Table of Contents
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Family-Memoirs – About Strategies of Creating Identity in Vienna of the 1940S
Family-Memoirs – About strategies of creating identity in Vienna of the 1940s. By example of the family of Ludwig Wittgenstein. Nicole L. Immler, University of Graz My talk will be about one of the most quoted sources concerning the biography of the well known austrian philosopher Ludwig Wittgenstein, who studied philosophy in Cambridge and later became professor of philosophy at Trinity- College: The family memoirs written by Hermine Wittgenstein, the sister of the philosopher, in the years 1944–49 in Vienna.1 The Typescript is so far unpublished, with the exception of the section concerning Ludwig Wittgenstein 2, and was never contextualised as a whole. To use the Familienerinnerungen as a historical source it‘s f i r s t l y necessary to picture the relevance of family memoirs from the perspective of recent theories about memory culture. S e c o n d l y it is to ask about the general historical background of the literary genre family memoirs as such, about the intentions and functions of this genre as well as its origin. Specifically related to the Wittgenstein memoirs I want to follow the thesis, if they can be read as an example of a strategy to create identity for a bourgeois family in Vienna in the nineteenforties. Finally and f o u r t h y, I want to ‚proof- read‘ one argument made by Hermine Wittgenstein by comparing it to arguments of Ludwig Wittgenstein in his writings. Owing to their differences in living conditions, character and experiences, they have different approaches towards a geographical and emotional concept of home. -
Ferruccio Busoni Biography
Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
Informational Materials
- t------------ - -- - !I ::·- .J_ -. ~ - ; Received by NSD/FARA Registration Unit 03/26/2018 9:51 :59 AM - ON KOREA 2018: ACADEMIC PAPER SERIES Volume 11 Received by NSD/F ARA Registration Unit 03/26/201.8 9:51 :59 AM Received by NSD/FARA Registration Unit 03/26/2018 9:5 I :59 AM - KEI EDITORIAL BOARD KEI Editors: Kyle Ferrier Contract Editor: Gimga Group Design: Gimga Group The Korea Economic Institute is registered under the Foreign Agents Registration Act as an agent of th_e Korea Institute for International Economic Policy, a public corporation · established by the Government of the Republic of Korea. This material is· filed with the D_epartment of Justice, where the required registration statement is available for public inspection. Registration does not indicate U.S. government approval of the contents of this do_cumerit. KEI is not engaged in the piactice bf law, does not render legal services, and is not a lobbying organization. The views expressed in this publication are those of the. authors. While this monograph is part of the overall program of the Korea Economic Institute endorsed by its Officers, Board of Directors, and Advisory Council, its c_ontents do not necessarily reflectthe views of individual members of the Board or of the Advisory Council. Copyright© 2018 Korea Economic.Institute of-America www,keia.org Printed in the United States of America. ISSN 1937-9196 Received by NSD/F ARA Registration :unit 03/26/2018 9:51 :59 AM Received by NSD/F ARA Registration Unit 03/26/2018 9:51:59 AM - CONTENTS KEI Board of Directors .................................................... -
Evolution of One-Handed Piano Compositions
CLINICAL PERSPECTIVE Evolution of One-Handed Piano Compositions Ignat Drozdov, BS, Mark Kidd, PhD, Irvin M. Modlin, MD, PhD Electronic searches were performed to investigate the evolution of one-handed piano com- positions and one-handed music techniques, and to identify individuals responsible for the development of music meant for playing with one hand. Particularly, composers such as Liszt, Ravel, Scriabin, and Prokofiev established a new model in music by writing works to meet the demands of a variety of pianist-amputees that included Count Géza Zichy (1849– 1924), Paul Wittgenstein (1887–1961), and Siegfried Rapp (b. 1915). Zichy was the first to amplify the scope of the repertoire to improve the variety of one-handed music; Wittgenstein developed and adapted specific and novel performance techniques to accommodate one- handedness; and Rapp sought to promote the stature of