Rebecca Dirichlet's Development of the Complex Domain
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A Dichterliebe by Robert Schumann
,A DICHTERLIEBE BY ROBERT SCHUMANN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Hubert Neil Davidson, B. M. Denton, Texas August, 1957 PREFACE The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 1+8) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and perform- ance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal lit.- erature of the Romantic period. An acquaintance with the life of the poet, Heinrich Heine, as well as the life of the composer of these songs and their relationship to each other contributes toward an understanding of the cycle. Each of the sixteen songs in the cycle is analyzed according to its most important characteristics, including text setting, general harmonic structure, important role of the accompaniment, expressive techniques, mood, tempo, rhythm, and dynamics. It is not the aim of this work to offer an extensive formal or harmonic analysis of this song cycle. iii TABLE OF CONTENTS Page PREFACE . iii LIST OF ILLUSTRATIONS.... ..... .v Chapter I. BACKGROUND OF THE DICHTERLIEBE . .1 Biographical Sketch of Robert Schumann The Life and Work of Heinrich Heine Robert Schumann's Relationship with Heinrich Heine History of Song Cycles up to and Past the Dichterliebe II. ANALYSIS OF THE DICHTERLIEBE . 18 I Im wundersch8ne Monat Mai II lus meinen Thranen spriessen III Die Rose, die Lilie, die Taube IV Wenn ich in!~deine Augen~seh1' V IhwiT miieine Seele tauchen VI Im Rhein, im heiligen Strome VII Ich rolle nicht VIII Und, ssten's die Blumen, die kleinen IX Das ist ein Fl8ten und Geigen x 'Tich das Liedchen~klingen XI Emn J17ling liebt ein Mdchen XII Am leuchtenden Sommemorgen XIII Ich hablimTTraum geweinet XIV llnHEhtlich im Traume seh' ich dich XV Aus alten Murchen Winkt es XVI Die alten b6sen Leider BIBLIOGRAPHY 0. -
Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip
INFANTRY HALL • PROVIDENCE Thirty-second Season, J9J2—X9J3 Dr. KARL MUCK, Conductor Programme of % THIRD CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, DECEMBER 31 AT 8.15 COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER — " After the Symphony Concert 9J a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. Sole Representative MRS. LUCY H. MILLER 28 GEORGE STREET - - PROVIDENCE, R.I. Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W. Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler, B. Marble, E. Hayne, E. Tischer-Zeitz, H Kurth, R. Grunberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H. Kluge, M. Van Wynbergen, C Gietzen, A. -
R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research. -
The Last Beethoven Overture This Study Is, Above All, the Outcome of A
1 The Last Beethoven Beethoven, deaf, working on the manuscript of the Missa Solemnis (painting by Josef Karl Stieler, 1819) Overture This study is, above all, the outcome of a long-lasting personal concern that goes back to the period of my first music lessons and my attempts to play Beethoven’s music on the piano. My passion for certain musical compositions, the care to interpret them in the way, with the sensitivity and in keeping with their creator’s intentions might be translated as follows: I wish to perform as if he could hear me and could recognize himself in the music I performed. I was filled, at a very early age, with the desire to know as much as possible about his personality, his life, the events and the circumstances that led to the birth of his work. It is obvious and easy to prove, based on Beethoven’s own notes and the testimonies of those who have written about him for nearly two hundred years, that there were external triggers, such as social and even historical events or happenings, which activated certain musical themes that his genius and sensitivity gave expression in the form known to us today. In this study, I will speak, at the appropriate time, about situations, contexts and events of this kind: family problems, like the affair involving his nephew Karl, 2 or sentimental issues, like the “Immortal Beloved” (Der Unsterbliche Geliebte), the drama entailed by hearing loss, the evolution of event on the European stage during the Napoleonic and post-Napoleonic periods, etc. -
