Sonata em lá maior de César Franck (FWV 8) para flauta e piano: Uma proposta de estudo das dinâmicas e indicações expressivas que permeiam o primeiro movimento / César Franck's Sonata in A major (FWV 8) for flute and piano: A proposal to study the dynamics and expressive indications that permeate the first movement

This chapter focuses on events following the death of Edna Phillips' younger sister Peggy in a plane crash. Not long after the Phillips family received the cable informing them of Peggy's death, the orchestra's personnel manager, Paul Lotz, who had already spoken with Stokowski, called Phillips. That Monday evening, the very next day, the orchestra was scheduled to play a concert that had the César Franck Symphony on the program, which the second harpist had not rehearsed with the orchestra. Stokowski asked Lotz to convey a message to Phillips for him. “As a man,” the maestro said, “I'd tell her not to play, but as an artist, she must if she possibly can. ” And so Phillips played the concert on Monday night. Although Edna's grief over Peggy was deep, her work in the orchestra couldn't be ignored. She had to go forward, and she did.

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Louis Glass and Carl Nielsen: Opposites in Danish Musical Life

Carl Nielsen Studies ◽

10.7146/cns.v6i0.122256 ◽

2020 ◽

Vol 6 ◽

Author(s):

Claus Røllum-Larsen ◽

Marie-Louise Zervides ◽

David Fanning

Keyword(s):

Point Of View ◽

World War ◽

World War One ◽

Musical Life ◽

Cesar Franck

Carl Nielsen and Louis Glass were close contemporaries, and their musical careers began in parallel. But their points of departure were different. Whereas Nielsen took off from Beethoven, Brahms, Dvorˇák and Svendsen, Glass was particularly inspired by César Franck and Bruckner. Around the time of World War One, the differences became pronounced. Nielsen gained great popularity with his folk-like songs, whilst Glass submersed himself in theosophy. Symbolic of the differences are Nielsen’s Fourth Symphony, The Inextinguishable, and Glass’s Fifth, Sinfonia Svastica, each of which foregrounds the concept of ‘Life’, but from a different point of view. Glass clearly perceived that he had become cast in Nielsen’s shadow, and in a short correspondence with him in 1923 he tried to plead his case that they were both working in the same direction but from different points of departure. He felt that they were complementary. Nielsen’s side of the correspondence has not survived, and we therefore do not know his attitude.

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