DOCSLIB.ORG

©2020 Scott Matthew Noriega ALL RIGHTS RESERVED

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

©2020 Scott Matthew Noriega ALL RIGHTS RESERVED DEFINING THE LEFT-HAND PIANO AS “ANOTHER KIND OF INSTRUMENT” IN THE MUSIC OF LEOPOLD GODOWSKY AND FRANZ SCHMIDT By SCOTT MATTHEW NORIEGA A dissertation submitted to the ScHool of Graduate Studies Rutgers, THe State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of PHilosopHy Graduate Program in Music Written under the direction of Floyd Grave And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey May 2020 ABSTRACT OF THE DISSERTATION DEFINING THE LEFT-HAND PIANO AS “ANOTHER KIND OF INSTRUMENT” IN THE MUSIC OF LEOPOLD GODOWSKY AND FRANZ SCHMIDT BY SCOTT MATTHEW NORIEGA Dissertation Director: Floyd Grave, Ph.D. This study seeks to situate the contribution of LeopoLd Godowsky and Franz Schmidt to the history of redefining left-hand piano music. Both were outstanding pianists and composers who came to the Left-handed genres for their own individuaL reasons. They each defined their pianistic styLes based on common traits (the music of both Chopin and Bach figured highly for both) but differed in approach owing to the genres in which they worked: Godowsky’s compositions were chiefLy in the reaLm of soLo piano music, while Schmidt’s fell in the realms of both chamber music, discussed here, and in concertos. Rather than defining the Left-hand piano in a two-handed fashion as had composers before them––attempting to “normalize” the Left hand by making it do the work of two––both carefuLLy crafted the Left-hand piano as a unique instrument capabLe of performing its own type of music. The study wiLL begin by discussing the state of Left-handed piano music before the earLy twentieth century from its beginnings in the eighteenth, showing how most composers came to see music written for the Left-hand piano before 1900. Two larger chapters will then focus on Godowsky and Schmidt, ii detailing their relationship to the piano, clarifying certain of their ideas on the instrument, examining their sources of inspiration, and providing analyses of their music to show how they defined the left-hand piano as an instrument in its own right. iii Acknowledgements There are too many people who have driven me to the completion of this project. If I have Left anyone out, it is not for Lack of trying nor for room; it is, at times, too daunting a task to remember and name them all. Whether they are listed here or not, their infLuence wiLL aLways be feLt. I would like to thank, first and foremost, my dissertation advisor, Prof. Floyd Grave, who guided this project to completion, edited and reedited my prose, and provided words of encouragement when I needed them most. I would also like to thank Prof. Douglas Johnson and Prof. Rebecca Cypess, both whose heLp cannot be overstated. They guided me to compLetion, providing me with a path when aLL seemed Lost. Prof. Cypess’s phone calls and words of encouragement, along with her tireLessness in finding funding in my Last semesters, aLLowed me to compLete this project without financiaL hardship. Thank you to the other members of my committee for aLL of your heLp: Prof. NichoLas Rennie; Prof. NichoLas Chong; and Dr. Robert Grohman. I am thankfuL to Dr. Carmen Ottner of the now-defunct Franz Schmidt GeselLschaft in Vienna. During my trip to Vienna in 2017, she provided me with copies of Schmidt’s manuscripts, with some of the newest research, and helped me to answer questions relating to both the music and the city of Vienna. Though I have not taken her up on her invitation to visit Vienna again yet, I promise to do so in the near future! Thank you to aLL of those peopLe who are no longer here to heLp me ceLebrate: Edna Ross, my dearest and best friend; Rebecca Demeo, one of the most important infLuences iv on my development, who provided me with some of my happiest moments; and Prof. Richard Burke, my master’s thesis advisor and friend, who introduced me to the music of Franz Schmidt when working on my thesis about Richard Strauss. I would also like to thank all of those cLosest to me. Thank you to my friends who listened to me complain and urged me to finish when all seemed lost: Bernd, Russell, ALex, and Youn Ju. Thank you to my famiLy, who not onLy supported me, but encouraged me to pursue that which I Loved most: Eric, my brother, Christina and Francesca, my sister and niece, and my parents, GiLbert and GiseLa Noriega, who introduced me to the clarinet when I was seven, aLLowed me to pursue the piano when I was ten, and who suffered through countLess hours of practice: whether Bach or Beethoven, Schoenberg or Strauss, MendeLssohn or Schubert, Mozart or SibeLius, you suffered through it aLL. Thank you most for making my chiLdhood speciaL. And last but not least, thank you Melanie Gisin. You were the light at the end of the tunnel. When things seemed lost, you encouraged me; when I willed to stop, you pushed me on. Thank you for everything…and then some! v Table of Contents ABSTRACT OF THE DISSERTATION ii Acknowledgements iv List of Tables and Examples vii Introduction 1 Chapter 1 Left-Hand Pianism? 