Steward the Culture of Water Cure in Nineteenthcentury Austria
Northumbria Research Link Citation: Steward, Jill (2002) The culture of water cure in nineteenth-century Austria, 1800-1914. In: Water, Leisure and Culture: European Historical Perspectives. Leisure, Consumption and Culture . Berg, Oxford, pp. 23-36. ISBN 9781859735404 Published by: Berg URL: http://www.bloomsbury.com/uk/water-leisure-and-cul... <http://www.bloomsbury.com/uk/water-leisure-and-culture-9781859735404/> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/582/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) Northumbria Research Link Steward, J. -
Friedrich Overbeck's 'Portrait'
AUF DEN SPUREN DER NAZARENER: Re-reading Vittoria Caldoni: Friedrich Overbeck’s ‘Portrait’ in the Neue Pinakothek by Charles Davis One of the indubitable masterpieces of the somewhat uneven collection of paintings displayed in the Neue Pinakothek in Munich is Johann Friedrich Overbeck’s seemingly perfect Vittoria Caldoni. During a recent Sunday morning visit to the museum, undertaken with the intention of looking at the Nazarene paintings in the collection, the portrait of Vittoria Caldoni exercised its curious fascination, and, as pictures often do, it appeared increasingly puzzling upon prolonged inspection. Only much later did I come across Keith Andrews’s conclusion to his brief commentary upon this painting in his seminal book of 1964, The Nazarenes, a work instrumental in reviving a more widespread interest in these long-neglected and often disparaged painters. Of Overbeck’s Vittoria Caldoni, the author writes: “The frontal disposition draws the spectator into the picture and forces him, intentionally, to seek a meaning beyond mere portrait representation” (pp. 113-114). Nowhere does Andrews enlarge upon what this ‘meaning’ might be, but nevertheless his observation, if inadvertently, corresponds to the agendum of the present essay. Although a book published in 2011 by the Akademie Verlag in Berlin describes Andrews as a ‘Scottish scholar’ and a ‘non-German art historian’, it might be remembered that he was born as Kurt Aufrichtig in Hamburg on 11 October 1920. 2 Friedrich Overbeck, Vittoria Caldoni, 1821. Neue Pinakothek, München Overbeck’s Vittoria Caldoni is universally referred to as her portrait, but, paradoxically, in his representation the artist is at pains to attribute to the young girl from Albano whom he portrays a social rôle in the world of work which she, in reality, did not perform. -
Selling Art with Passion Invitation to Consign Preface 1
SELLING ART WITH PASSION INVITATION TO CONSIGN PREFACE 1 DEAR FRIENDS, The art market continues to be one of the world’s most stable and reliable markets. After a long period of growth, we are now seeing a consolidation phase with prices remaining high. In fact, our half-yearly results are even showing a slight upward trend, with a 5 % increase in total sales and a 30 % increase in our client base. The 19th to 21st Century Art Departments alone grossed almost € 20 million*. This places us once again among Europe’s top ten auction houses, and in no less than first place in Germany**. One seven-figure hammer and 37 results at or above the € 100,000 mark are the highlights of the spring auction’s exceptional results, par- ticularly since this was accomplished with a reduced number of objects. The Rare Books Department is a very good example: the catalogue was downsized by over 50 %, yet the excellent results achieved were still on a par with last year’s sales figures. We owe this great success in the global market to exactly 523 consignors from 24 countries and 1,057 bidders from 34 nations. While the former provided the basis for our auctions by entrusting us with their high-quality objects, the latter provided for a great atmosphere in the well-attended salesroom with some 1,141 phone bids and 947 written bids. The consequence was our excellent results, with hammer prices of approximately € 1.7 million* for Max Beckmann’s oil painting Château d’If, € 900,000* for a very rare ‘Fracture’ picture by Georg Baselitz, and € 750,000* for Gerhard Richter’s Rot-Blau-Gelb. -
