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GUSTAV MAHLER's Ieh BIN DER WELT ABHANDEN GEKOMMEN AS SONG and SYMPHONIC MOVEMENT: ABDUCTION, OVER-CODING, and CATACHRESIS
DA VID L. MOSLEY GUSTAV MAHLER'S IeH BIN DER WELT ABHANDEN GEKOMMEN AS SONG AND SYMPHONIC MOVEMENT: ABDUCTION, OVER-CODING, AND CATACHRESIS While many have commented upon the manner in which Gustav Mahler quotes both himself and other sources in his music, this stylistic feature of Mahler's composition has not, to my knowledge, been examined from the perspective of intertextuality. The many intertexts of Mahler's music include: literary texts of his own creation as well as those by other authors, other musical styles and genres, musical compositions by other composers, and portions of his own oeuvre. Nowhere is Mahler's musical intertextuality more informative than in the many and varied relationships between his songs and his symphonic compositions. The case of Ich bin der Welt abhanden gekommen as poem, piano-Lied, orchestral song, and the Adagietto movement of his Symphony No.5 is one such example. This essay will employ a semiotic methodology to examine: (1) the abductive process by which Mahler approached RUckert's poem, (2) the practice of over-coding by which this poem became a piano-Lied, an orchestral song, and finally a purely instrumental symphonic movement, and (3) the manner in which the Adagietto of Mahler's Symphony No. 5 constitutes a catachresis, or misapplied metaphor, in relation to the text from which it originated. MAHLER'S ABDUCTIVE APPROACH TO LIED COMPOSITION What does it mean for a composer at the beginning of the twentieth century to quote the musical material from a vocal composition in a subsequent instrumental composition? The first implication of this question has to do with our model for understanding Lied composition itself. -
POWDER-HER-FACE.Pdf
3 La Fenice prima dell’Opera 2012 3 2012 Fondazione Stagione 2012 Teatro La Fenice di Venezia Lirica e Balletto Thomas Adès Powder ace her f ace er InciprialeF h il viso owder owder p dès a homas t FONDAZIONE TEATRO LA FENICE DI VENEZIA TEATRO LA FENICE - pagina ufficiale seguici su facebook e twitter follow us on facebook and twitter FONDAZIONE TEATRO LA FENICE DI VENEZIA Destinare il cinque per mille alla cultura è facile e non costa nulla. Quando compili la tua dichiarazione dei redditi, indica il codice fiscale della Fondazione Teatro La Fenice di Venezia: 00187480272 Aiuti la cultura, aiuti la musica. Incontro con l’opera FONDAZIONE lunedì 16 gennaio 2012 ore 18.00 AMICI DELLA FENICE SANDRO CAPPELLETTO, MARIO MESSINIS, DINO VILLATICO STAGIONE 2012 Lou Salomé sabato 4 febbraio 2012 ore 18.00 MICHELE DALL’ONGARO L’inganno felice mercoledì 8 febbraio 2012 ore 18.00 LUCA MOSCA Così fan tutte martedì 6 marzo 2012 ore 18.00 LUCA DE FUSCO, GIANNI GARRERA L’opera da tre soldi martedì 17 aprile 2012 ore 18.00 LORENZO ARRUGA La sonnambula lunedì 23 aprile 2012 ore 18.00 PIER LUIGI PIZZI, PHILIP WALSH Powder Her Face giovedì 10 maggio 2012 ore 18.00 RICCARDO RISALITI La bohème lunedì 18 giugno 2012 ore 18.00 GUIDO ZACCAGNINI Carmen giovedì 5 luglio 2012 ore 18.00 MICHELE SUOZZO L’elisir d’amore giovedì 13 settembre 2012 ore 18.00 MASSIMO CONTIERO Clavicembalo francese a due manuali copia dello Rigoletto strumento di Goermans-Taskin, costruito attorno sabato 6 ottobre 2012 ore 18.00 alla metà del XVIII secolo (originale presso la Russell PHILIP GOSSETT Collection di Edimburgo). -
V. L. 0. Chittick ANGRY YOUNG POET of the THIRTIES
V. L. 0. Chittick ANGRY YOUNG POET OF THE THIRTIES THE coMPLETION OF JoHN LEHMANN's autobiography with I Am My Brother (1960), begun with The Whispering Gallery (1955), brings back to mind, among a score of other largely forgotten matters, the fact that there were angry young poets in England long before those of last year-or was it year before last? The most outspoken of the much earlier dissident young verse writers were probably the three who made up the so-called "Oxford group", W. ·H. Auden, Stephen Spender, and C. Day Lewis. (Properly speaking they were never a group in col lege, though they knew one ariother as undergraduates and were interested in one another's work.) Whether taken together or singly, .they differed markedly from the young poets who have recently been given the label "angry". What these latter day "angries" are angry about is difficult to determine, unless indeed it is merely for the sake of being angry. Moreover, they seem to have nothing con structive to suggest in cure of whatever it is that disturbs them. In sharp contrast, those whom they have displaced (briefly) were angry about various conditions and situations that they were ready and eager to name specifically. And, as we shall see in a moment, they were prepared to do something about them. What the angry young poets of Lehmann's generation were angry about was the heritage of the first World War: the economic crisis, industrial collapse, chronic unemployment, and the increasing tP,reat of a second World War. -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
Things Seen on Right and Left Erik Satie
image A Derain Art & Heritage Collections Jack in the Box Projet de costume pour une danseuse, 1926 Cultural Musing Cabinet 8 31 Alfred Frueh Portrait of Erik Satie Rare Books & Special Collections in collaboration with the J M Coetzee Erik Satie, Socrates Postcard, Paris 1920 Centre for Creative Practice and Art & Heritage Collections present: and John Cage Printed on card, 14 x 9 cm In the years after the First World War, Satie’s Alfred (‘Al’) Frueh (1880 – 1968) was an style moved towards what was to become known American cartoonist and caricaturist. He studied Things seen on right and left as neo-classicism. Although his reputation was in Paris from 1909 to 1924, contributing regularly based on his humorous works, Satie’s later music to the New York World, and to New Yorker from Erik Satie in words, pictures and music sometimes has a more serious character. His neo- 1925 onwards. This portrait comes from the year classical masterpiece is the ‘symphonic drama’ that Socrate was premiered. Socrate (Socrates). Following his death in 1925, Exhibition 32 Erik Satie Marche de Cocagne. Satie’s music fell into neglect until the 1950s For three trumpets in C Level 1 & 3, Barr Smith Library when there was a revival of interest in his music Reproduction of Satie’s manuscript as in the United States, particularly due to advocacy frontispiece to Almanach de Cocagne, 9 June until 24 July 2011 of the composer John Cage. Editions de la Sirène, Paris 1920 29 Erik Satie Socrate, Symphonic Drama in 223 pages, original soft cover, 11 x 16.5 cm three parts for piano and voice, composed for the Almanach de Cocagne was an annual performances of Princess Edmond de Polignac. -
Frauenleben in Magenza
www.mainz.de/frauenbuero Frauenleben in Magenza Porträts jüdischer Frauen und Mädchen aus dem Mainzer Frauenkalender seit 1991 und Texte zur Frauengeschichte im jüdischen Mainz Frauenleben in Magenza Frauenleben in Magenza Die Porträts jüdischer Frauen und Mädchen aus dem Mainzer Frauenkalender und Texte zur Frauengeschichte im jüdischen Mainz 3 Frauenleben in Magenza Impressum Herausgeberin: Frauenbüro Landeshauptstadt Mainz Stadthaus Große Bleiche Große Bleiche 46/Löwenhofstraße 1 55116 Mainz Tel. 06131 12-2175 Fax 06131 12-2707 [email protected] www.mainz.de/frauenbuero Konzept, Redaktion, Gestaltung: Eva Weickart, Frauenbüro Namenskürzel der AutorInnen: Reinhard Frenzel (RF) Martina Trojanowski (MT) Eva Weickart (EW) Mechthild Czarnowski (MC) Bildrechte wie angegeben bei den Abbildungen Titelbild: Schülerinnen der Bondi-Schule. Privatbesitz C. Lebrecht Druck: Hausdruckerei 5. überarbeitete und erweiterte Auflage Mainz 2021 4 Frauenleben in Magenza Vorwort des Oberbürgermeisters Die Geschichte jüdischen Lebens und Gemein- Erstmals erschienen ist »Frauenleben in Magen- delebens in Mainz reicht weit zurück in das 10. za« aus Anlass der Eröffnung der Neuen Syna- Jahrhundert, sie ist damit auch die Geschichte goge im Jahr 2010. Weitere Auflagen erschienen der jüdischen Frauen dieser Stadt. 2014 und 2015. Doch in vielen historischen Betrachtungen von Magenza, dem jüdischen Mainz, ist nur selten Die Veröffentlichung basiert auf den Porträts die Rede vom Leben und Schicksal jüdischer jüdischer Frauen und Mädchen und auf den Frauen und Mädchen. Texten zu Einrichtungen jüdischer Frauen und Dabei haben sie ebenso wie die Männer zu al- Mädchen, die seit 1991 im Kalender »Blick auf len Zeiten in der Stadt gelebt, sie haben gelernt, Mainzer Frauengeschichte« des Frauenbüros gearbeitet und den Alltag gemeistert. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings. -
THROUGH LIFE and LOVE Richard Strauss
THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose. -
Newsletter 25
An Appeal for Expertise in Accountancy The Society would be very grateful to hear from any member living in the UK who has some knowledge of accountancy, and who would be willing to donate perhaps two hours of his or her time, once a year, in order to prepare a simple account of the Society's income and outgo. Ideally this would be someone living in or relatively near The London. If you fit this description, could you kindly get in touch with the Society at the postal address listed elsewhere on this page? W. H. Auden Society Memberships and Subscriptions Newsletter Annual memberships include a subscription to the Newsletter: Individual members £ 9 $15 ● Students £ 5 $8 Number 25 January 2005 Institutions £ 18 $30 New members of the Society and members wishing to renew should send sterling cheques or checks in US dollars payable to “The W. H. Auden Society” to Katherine Bucknell, 78 Clarendon Road, London W11 2HW. Receipts available on request. Payment may also be made by credit card through the Society’s web site at: http://audensociety.org/membership.html The W. H. Auden Society is registered with the Charity Commission for England and Wales as Charity No. 1104496. Submissions to the Newsletter may be sent in care of Katherine Bucknell, 78 Clarendon Road, London W11 2HW, or by e-mail to: [email protected] All writings by W. H. Auden in this issue are copyright 2005 by The Estate of W. H. Auden. 28 Foster’s recordings has been released in the Windyridge Variety series (www.musichallcds.com) and a brief excerpt may be heard at www.audensociety.org/vivianfoster.html on the Society’s website. -
American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
Expanded Perceptions of Identity in Benjamin Britten's Nocturne, Op. 60
EXPANDED PERCEPTIONS OF IDENTITY IN BENJAMIN BRITTEN’S NOCTURNE, OP. 60 Anna Grace Perkins, B.A. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS May 2008 APPROVED: Paul B. Berry, Major Professor Bernardo Illari, Minor Professor Benjamin Brand, Committee Member John P. Murphy, Chair of the Department of Music Theory, History, and Ethnomusicology Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Perkins, Anna Grace. Expanded Perceptions of Identity in Benjamin Britten’s Nocturne, Op. 60. Master of Music (Musicology), May 2008, 67 pp., 6 musical examples, references, 53 titles. A concentrated reading of Benjamin Britten’s Nocturne through details of the composer’s biography can lead to new perspectives on the composer’s identity. The method employed broadens current understandings of Britten’s personality and its relationship to the music. After creating a context for this kind of work within Britten scholarship, each chapter explores a specific aspect of Britten’s identity through the individual songs of the Nocturne. Chapter 2 focuses on how Britten used genres in a pastoral style to create his own British identity. Chapter 3 concentrates on the complex relationship between Britten's homosexuality and his pacifism. Chapter 4 aims to achieve a deeper understanding of Britten's idealization of innocence. The various aspects of Britten’s personality are related to one another in the Conclusion. Copyright 2008 by Anna Grace Perkins ii TABLE OF CONTENTS Page LIST OF EXAMPLES…………………………………………………………………..……iv Chapter 1. -
To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No.