13 Chapter 2 A Survey of the Solo Left-Hand Piano Repertoire from the Eighteenth to the Early Twentieth Century 34 Chapter 3 Leopold Godowsky 65 Leopold Godowsky: A Symphonic-Pianistic Approach 67 Godowsky and Chopin …or pianistic symphonicism… 85 …becomes Godowsky and Bach ...or pianistic assimiLation 106 Godowsky: The Original Conceptions 109 Chapter 4 Franz Schmidt 137 Franz Schmidt: A Chamber-Pianistic Approach 140 Schmidt’s Three Quintets: An Overview 155 The Integration of the Piano into the EnsembLe 159 The Piano Acts FigurativeLy (or Pianistic InterpLay) 191 CuLmination 201 Toccata in D Minor: A Pianistic Encore 207 Conclusions 219 Bibliography 227 FuLL-Length Books and Dissertations 227 Shorter ArticLes 232 Scores 241 Original writings by Godowsky 243 Original writings by Schmidt 244 Reminiscences on Schmidt 244 Websites of Interest 245 vi List of Tables and Examples ExampLe 1.1: Wagner-Liszt: Isoldens Liebestod, m. 15. 19 ExampLe 1.2: Wagner-Liszt-Wittgenstein: Isoldens Liebestod, m. 15. 20 ExampLe 1.3: Bach Chaconne, opening measures. 24 ExampLe 1.4: Bach-Brahms Chaconne, opening measures. 24 ExampLe 1.5: Bach-Brahms-Wittgenstein Chaconne, opening measures. 25 Example 1.6: Bach-Brahms: Chaconne, mm. 112-115. 26 ExampLe 1.7: Bach-Brahms-Wittgenstein Chaconne, mm. 112-115. 27 ExampLe 1.8: Bach-Brahms Chaconne, ending of the work. 28 ExampLe 1.9: Bach-Brahms-Wittgenstein Chaconne, ending. 29 Example 2.1: CPE Bach: Opening to his Klavierstück for the right or Left hand alone, mm. 1-4 35 ExampLe 2.2: CPE Bach: Sonata for SoLo FLute, Wq. 132. 36 ExampLe 2.3: ExampLe 2.3: ALkan: Fantasy in A-fLat Major, op. 76 no. 1, mm. 27- 31. 42 ExampLe 2.4: Dreyschock: Variations for the Left hand aLone, op. 22: Tema, mm. 1-4. 44 ExampLe 2.5: Dreyschock: Variations for the Left hand aLone, op. 22: Variation 2, mm. 1-6. 44 ExampLe 2.6: AdoLfo FumagalLi is pictured performing with his soLo Left hand whiLe smoking (fumare in ItaLian) with his right. 46 ExampLe 2.7: AdoLfo FumagalLi: The Robert le Diable Fantasy, mm. 19-28 of the Valse Infernale Section. 48 Example 2.8: Schubert-Zichy: Erlkönig, mm. 72-76 (This corresponds to the point in Schubert’s song at “Mein Vater, mein Vater, und hörest du nicht?”). 53 ExampLe 2.9: Zichy: Piano Sonata for the Left Hand: II. Andante serioso, mm. 11- 18. 54 ExampLe 2.10: Zichy: Piano Sonata for the Left Hand: III. Allegro con brio, mm. 25- 29. 55 ExampLe 2.11: Reinecke: Sonate für die Linke Hand aLLein in C Minor, op. 179: I. Allegro moderato, mm. 1-8 58 ExampLe 2.12: Scriabin: Nocturne in D-fLat Major for the Left hand aLone, Op. 9 No. 2, mm. 44-48 62 ExampLe 3.1: Saint-Saëns: Six Etudes for the Left Hand, op. 135: No. 3 Moto Perpetuo, mm. 1-6. 68 Table 3.1: Godowsky Chopin Etudes for the Left Hand ALone 72 ExampLe 3.2: Chopin: Etude in C Minor, op. 10 No. 12 “RevoLutionary”, mm. 1-4. 76 ExampLe 3.3: Chopin-Godowsky: Etude in C-Sharp Minor, op. 10 No. 12 “RevoLutionary”, mm. 1-4. 77 vii ExampLe 3.4: Chopin-Wittgenstein: Etude in C Minor, op. 10 No. 12 “RevoLutionary”, mm. 1-4. 77 ExampLe 3.5: Chopin: Etude in C Major, op. 10 No. 1, mm. 1-2. 80 ExampLe 3.6: Chopin-Godowsky: Etude in D-fLat Major, after op. 10 No. 1, m. 1. 81 Example 3.7: Eduard Schütt: Concert Paraphrase über Walzer-Motive von Johann Strauss. 83 Example 3.8: Godowsky: Symphonic Metamorphosis of the Schatz-WaLzer Themes from “The Gypsy Baron” by Johann Strauss for piano Left hand alone, mm. 152-155. 84 Example 3.9: Godowsky: Symphonic Metamorphosis of the Schatz-WaLzer Themes from “The Gypsy Baron” by Johann Strauss for piano Left hand alone, mm. 164-166. 84 ExampLe 3.10: Chopin: BalLade No. 4 in F Minor, op. 52, mm. 175-176. 87 Example 3.11: Chopin: Etude in A-fLat Major, op. 25 No. 1 “Aeolian Harp”, mm. 15-16. (The voice which Chopin brings out in the figuration has been shown above through the note-heads marked by an “x” for easier reading). 94 Example 3.12: Chopin: Etude in A-fLat Major, op.
Recommended publications
  • Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, Qxian@Lsu.Edu

    Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES A Monograph 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 Musical Arts in The School of Music by Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840
  • Piano Recital Prize and Arnold Schoenberg

    Piano Recital Prize and Arnold Schoenberg

    1 Welcome to Summer 2015 at the RNCM As Summer 2015 approaches, the RNCM Our orchestral concerts are some of our most prepares for one of its most monumental concerts colourful ones, and more fairytales come to life to date. This is an historic moment for the College with Kodaly’s Hary Janos and Bartók’s Miraculous and I am honoured and thrilled to be welcoming Mandarin as well as with an RNCM Family Day, Krzysztof Penderecki to conduct the UK première where we join forces with MMU’s Manchester of his magnificent Seven Gates of Jerusalem Children’s Book Festival to bring together a feast at The Bridgewater Hall in June. This will be of music and stories for all ages with puppetry, the apex of our celebration of Polish music, story-telling, live music and more. RNCM Youth very kindly supported by the Adam Mickiewicz Perform is back on stage with Bernstein’s award- Institute, as part of the Polska Music programme. winning musical On the Town, and our Day of Song brings the world of Cabaret to life. In a merging of soundworlds, we create an ever-changing kaleidoscope of performances, We present music from around the world with presenting one of our broadest programmes to Taiko Meantime Drumming, Taraf de Haïdouks, date. Starting with saxophone legend David Tango Siempre, fado singer Gisela João and Sanborn, and entering the world of progressive singer songwriters Eddi Reader, Thea Gilmore, fusion with Polar Bear, the jazz programme at Benjamin Clementine, Raghu Dixit, Emily Portman the RNCM collaborates once more with Serious and Mariana Sadovska (aka ‘The Ukranian as well as with the Manchester Jazz Festival to Bjork’).
  • Interpreting Tempo and Rubato in Chopin's Music

    Interpreting Tempo and Rubato in Chopin's Music

    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
  • With a Rich History Steeped in Tradition, the Courage to Stand Apart and An