Boston Symphony Orchestra Archives
Boston Symphony Orchestra PERSONNEL F Perfection m Piano Makmcf 5 feet long THE <Ps.(#^>0 -6^rafxrRmn Quarter Grand Style V, m figured Makogany, price ^650 It IS out nve reet long and in Tonal Proportions a Masterpiece or piano building. It IS Cnickermg CT* Sons most recent triumpn, tke exponent of EIGHTY-SEVEN YEARS experience m artistic piano tuildmg, and tlie keir to all the qualities tkat tke name of its makers implies. CHICKERING &> SONS THIRTIETH SEASON, NINETEEN HUNDRED TEN AND ELEVEN FRIDAY AFTERNOON, OCTOBER 7, at 2.30 o'clock SATURDAY EVENING, OCTOBER 8, at 8 o'clock PROGRAMME In commemoration o{ the one hundredth anniversary of the birth of ROBERT SCHUMANN Born at Zwickau, June 8, 18 tO Schumann .... Overture to Byron's "Manfred," Op. 115 Schumann . Symphony in E-flat major, No. 3, "Rhenish," Op. 97 I. Lebhaft. II. Sehr massig. III. Nicht schnell. IV. Feierlich. V. Lebhaft. Schumann . Concerto for Violoncello with Orchestral Accompaniment in A minor. Op. 129 Nicht schnell.— Langsam.— Sehr lebhaft. Schumann . Overture to "Genoveva," Op. 81 SOLOIST Mr. ALWIN SCHROEDER There will be an intermission of ten minutes after the symphony The doors of the hall will be closed during the performance of each number on the prograinme. Those who wish to leave before the end of the concert are requested to do so in an interval be-- tween the numbers. city of Boston. Revised Regulation of August 5, 1898.— Chapter 3, relatinii to (he covering of the head In places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the headfarcoverlng which obstructs the view of the exhibition or performance in such place of any person seatetl in anyjseat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. -
Schumann-Journal Begründet 2012 Von Dr
Schumann-Journal Begründet 2012 von Dr. Ingrid Bodsch Publikation des Schumann-Netzwerks / Schumann-Forums A Publication of the Schumann Network / Schumann Forum Herausgegeben im Auftrag der Projektleitung des Schumann-Netzwerks von Irmgard Knechtges-Obrecht Nr. 3 / Frühjahr 2014 Mit Unterstützung der Beauftragten der Bundesregierung für Kultur und Medien Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d.-nb.de abrufbar. Herausgegeben im Auftrag der Projektleitung des Schumann-Netzwerks (Ingrid Bodsch) von Irmgard Knechtges-Obrecht Redaktion Dr. Irmgard Knechtges-Obrecht Horbacher Straße 366A . D 52072 Aachen Tel.: 0049 (0) 2407 / 90 26 39 Fax: 0049 (0) 3212 / 1 02 12 55 E-Mail: [email protected] Satz und Lektorat Dr. Ingrid Bodsch und Dr. Sigrid Lange Bildredaktion, Bearbeitung und druckfertiges Layout Dr. Ingrid Bodsch Umschlaggestaltung: phVision, Christa Polch Druck: medienHaus Plump GmbH, Rheinbreitbach © Verlag StadtMuseum Bonn 2014 Alle Rechte, auch das des auszugsweisen Nachdruckes, der auszugsweisen oder vollständigen Wiedergabe, der Speicherung in Datenverarbeitungsan- lagen und der Übersetzung, vorbehalten. Printed in Germany by medienHaus Plump GmbH, Rheinbreitbach ISBN 978-3-931878-43-6 Verlag StadtMuseum Bonn . Stadt Bonn, Amt 41-5 . D 53103 Bonn Tel.: 0049 (0) 772094, Fax: 0049 (0) 774298 E-Mail: [email protected] -
Miszellaneen Miscellanea
miszellaneen MISCELLANEA c.g. boerner in collaboration with harris schrank fine prints Israhel van Meckenem ca. 1440–45 – d. Bocholt 1503 1. Die Auferstehung – The Resurrection (after the Master E.S.) ca. 1470 engraving with extensive hand-coloring in red, blue, green, reddish-brown and gold leaf; 94 x 74 mm (3 11�16 x 2 ⅞ inches) Lehrs and Hollstein 140 provenance C.G. Boerner, Leipzig, sale 153, May 3–4, 1927, lot 43 sub-no. 49 (ill. on plate 3) S.F.C. Wieder, Noordwijk, The Netherlands William H. Schab Gallery, New York, cat. 40 [1963], no. 64 (the still-intact manuscript), the Meckenem ill. on p. 69 private collection, Switzerland Sotheby’s, London, December 4, 1969, lot 18 William H. Schab Gallery, New York, cat. 52, 1972, no. 46 (ill. in color) C.G. Boerner, Düsseldorf, acquired April 25, 1972 private collection, Germany Sotheby’s, London, December 3–4, 1987, lot 579 (GBP 27,500) private collection Unikum. Very little is known about the early life of Israhel van Meckenem. His family probably came from Meckenheim near Bonn. He might have received his first artistic training with the so- called Master of the Berlin Passion who was active in the Rhine-Meuse region in 1450–70 (and whom Max Geisberg even tried to identify as Van Meckenem’s father). This is supported by 13 copies that Van Meckenem made after prints by this early “Anonymous.” However, the Master E.S. played an even more important role in the formation of the young artist. He worked in the Upper Rhine valley, most likely in Strasbourg, and his importance for the development of the relatively new medium of engraving can hardly be overestimated. -
