Genres musicaux divers p. 50 Musique de film, Comédie musicale p. 52 Chanson et variétés internationales p. 54 Musique du monde p. 56 Généralités et divers p. 59 Bibliothèque de Genève Bastions : Musique et danse p. 60 Ill. de la couverture : Kingston rasta / Christophe Leu. Musique facile pour 4 guitares. Cote : 9.93 LEU Polyphonies Est paru en 2017 aux éditions Loisirs et pédagogie : Polyphonies : les instruments en classe de formation musicale de Patrick Mamie. Grâce à son expérience, ce professeur au Conservatoire populaire de musique, danse et théâtre de Genève propose une nouvelle approche de la formation musicale en incluant les instruments dans les cours de solfège. Faisant suite à Progressions : formation musicale par les chansons , les quatre volumes constituent également une progression sur les cinq premières années d'étude : initiation, débutant, moyen et avancé. Le "répertoire varié, stimulant et ludique, convient adéquatement à la création d'orchestres en classes de tous niveaux. -
Brahms's Op. 51 String Quartets
Georgia State University ScholarWorks @ Georgia State University Music Faculty Publications School of Music 2012 At the Intersection of Public and Private Musical Life: Brahms’s Op. 51 String Quartets Marie Sumner Lott Georgia State University, [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/music_facpub Part of the Music Commons Recommended Citation Sumner Lott, Marie, "At the Intersection of Public and Private Musical Life: Brahms’s Op. 51 String Quartets" (2012). Music Faculty Publications. 66. https://scholarworks.gsu.edu/music_facpub/66 This Article is brought to you for free and open access by the School of Music at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. At the Intersection of Public and Private Musical Life: Brahms’s Op. 51 String Quartets1 Marie Sumner Lott (Georgia State University) ABSTRACT: Brahms’s dedication of his Op. 51 string quartets (1873) to surgeon Theodor Billroth provides a window into Brahms’s music-political views in the 1870s that has heretofore been unexplored by music scholars. Analysis of correspondence, performance traditions, and the scores of these two quartets demonstrates that Brahms chose to align himself and his works with the learned connoisseurs of the domestic chamber-music making tradition, represented by Billroth and his frequent musical soirées. Brahms’s music also shows the influence of Joseph Joachim, his oldest and dearest friend and Europe’s premiere chamber musician. Brahms’s compositional choices in these two works combine public and private musical styles, to offer a touching memorial to earlier composers and friends, and to provide a teachable moment for the musical public. -
Folk Music'' and ''Art Music'
This page intentionally left blank The Invention of ‘‘Folk Music’’ and ‘‘Art Music’’ We tend to take for granted the labels we put to different forms of music. This study considers the origins and implications of the way in which we categorize music today. Whereas earlier ways of classifying music were based on its different functions, for the past two hundred years we have been obsessed with creativity and musical orgins, and classify music along these lines. Matthew Gelbart argues that folk music and art music became meaningful concepts only in the late eighteenth and early nineteenth centuries, and only in relation to each other. He examines how cultural nationalists motivated the earliest classification of music by origins, and how the notions of folk music and art music followed – in conjunction with changing conceptions of nature, and changing ideas about human creativity. Through tracing the history of these musical categories, the book confronts our assumptions about different kinds of music today. matthew gelbart teaches in the Music Department at Boston College, Massachusetts. His work has been published in the Journal of the Royal Music Association. This is his first book. New perspectives in music history and criticism general editors: jeffrey kallberg, anthony newcomb and ruth solie This series explores the conceptual frameworks that shape or have shaped the ways in which we understand music and its history, and aims to elaborate structures of explanation, interpretation, commentary, and criticism which make music intelligible and which provide a basis for argument about judgements of value. The intellectual scope of the series is broad. -
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WEINER 247 .(9h. 77.) . f2.3cp Z1)11 145' 3)adItne Ruritoerlevr , 402 Catabfli J. $71, im toufe ter rut Deftest. epdseoffe, ifi nen leftienen, nub oneo ben 6 eittl in Ttpq , fo niie beo Xecteet nab Deoctituf In rdrao , la babes . Zrauer.(s.3cfauq imp Ocet*ofb? Zeicl)enbcgatigniffe. titer ftimmiger liiianneeMote, mit roittritbsi. vier 3.11erminen ebe, bee Ipionefoto u O ibeetOoren.5)14inureliPte einacriOttt Don 2q11.?)iitt:r v. k:13,o)fricb. &pure. t fl. Figure 9 Notice announcing the publication of the Trauer-Gesang bey Beethoven's Leichenbegangnisse, i.e., Miserere/Amplius — Equali 1 and 3. (Wiener Zeitung, 21 June 1827). The vocal versions of all three equali were soon reprinted elsewhere in Europe. Alexandre Choron published the Miserere and Amplius (Equali 1 and 3) in Paris in 1828; for four voices and piano (or organ), Choron's version disposes with the trombones and the German text (Figure 11). In November 1830 an arrangement of Seyfried's arrangement of the Miserere and Amplius was published with English texts in London in the Harmonicon (Figure 12); this edition was accompanied by an abridged (and rather faulty) translation of Seyfried's description of Beethoven's funeral." Already a few months earlier, in August 1830, the Harmonicon had published Du, dem nie im Leben (re-engraved on two staves) underlaid with Grillparzer's German text, with an appended English translation." The Musikalischer Haus-Freund: 1829 and 1830, a musical almanac published by Schott in Mainz, included the vocal version of equale 2 in its 1929-30 issue.' 248 HISTORIC BRASS SOCIETY JOURNAL riltMJERKLANGE bei Vierstimmiger MANNER-CHAR, nach einer Original—Melodic aes. -
And Accordion ORGAN MUSIC 229
ORGAN and accordion ORGAN MUSIC 229 Schaum Publications Solos The Cloister Album of Voluntaries ORGAN METHODS Birthday Bouquet (Theme & Variations) Arr. Richard Turle Traditional / arr. Wesley Schaum Volume 1 ..............................................$22.25 12-0571528724____ Volume 2 ..............................................$22.25 12-0571534724____ Spinet Organ Methods 3 Staffs (I) ..............................................$2.95 44-7201____ A Collection of Hymns and Supplementary Entertainer By Alfred V. Fedak By Scott Joplin / arr. Wesley Schaum Belwin Organ Course (I) ...........................................................$8.99 00-DM9601____ 3 Staffs (I) ..............................................$2.95 44-7207____ Arr. Arthur Wildman Complete Traditional Wedding Album Book 4 ....................................................$8.99 00-OL00028____ Glow Worm For Organ, Keyboard and Voice Organ Methods By Paul Lincke / arr. Wesley Schaum Ed. Rollin Smith 3 Staffs (EI) ............................................$2.95 44-7203____ David Carr Glover Methods ..............................................................$19.95 06-439631____ Chords & Keys In My Merry Oldsmobile Concert Meditations David Carr Glover and Mary Elizabeth Clark By Gus Edwards / arr. Wesley Schaum Six Pieces for Organ ◆ Level 1 ...............................................$7.95 00-OL00087____ 3 Staffs (E) .............................................$2.95 44-7204____ By Darwin Wolford ◆ Level 2 ...............................................$7.95