    With a Rich History Steeped in Tradition, the Courage to Stand Apart and An

    With a rich history steeped in tradition, the courage to stand apart and an enduring joy of discovery, the Wiener Symphoniker are the beating heart of the metropolis of classical music, Vienna. For 120 years, the orchestra has shaped the special sound of its native city, forging a link between past, present and future like no other. In Andrés Orozco-Estrada - for several years now an adopted Viennese - the orchestra has found a Chief Conductor to lead this skilful ensemble forward from the 20-21 season onward, and at the same time revisit its musical roots. That the Wiener Symphoniker were formed in 1900 of all years is no coincidence. The fresh wind of Viennese Modernism swirled around this new orchestra, which confronted the challenges of the 20th century with confidence and vision. This initially included the assured command of the city's musical past: they were the first orchestra to present all of Beethoven's symphonies in the Austrian capital as one cycle. The humanist and forward-looking legacy of Beethoven and Viennese Romanticism seems tailor-made for the Symphoniker, who are justly leaders in this repertoire to this day. That pioneering spirit, however, is also evident in the fact that within a very short time the Wiener Symphoniker rose to become one of the most important European orchestras for the premiering of new works. They have given the world premieres of many milestones of music history, such as Anton Bruckner's Ninth Symphony, Arnold Schönberg's Gurre-Lieder, Maurice Ravel's Piano Concerto for the Left Hand and Franz Schmidt's The Book of the Seven Seals - concerts that opened a door onto completely new worlds of sound and made these accessible to the greater masses.
  • Navigating, Coping & Cashing In

    Navigating, Coping & Cashing In

    The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings.
  • The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf

    The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf

    ! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176
  • Dec 21 to 27.Txt

    Dec 21 to 27.Txt

    CLASSIC CHOICES PLAYLIST Dec. 21 - 27, 2020 PLAY DATE: Mon, 12/21/2020 6:02 AM Antonio Vivaldi Concerto, Op. 3, No. 10 6:12 AM TRADITIONAL Gabriel's Message (Basque carol) 6:17 AM Francisco Javier Moreno Symphony 6:29 AM Heinrich Ignaz Franz Biber Sonata No.4 6:42 AM Johann Christian Bach Sinfonia Concertante for Violin, Cello 7:02 AM Various In dulci jubilo/Wexford Carol/N'ia gaire 7:12 AM Wolfgang Amadeus Mozart Piano Sonata No. 7 7:30 AM Georg Philipp Telemann Concerto for Trumpet and Violin 7:43 AM Franz Joseph Haydn Concerto 8:02 AM Henri Dumont Magnificat 8:15 AM Johann ChristophFriedrich Bach Oboe Sonata 8:33 AM Franz Krommer Concerto for 2 Clarinets 9:05 AM Joaquin Turina Sinfonia Sevillana 9:27 AM Philippe Gaubert Three Watercolors for Flute, Cello and 9:44 AM Ralph Vaughan Williams Fantasia on Christmas Carols 10:00 AM Wolfgang Amadeus Mozart Prelude & Fugue after Bach in d, 10:07 AM Wolfgang Amadeus Mozart Piano Sonata No. 9 10:25 AM Wolfgang Amadeus Mozart Symphony No. 29 10:50 AM Wolfgang Amadeus Mozart Prelude (Fantasy) and Fugue 11:01 AM Mily Balakirev Symphony No. 2 11:39 AM Georg Philipp Telemann Overture (suite) for 3 oboes, bsn, 2vns, 12:00 PM THE CHRISTMAS REVELS: IN CELEBRATION OF THE WINTER SOLSTICE 1:00 PM Richard Strauss Oboe Concerto 1:26 PM Ludwig Van Beethoven String Quartet No. 9 2:00 PM James Pierpont Jingle Bells 2:07 PM Julius Chajes Piano Trio 2:28 PM Francois Devienne Symphonie Concertante for flute, 2:50 PM Antonio Vivaldi Concerto, "Il Riposo--Per Il Natale" 3:03 PM Zdenek Fibich Symphony No.
  • Dmitri Alexeevpiano

    Dmitri Alexeevpiano

    Schumann Liszt’s transcriptions Dmitri Alexeev piano SMCCD 0275-276 DDD/STEREO 104.55 CD 1 TT: 41.06 Robert Schumann (1810 – 1856) 1 Blumenstück, op. 19 ................................................... 8.21 Symphonic Etudes, op. 13 and op. posth. 2 Thema. Andante ..................................................... 1.27 3 Etude I (Variation I). Un poco più vivo .................................... 1.13 4 Etude II (Variation II) .................................................. 2.41 5 Etude III. Vivace .................................................... 1.28 6 Etude IV (Variation III) ................................................ 0.59 7 Etude V (Variation IV) ................................................. 1.00 8 Etude VI (Variation V). Agitato .......................................... 0.59 9 Etude VII (Variation VI). Allegro molto .................................... 1.26 10 Posthumous Variation 1 ............................................... 0.55 11 Posthumous Variation 2 ............................................... 2.08 12 Posthumous Variation 3 ............................................... 1.54 13 Posthumous Variation 4 ............................................... 2.13 14 Posthumous Variation 5 ............................................... 1.57 15 Etude VIII (Variation VII) ............................................... 1.18 16 Etude IX. Presto possible .............................................. 0.38 17 Etude X (Variation VIII) ................................................ 0.45 18 Etude XI (Variation
  • THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A

    THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A

    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.
  • Seattle Symphony October 2017 Encore

    Seattle Symphony October 2017 Encore

    OCTOBER 2017 LUDOVIC MORLOT, MUSIC DIRECTOR BEATRICE RANA PLAYS PROKOFIEV GIDON KREMER SCHUMANN VIOLIN CONCERTO LOOKING AHEAD: MORLOT C O N D U C T S BERLIOZ CONTENTS My wealth. My priorities. My partner. You’ve spent your life accumulating wealth. And, no doubt, that wealth now takes many forms, sits in many places, and is managed by many advisors. Unfortunately, that kind of fragmentation creates gaps that can hold your wealth back from its full potential. The Private Bank can help. The Private Bank uses a proprietary approach called the LIFE Wealth Cycle SM to ­ind those gaps—and help you achieve what is important to you. To learn more, please visit unionbank.com/theprivatebank or contact: Lisa Roberts Managing Director, Private Wealth Management [email protected] 4157057159 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2017 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. EAP full-page template.indd 1 7/17/17 3:08 PM CONTENTS OCTOBER 2017 4 / CALENDAR 6 / THE SYMPHONY 10 / NEWS FEATURES 12 / BERLIOZ’S BARGAIN 14 / MUSIC & IMAGINATION CONCERTS 15 / October 5 & 7 ENIGMA VARIATIONS 19 / October 6 ELGAR UNTUXED 21 / October 12 & 14 GIDON KREMER SCHUMANN VIOLIN CONCERTO 24 / October 13 [UNTITLED] 1 26 / October 17 NOSFERATU: A SYMPHONY OF HORROR 27 / October 20, 21 & 27 VIVALDI FOUR SEASONS 30 / October 26 & 29 21 / GIDON KREMER SHOSTAKOVICH SYMPHONY NO.
  • THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk

    THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk

    THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW In 1949, to mark the centennial of the death of Fryderyk Chopin, the Kosciuszko Foundation’s Board of Trustees authorized a National Committee to encourage observance of the anniversary through concerts and programs throughout the United States. Howard Hansen, then Director of the Eastman School of Music, headed this Committee, which included, among others, Claudio Arrau, Vladimir Horowitz, Serge Koussevitzky, Claire Booth Luce, Eugene Ormandy, Artur Rodzinski, George Szell, and Bruno Walter. The Chopin Centennial was inaugurated by Witold Malcuzynski at Carnegie Hall on February 14, 1949. A repeat performance was presented by Malcuzynski eight days later, on Chopin’s birthday, in the Kosciuszko Foundation Gallery. Abram Chasins, composer, pianist, and music director of the New York Times radio stations WQXR and WQWQ, presided at the evening and opened it with the following remarks: In seeking to do justice to the memory of a musical genius, nothing is so eloquent as a presentation of the works through which he enriched our musical heritage. … In his greatest work, Chopin stands alone … Throughout the chaos, the dissonance of the world, Chopin’s music has been for many of us a sanctuary … It is entirely fitting that this event should take place at the Kosciuszko Foundation House. This Foundation is the only institution which we have in America which promotes cultural relations between Poland and America on a non-political basis. It has helped to understand the debt which mankind owes to Poland’s men of genius. At the Chopin evening at the Foundation, two contributions were made.
  • View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927

    View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927

    J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.