Clara Schumann Forms, As Well As the Edition of Her Husband's Biographi- Birth Name: Clara Josephine Wieck Cal Material
Schumann, Clara in Frankfurt am Main. The possibilities of music-making were not exhausted for her in piano-playing alone, but also included theoretical and practical knowledge about music. Thus singing and violin-playing were just as much a part of her education as was composing. Her early compositions were concei- ved as extensions of her own repertoire, and she emphasi- sed the range of her musical profile as a virtuoso. In the 1840s, the confrontation with the requirements of va- rious musical genres came increasingly to the fore. None- theless, the compositions written during her marriage we- re also intended for performance on the concert stage. Al- ready as a young virtuoso, she was noted for playing mu- sic in all "styles", not merely her own pieces. She initially distinguished herself by being the first vir- tuoso, alongside Franz Liszt, to perform Beethoven sona- tas in the concert hall beginning in 1837. Besides her re- nown as a Beethoven interpreter, she then became prima- rily known as an "authentic" representative of the so-cal- led "Romantic School", i.e. the music of Chopin, Hen- selt, Mendelssohn Bartholdy and Robert Schumann. She later expanded her repertoire to include the piano works of Brahms. She controlled the reception of Robert Schu- Clara Wieck, Lithographie von Andreas Staub, Wien 1838 mann's music not only through her performance polici- es, but also through her edition of his works in various Clara Schumann forms, as well as the edition of her husband's biographi- Birth name: Clara Josephine Wieck cal material. Variants: Clara Wieck, Clara Wieck Schumann, Clara Beyond that, through her performance style, she first of Schumann Wieck, Clara Josephine Schumann, Clara all shaped a definite repertoire selection focussed on a ca- Josephine Wieck Schumann, Clara Josephine Schumann non of works from Bach and Scarlatti to Brahms. -
Arnold Story V3 for Internet
A biography of Friedrich Wilhelm Arnold (1810-1864) A life imbued with music Peter Van Leeuwen 2018 A biography of Friedrich Wilhelm Arnold (1810-1864): A life imbued with music. (V.1805E_I) www.van-leeuwen.de Copyright © Peter Van Leeuwen 2018 All rights reserved Front Cover: Excerpt from one of Arnold's compositions: Allegro , published in: Pfennig- Magazin für Gesang und Guitarre. Herausgegeben von einem Verein Rheinländischer Tonkünstler. Redigirt von F.W. Arnold . Cologne, Gaul & Tonger. 1835 1(4): 190. Back Cover: Reproduction of a photograph of the portrait of Friedrich Wilhelm Arnold. 3 Table of contents Table of contents .................................................................................... 3 Preface .................................................................................................... 7 Origins ..................................................................................................... 9 Childhood and Schooling ....................................................................... 13 Student days ......................................................................................... 16 Cologne, London, Aachen: Journalism, Music, Theater ......................... 20 Novelist ................................................................................................. 24 The Music Business, Part I: Cologne ...................................................... 29 Marriage ............................................................................................... 30 Musical Pursuits: