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Syphilis' Impact on Late Works of Classical Music Composers
SYPHILIS’ IMPACT ON LATE WORKS OF CLASSICAL MUSIC COMPOSERS Rempelakos L1, Poulakou-Rebelakou E1, Tsiamis C1, Rempelakos A2 1History of Medicine, Athens University Medical School, Athens, Greece 2Urologic Department, Hippocrateion Hospital, Athens, Greece INTRODUCTION & OBJECTIVE: To present the effects of the tertiary stage syphilis on the last works of some famous European classical music composers who suffered from the disease. METHODS: The review of the biographies of seven documented syphilis cases of composers, focusing on the events of their last period of life and the review of the critics for their artistic expression under disease-affected circumstances. RESULTS: The 19th century is undeniably considered as the golden age of classical music but, at the same time, some of the most famous composers were victims of this disease-menace, strongly stigmatizing themselves and their families, the latter trying to keep the shameful secret, aftermath destructing sources and documents. Seven cases of musicians with syphilis have been studied: Franz Schubert died at the age of 31, while Robert Schumann and Hugo Wolf (age at death 46 and 43 respectively), both attempted suicide and passed the rest of their lives in insane asylums. Moreover, Gaetano Donizetti infected his wife, Virginia, who died in childbirth before his own death occurring between catatonic symptoms and bouts of persecution mania. Bedrich Smetana predicted his death entitling his composition “final page” and indeed, he did not compose anymore and died soon in a mental asylum. Frederick Delius lived for fifteen years blind and paralyzed dictating his scores to a young follower of his music, although the quality of the late compositions cannot be compared with the priors. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17523/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998). -
Christoph Eschenbach Dirigiert Mahler 6
Eschenbach dirigiert Mahler 6 Samstag, 08.04.17 — 19.30 Uhr Lübeck, Musik- und Kongresshalle GUSTAV MAHLER Sinfonie Nr. 6 a-Moll ChristopH ESchenbAcH Dirigent „Glück flammt hoch am Rande des Grauens“ Am 20. Mai 1906 machte sich Gustav Mahler auf die Meine VI. wird Reise nach Essen, um die Uraufführung seiner Sechs Rätsel aufgeben, ten Sinfonie vorzubereiten – mit gemischten Gefüh len. Denn zum einen zweifelte er an der Leistungs an die sich nur fähigkeit des Essener Orchesters, das qualitativ dem eine Generation Kölner GürzenichOrchester, mit dem er zwei Jahre zuvor seine Fünfte erarbeitet hatte, klar unterlegen heranwagen darf, NDR ELbpHilharmoNiE war. Zum anderen hatte man aufgrund der großen die meine ersten Orchester Besetzung das Orchester der Stadt Utrecht zur Verstär kung holen müssen, über dessen Güte sich Mahler fünf in sich auf- zuvor bei seinem Freund Willem Mengelberg zwar genommen hat. ausführlich erkundigt hatte und beruhigt worden war. Doch würden sich beide Orchester problemlos zu Gustav Mahler im Jahr 1904 einem Klangkörper zusammenfügen lassen? Mahlers Bedenken sollten sich als unbegründet erweisen. „Sehr zufrieden von der 1. Probe!“, heißt es Gustav Mahler (1860 – 1911) in einem Brief an Alma Mahler vom 2. Mai 1906. Sinfonie Nr. 6 aMoll „Orchester hält sich famos und klingen thut Alles, Entstehung: 1903 – 04 | Uraufführung: Essen, 27. Mai 1906 | Dauer: ca. 85 Min. wie ich es wünschen kann.“ Dennoch wurde die Pre I. Allegro energico, ma non troppo. miere am 27. Mai 1906 im Essener Saalbau nur ein Heftig, aber markig Achtungserfolg, bei dem laut den Erinnerungen des II. Scherzo. Wuchtig – Trio. Altväterisch, grazioso damals anwesenden Dirigenten Klaus Pringsheim III. -
The Delius Society Journal Autumn 2016, Number 160
The Delius Society Journal Autumn 2016, Number 160 The Delius Society (Registered Charity No 298662) President Lionel Carley BA, PhD Vice Presidents Roger Buckley Sir Andrew Davis CBE Sir Mark Elder CBE Bo Holten RaD Piers Lane AO, Hon DMus Martin Lee-Browne CBE David Lloyd-Jones BA, FGSM, Hon DMus Julian Lloyd Webber FRCM Anthony Payne Website: delius.org.uk ISSN-0306-0373 THE DELIUS SOCIETY Chairman Position vacant Treasurer Jim Beavis 70 Aylesford Avenue, Beckenham, Kent BR3 3SD Email: [email protected] Membership Secretary Paul Chennell 19 Moriatry Close, London N7 0EF Email: [email protected] Journal Editor Katharine Richman 15 Oldcorne Hollow, Yateley GU46 6FL Tel: 01252 861841 Email: [email protected] Front and back covers: Delius’s house at Grez-sur-Loing Paintings by Ishihara Takujiro The Editor has tried in good faith to contact the holders of the copyright in all material used in this Journal (other than holders of it for material which has been specifically provided by agreement with the Editor), and to obtain their permission to reproduce it. Any breaches of copyright are unintentional and regretted. CONTENTS EDITORIAL ..........................................................................................................5 COMMITTEE NOTES..........................................................................................6 SWEDISH CONNECTIONS ...............................................................................7 DELIUS’S NORWEGIAN AND DANISH SONGS: VEHICLES OF -
Ballades À Cor Perdu
JEUDI 12 ET VENDREDI 13 MARS 2020 20H PMC - SALLE ÉRASME BALLADES À COR PERDU SMETANA DIRECTION La Fiancée vendue, CORNELIUS MEISTER ouverture COR MOZART STEFAN DOHR Concerto pour cor n°4 en mi bémol majeur K 495 VON ZEMLINSKY Die Seejungfrau BEDRICHˇ SMETANA (1824-1884) La Fiancée vendue, ouverture (1866) 6’ WOLFGANG AMADEUS MOZART (1756-1791) Concerto pour cor n°4 en mi bémol majeur K. 495 (1786) 17’ I. Allegro moderato II. Romanza : Andante III. Rondo : Allegro vivace ALEXANDER VON ZEMLINSKY (1871-1942) Die Seejungfrau, fantaisie d'après le conte d’Hans Christian Andersen (1905) 45’ I. Sehr mässig bewegt II. Sehr bewegt, rauschend III. Sehr gedehnt, mit schmerzvollem Ausdruck DIRECTION CORNELIUS MEISTER COR STEFAN DOHR 2 À l’origine, Stefan Dohr apprend l’alto et, après avoir entendu le célèbre corniste Hermann Baumann, il en conclut que « ce cor sonne mieux que mon alto ». Aujourd’hui, Stefan est le cor solo de l’Orchestre philharmonique de Berlin. À Strasbourg, il montrera toute l’étendue de son talent en interprétant Mozart. Cornelius Meister dirigera l’une des plus belles œuvres de Zemlinsky que l’on entend peu en concert, Die Seejungfrau (La Sirène) d’après le conte d’Andersen. Armin Jordan l’avait révélée au public strasbourgeois en 2002. 3 Smetana fut l’un des artisans de l’émergence d’une musique natio- nale tchèque et signa l’un des pre- miers chœurs en langue tchèque : La Chanson tchèque en 1860. Ce musicien-citoyen conçut son métier comme une mission patriotique, se dévouant à l’enseignement et, à partir de 1861, exclusivement au Théâtre national. -
June 1911) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1911 Volume 29, Number 06 (June 1911) 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 29, Number 06 (June 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/570 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]. 361 THE ETUDE -4 m UP-TO-DATE PREMIUMS _OF STANDARD QUALITY__ K MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by JAMES FRANCIS COOKE », Alaska, Cuba, Porto Kieo, 50 WEBSTER’S NEW STANDARD 4 DICTIONARY Illustrated. NEW U. S. CENSUS In Combination with THE ETUDE money orders, bank check letter. United States postage ips^are always received for cash. Money sent gerous, and iponsible for its safe T&ke Your THE LAST WORD IN DICTIONARIES Contains DISCONTINUANCE isli the journal Choice o! the THE NEW WORDS Explicit directions Books: as well as ime of expiration, RENEWAL.—No is sent for renewals. The $2.50 Simplified Spelling, „„ ...c next issue sent you will lie printed tile date on wliicli your Webster’s Synonyms and Antonyms, subscription is paid up, which serves as a New Standard receipt for your subscription. -