one-handed pianists among a musically sophisticated public able to appreciate the nuances of such maestros. (J Hand Surg 2008;33A:780–786. Copyright © 2008 by the American Society for Surgery of the Hand. All rights reserved.) Key words Amputation, hand, history of surgery, music, piano. UCH HAS BEEN WRITTEN ABOUT the creativity of EVOLUTION OF THE PIANO: OF FINGERS AND composers and the skills of musicians, and KEYS Mspecial emphases have been placed on the Pianists are graced with a rich and remarkable history of mind and the vagaries of neurosis and even madness in their instrument, which encompasses more than 850 the process of composition. Little consideration has years of development and evolution.1 From the keyed been given to physical defects and their influence on monochord in 1157, to the clavichord (late Medieval), both music and its interpretation. -
Wittgenstein's Vienna Our Aim Is, by Academic Standards, a Radical One : to Use Each of Our Four Topics As a Mirror in Which to Reflect and to Study All the Others
TOUCHSTONE Gustav Klimt, from Ver Sacrum Wittgenstein' s VIENNA Allan Janik and Stephen Toulmin TOUCHSTONE A Touchstone Book Published by Simon and Schuster Copyright ® 1973 by Allan Janik and Stephen Toulmin All rights reserved including the right of reproduction in whole or in part in any form A Touchstone Book Published by Simon and Schuster A Division of Gulf & Western Corporation Simon & Schuster Building Rockefeller Center 1230 Avenue of the Americas New York, N.Y. 10020 TOUCHSTONE and colophon are trademarks of Simon & Schuster ISBN o-671-2136()-1 ISBN o-671-21725-9Pbk. Library of Congress Catalog Card Number 72-83932 Designed by Eve Metz Manufactured in the United States of America 8 9 10 11 12 13 14 15 16 The publishers wish to thank the following for permission to repro duce photographs: Bettmann Archives, Art Forum, du magazine, and the National Library of Austria. For permission to reproduce a portion of Arnold SchOnberg's Verklarte Nacht, our thanks to As sociated Music Publishers, Inc., New York, N.Y., copyright by Bel mont Music, Los Angeles, California. Contents PREFACE 9 1. Introduction: PROBLEMS AND METHODS 13 2. Habsburg Vienna: CITY OF PARADOXES 33 The Ambiguity of Viennese Life The Habsburg Hausmacht: Francis I The Cilli Affair Francis Joseph The Character of the Viennese Bourgeoisie The Home and Family Life-The Role of the Press The Position of Women-The Failure of Liberalism The Conditions of Working-Class Life : The Housing Problem Viktor Adler and Austrian Social Democracy Karl Lueger and the Christian Social Party Georg von Schonerer and the German Nationalist Party Theodor Herzl and Zionism The Redl Affair Arthur Schnitzler's Literary Diagnosis of the Viennese Malaise Suicide inVienna 3. -
Liszt in Paris”: the 2007 ALS Conference in San Francisco
Founded in 1964 Volume 23, Issue 1, Winter/Spring 2007 AN OFFICIAL PUBLICATION OF THE AMERICAN LISZT SOCIETY, INC. “Liszt in Paris”: The 2007 ALS Conference in San Francisco Get ready for an outstanding three days After lunch, Rena Charnin Mueller in San Francisco as we investigate and enjoy (New York University), Editor of the one of the most wonderful times in the Journal of the American Liszt Society, TaBLE OF CONTENTS nineteenth century, when Franz Liszt lived, presents a lecture on “Liszt, the Countess, loved, and grew in musical stature while in and Lammartine.” Two recitals follow: the Paris! Conference host William Wellborn first includes Liszt’sHarmonies poétiques et has put together a wonderful schedule of and , performed by Justin 1 “Liszt in Paris”: The 2007 ALS réligieuses Lyon Conference in San Francisco recitals, lectures, and other presentations, Kolb, and Three Apparitions, performed not to mention what will surely be a great by Victoria Neve (San Francisco State 3 Letter From the Editor champagne reception and the conference/ University), Machiko Kobialka (San festival banquet. In case you have not Francisco Conservatory), and Daniel 4 Los Angeles Liszt Competition seen a brochure for the 2007 conference, Glover. All of these works come from it is available on the ALS website at the year 1834. Next, a duo-piano recital 5 Member News americanlisztsociety.org. Here is a summary featuring Marilyn Neeley (Catholic of the most recent schedule. University) and Andrew Gerle will include 6 Updates to List of ALS Medallion Nikolaus Hohmann of the San Francisco the Moscheles Grand Sonata (four hands), Recipients Conservatory provides an historical the Lutoslawski Variations on a Theme of background with his lecture, “Ghosts Paganini, Castelnuovo-Tedesco’s Alt Wien, 7 Why Attend a Liszt Festival? of the past, spirits of the future - Paris and the Abram Chasins . -
The Romantic Flute
The Romantic Flute César Franck (1822 – 1890) Jeffrey Khaner, flute Sonata in A major for flute and piano 25:00 Hugh Sung, piano 12 Allegretto ben moderato 5:03 13 Allegro 7:22 14 Recitativo-Fantasia Charles-Marie Widor (1844 – 1937) Ben moderato-Molto lento 6:47 Suite, Op. 34 for flute and piano 15:30 15 Allegretto poco mosso 5:48 1 Moderato 3:50 2 Scherzo-Allegro vivace 2:27 3 Romance-Andantino 4:14 Camille Saint-Saëns (1835 – 1921) 4 Final-Vivace 4:59 Romance, Op. 37 for flute and piano 16 5:22 Benjamin Godard (1849 – 1895) Suite, Op. 116 for flute and piano 9:47 Total playing time: 73:48 5 Allegretto 1:31 Recorded at the Curtis Hall, Philadelphia, USA 6 Idylle 4:00 7 Valse 4:16 Recording Producer and Engineer: Da-Hong Seetoo Translations: Carl Reinecke (1824 – 1910) German – Elke Hockings Sonata, Op. 167 for flute and piano “Undine” 17:38 French – Marie-Stella Pâris 8 Allegro 5:31 9 Intermezzo-Allegretto vivace 3:10 Design and Art Direction: Alan Trugman 10 Andante tranquillo 3:06 Cover Photograph: Jack Van Antwerp 11 Finale-Allegro molto agitato 5:51 This CD was recorded using 24-Bit, ed appassionato, quasi Presto Direct-to-Hard-Disc Technology. 2 3 Léon Dorchain based on Shakespeare’s Twelfth Night. This was put on at the Odéon in Paris during the September of that year and, according to the Hungarian-born pianist, The Romantic Flute teacher and one time pupil of Saint-Saëns, Isidor Philipp, Widor’s score placed him in Charles-Marie Jean Albert Widor was born in the French city of Lyons on 21 February ‘the top rank’. -
TOCC0500DIGIBKLT.Pdf
JULIUS BITTNER, FORGOTTEN ROMANTIC by Brendan G. Carroll Julius Bittner is one of music’s forgotten Romantics: his richly melodious works are never performed today and he is perhaps the last major composer of the early twentieth century to have been entirely ignored by the recording industry – until now: apart from four songs, this release marks the very first recording of any of his music in modern times. It reveals yet another colourful and individual voice among the many who came to prominence in the period before the First World War – and yet Bittner, an important and integral part of Viennese musical life before the Nazi Anschluss of 1938 subsumed Austria into the German Reich, was once one of the most frequently performed composers of contemporary opera in Austria. He wrote in a fluent, accessible and resolutely tonal style, with an undeniable melodic gift and a real flair for the stage. Bittner was born in Vienna on 9 April 1874, the same year as Franz Schmidt and Arnold Schoenberg. Both of his parents were musical, and he grew up in a cultured, middle-class home where artists and musicians were always welcomed (Brahms was a friend of the family). His father was a lawyer and later a distinguished judge, and initially young Julius followed his father into the legal profession, graduating with honours and eventually serving as a senior member of the judiciary throughout Lower Austria, until 1920. He subsequently became an important official in the Austrian Department of Justice, until ill health in the mid-1920s forced him to retire (he was diabetic). -
Jeffrey-Khaner-Bio-January-2015
Canadian-born flutist Jeffrey Khaner has been principal flute of The Philadelphia Orchestra since 1990. From 1982 to 1990 he was principal flute of the Cleveland Orchestra, and he has also served as principal of the New York Mostly Mozart Festival and the Atlantic Symphony in Halifax, and as co-principal of the Pittsburgh Symphony. A noted soloist, Mr. Khaner has performed concertos with orchestras throughout the United States, Canada, and Asia, collaborating with conductors including Matthias Bamert, Riccardo Chailly, Christoph von Dohnányi, Charles Dutoit, Christoph Eschenbach, Claus Peter Flor, Hans Werner Henze, Vladimir Jurowski, Erich Leinsdorf, Kurt Masur, Yannick Nezet-Seguin, Yutaka Sado, Wolfgang Sawallisch, Gerard Schwarz, José Serebrier, Robert Spano, Franz Welser- Möst, and David Zinman. Mr. Khaner’s concerto repertoire is extensive and he has premiered many works including the concertos by Ned Rorem, Behzad Ranjbaran, Jonathan Leshnoff, Eric Sessler, Daron Hagen and David Chesky, all written for him. As a recitalist, Mr. Khaner has appeared on four continents with pianists Charles Abramovic, Christoph Eschenbach, Lowell Liebermann, Wolfgang Sawallisch, Hugh Sung, and many others. He regularly incorporates into the programs the music of today’s composers, many of whom have written expressly for him. Mr. Khaner is a founding member of the Syrinx Trio (with former Philadelphia Orchestra Principal Viola Roberto Díaz and Philadelphia Orchestra Principal Harp Elizabeth Hainen), which made its Carnegie Hall debut in 2001 at Weill Recital Hall. A graduate of the Juilliard School, Mr. Khaner was named to the faculty as flute professor in 2004, holding the position formerly held by his mentor, the late Julius Baker. -
SKIDMORE FLUTE FESTIVAL ARTISTS Marina Piccinini Widely
SKIDMORE FLUTE FESTIVAL ARTISTS Marina PIccinini Widely recognized as one of the world’s leading flute virtuosos, flutist Marina Piccinini combines flawless technical command, profound interpretive instincts, and a charismatic stage presence – qualities which make each of her performances a memorable event. Since making her acclaimed debuts in New York’s Town Hall, London’s Southbank Centre, and Tokyo’s Suntory Hall, Ms. Piccinini has been in demand both as a recitalist and soloist with orchestras in the United States, Canada, Europe, and Japan. She has been soloist with the Boston Symphony Orchestra, the London Philharmonic, the Tokyo Symphony, St. Paul Chamber Orchestra, Montreal Symphony, Rotterdam Philharmonic, National Symphony Orchestra, Saint Louis Symphony , Minnesota Orchestra, Ottawa’s National Arts Centre Orchestra; the Hannover Symphony in Germany, the Ravenna Chamber Orchestra in Italy and the Vienna Chamber Soloists; as well as the Cincinnati, New World, Toronto, Vancouver, Detroit, Phoenix, and Milwaukee symphony orchestras, and has worked with such conductors as Alan Gilbert, Seiji Ozawa, Kurt Masur, Pierre Boulez, Leonard Slatkin, Stanislaw Skrowaczewski, Peter Oundjian, Esa-Pekka Salonen, Myung-whun Chung, and Gianandrea Noseda. Ms. Piccinini also performs with great frequency in recitals worldwide, with recent appearances in London’s Wigmore Hall, Tokyo`s Casals Hall, the Seoul Arts Center, the Kennedy Center in Washington, and the Mozart Saal in Vienna’s Konzerthaus. Deeply committed to the music of the present, recent seasons have been highlighted by significant world premiere performances of concerti and solo works by Michael Colgrass, Paquito D’Rivera, Matthew Hindson, Miguel Kertsman, Lukas Foss, Michael Torke, John Harbison, Marc-André Dalbavie, David Ludwig and Roberto Sierra. -
GALA with SGT. PEPPER's LONELY
Richard Strauss’ tone poem depicts episodes from the literary masterpiece by Miguel Cervantes, with starring roles by the cello and viola. Join us for the odd adventures of Don Quixote and his “squire” Sancho Panza in a special chamber version by Hungarian cellist László Varga. With leading players of the Dallas Symphony Jolyon Pegis, cello and Alexander Kienle, horn. FRETS AND BOWS Sunday, April 14, 2019 at 3:00 pm Mount Vernon Music Hall Monday, April 15, 2019 at 7:30 pm First Baptist Church of GALA with SGT. PEPPER’S LONELY VIRTUOSO HORN DUO Farmers Branch BLUEGRASS BAND Saturday, November 3, 2018 at 7:30 pm 13017 William Dodson Pkwy, Saturday, August 25, 2018 at 7:00 pm Mount Vernon Music Hall Farmers Branch, TX 75234 Champagne and hors d’oeuvres 6:00 - 7:00 pm Sunday, November 4, 2018 at 3:00 pm Tuesday, April 16, 2019 AT 7:30 pm The Loft at ML Edwards Co. J. Erik Jonsson Public Library, 1515 Young St., Texas A&M University-Commerce (The Color of Sound) 103 S. Kaufman St., Mt. Vernon, TX 75457 Dallas, TX 75201 Admission: $50 Wednesday, November 14, 2018 at 7:30 pm Andrew Daniel, guitar *; Mark Miller and Texas A&M University-Commerce (The Color of Sound) Yuko Mansell, violin; Ute Miller, viola; This Bluegrass band was so good two years ago we just Zachary Mansell, cello; Mary Druhan, clarinet** had to bring them back! Don’t miss this Texas fab four Kerry Turner and Kristina Mascher Turner, horn, * (Mt. Vernon only), **(Commerce only) performing the Beatles’ best songs – made even better.