Delius Appalachia • the Song of the High Hills
SUPER AUDIO CD Delius Appalachia • The Song of the High Hills BBC Symphony Chorus BBC Symphony Orchestra Sir Andrew Davis © Lebrecht Music & Arts Photo Library Frederick Delius, 1911 Frederick Delius (1862 – 1934) Appalachia* 35:36 Variations on an Old Slave Song with Final Chorus for baritone, chorus, and orchestra Revised and edited by Sir Thomas Beecham To Julius Buths 1 [Introduction I.] Molto moderato – Tranquillo – 3:47 2 [Introduction II.] Poco più vivo ma moderato – 2:13 3 [Theme.] Andante – 0:29 4 [Variation I.] Un poco più – Moderato – 0:45 5 [Variation II.] Più vivo – 1:00 6 [Variation III.] Molto moderato – Poco più mosso – Lento – Moderato (molto ritmico) – 4:09 7 [Variation IV.] Con moto – Un poco più tranquillo – 0:53 8 [Variation V.] Giocoso. Allegro moderato – Meno mosso. Più tranquillo – 2:42 9 [Variation VI.] Lento e molto tranquillo – Misterioso. Più mosso – Un poco meno – 4:10 10 [Variation VII.] Andante con grazia – Calando – 1:38 11 [Variation VIII.] Lento sostenuto e tranquillo – Un poco più – Tempo I – 2:49 12 [Variation IX.] Allegro alla marcia – Adagio – 1:42 13 [Variation X.] Marcia. Molto lento maestoso – 1:33 14 [Song.] L’istesso tempo – Misterioso lento – Lento – Più mosso 7:43 3 The Song of the High Hills† 28:34 for chorus and orchestra Edited by Sir Thomas Beecham 15 In ruhigem fließendem Tempo – Tranquillo. Very quietly but not dragging – With vigour – Not too slow – Rather quicker – Slower. Maestoso (not hurried). With exultation – 9:27 16 Very slow (The wide far distance – The great solitude) – Slow and solemnly – Very quietly – Slow and very legato – 11:45 17 Tempo I – Più mosso ma tranquillo – With exultation (not hurried). -
Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’
‘The Art-Twins of Our Timestretch’: Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’ Catherine Sarah Kirby Submitted in total fulfilment of the requirements of the degree of Master of Music (Musicology) April 2015 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper Abstract This thesis explores Percy Grainger’s promotion of the music of Frederick Delius in the United States of America between his arrival in New York in 1914 and Delius’s death in 1934. Grainger’s ‘Delius campaign’—the title he gave to his work on behalf of Delius— involved lectures, articles, interviews and performances as both a pianist and conductor. Through this, Grainger was responsible for a number of noteworthy American Delius premieres. He also helped to disseminate Delius’s music by his work as a teacher, and through contact with publishers, conductors and the press. In this thesis I will examine this campaign and the critical reception of its resulting performances, and question the extent to which Grainger’s tireless promotion affected the reception of Delius’s music in the USA. To give context to this campaign, Chapter One outlines the relationship, both personal and compositional, between Delius and Grainger. This is done through analysis of their correspondence, as well as much of Grainger’s broader and autobiographical writings. This chapter also considers the relationship between Grainger, Delius and others musicians within their circle, and explores the extent of their influence upon each other. Chapter Two examines in detail the many elements that made up the ‘Delius campaign’. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
Journal83-1.Pdf
The Delius Society Journal July 1984',Number 83 The DeliusSociety Full Membershipf,8.00 per year Studentsf,5.00 Subscriptionto Libraries(Journal only) f,6.00 per year USA and CanadaUS $ 17.00 per year President Eric Fenby OBE, Hon D Mus, Hon D Litt, Hon RAM Vice Presidents The Rt Hon Lord Boothby KBE, LLD Felix AprahamianHon RCO Roland GibsonM Sc,Ph D (FounderMember) Sir CharlesGroves CBE Stanford RobinsonOBE, ARCM (Hon), Hon CSM MeredithDavies CBE, MA, B Mus, FRCM, Hon RAM Norman Del Mar CBE, Hon D Mus Vernon Handley MA, FRCM, D Univ (Surrey) Chairman R B Meadows 5 WestbourneHouse, Mount Park Road,Harrow, Middlesex Treasurer Peter Lyons 160 WishingTree Road, St. Leonards-on-Sea,East Sussex Secretary Miss Diane Eastwood 28 Emscote Street South, Bell Hall, Halifax, Yorkshire Tel: (0422) 50537 Editor StephenLloyd 85aFarley Hill, Luton,Bedfordshire LUI 5EG Tel: Luton (0582)20075 Contents Editoria! 'Delius as they saw him' by Robert Threlfall Kenneth Spenceby Lionel Hill t9 Margot La Rouge at Camden Festival 2l RPS Sir John Barbirolli concert 23 Midlands Branch meetins: Arnold Bax 24 Cynara in the Midlands 24 Midlands Branch meeting: an eveningof film 25 Forthcoming Events 26 Acknowledgements The cover illustration is an early sketchof Delius by Edvard Munch (no. 1 in Robert Threlfall's Iconography,see page 7), reproducedby kind per- missionof the Curator of the Munch Museum, Oslo. The photographicplates in this issuehave been financed by a legacyto the Delius Societyfrom the late Robert Aickman. The photographson pp. 8, 9 and 17 are reproduced by kind permission of Andrew Boyle with acknowledgementto Lionel Carley, the owner of the two heads.The two photographson page 13were taken by the Editor with the permissionof Denis Blood. -
INFORMATION to USERS This Manuscript Has Been Reproduced
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L. -
Die Seejungfrau Zemlinsky
Zemlinsky Die Seejungfrau NETHERLANDS PHILHARMONIC ORCHESTRA MARC ALBRECHT Cover image: derived from Salted Earth (2017), cling to them. Has Zemlinsky’s time come? photo series by Sophie Gabrielle and Coby Baker Little mermaid in a fin-de-siècle https://www.sophiegabriellephoto.com garment Or is the question now beside the point? http://www.cobybaker.com In that Romantic vein, the Lyric Symphony ‘I have always thought and still believe remains Zemlinsky’s ‘masterpiece’: frequently that he was a great composer. Maybe performed, recorded, and esteemed. His his time will come earlier than we think.’ operas are now staged more often, at least Arnold Schoenberg was far from given to in Germany. In that same 1949 sketch, Alexander von Zemlinsky (1871-1942) exaggerated claims for ‘greatness’, yet he Schoenberg praised Zemlinsky the opera could hardly have been more emphatic in composer extravagantly, saying he knew the case of his friend, brother-in-law, mentor, not one ‘composer after Wagner who could Die Seejungfrau (Antony Beaumont edition 2013) advocate, interpreter, and, of course, fellow satisfy the demands of the theatre with Fantasy in three movements for large orchestra, after a fairy-tale by Andersen composer, Alexander Zemlinsky. Ten years better musical substance than he. His ideas, later, in 1959, another, still more exacting his forms, his sonorities, and every turn of the 1 I. Sehr mäßig bewegt 15. 56 modernist critic, Theodor W. Adorno, wrote music sprang directly from the action, from 2 II. Sehr bewegt, rauschend 17. 06 in surprisingly glowing terms. Zemlinsky the scenery, and from the singers’ voices with 3 III.