scholarly journals Musik und Theater in der Badekultur um 1800

2021 ◽  
Vol 67 (2) ◽  
pp. 154-174
Author(s):  
Christian Storch
Keyword(s):  
Ludwig Van Beethoven ◽  
Johannes Brahms ◽  
Franz Schubert ◽  
Anton Bruckner ◽  
Bad Gastein

Zwar haben Besuche von "großen" Künstlern wie Ludwig van Beethoven in Teplice, Franz Schubert in Bad Gastein oder Johannes Brahms und Anton Bruckner in Bad Ischl bereits die Aufmerksamkeit punktuell auf Badeorte gelenkt. Die vermeintliche geografisch wie kulturell periphere Lage gerade kleinerer Badeorte und deren kaum dokumentierte und aufgearbeitete Musik- und Theatergeschichte haben jedoch dazu beigetragen, eine Beachtung, Rekonstruktion, Analyse und Einordnung in die allgemeine Musikgeschichte zu unterlassen. Am Beispiel des Comödienhauses (heute Kurtheater) im Kurort Bad Liebenstein im ehemaligen Herzogtum Sachsen-Meiningen wird dieser Forschungslücke begegnet, es werden außerdem weitere Anreize geliefert, sich Badeorten als musikhistorischem Sujet intensiver zu widmen. Dabei stehen folgende Fragestellungen im Vordergrund: 1. Für welche musikalischen und theatralischen Aktivitäten wurde das Gebäude genutzt und welchen kulturellen Stellenwert nahm es innerhalb des Kurbetriebes ein, vor allem in Bezug auf die Publikumsstruktur? 2. Wie gestaltete sich das Repertoire in der ersten Saison und welche Vergleichsmomente zu den kulturellen Zentren der Zeit lassen sich hieraus ablesen? 3. Kann man aus dem Repertoire ein bäderspezifisches Theater- und Musikleben deduzieren? 4. Welche Rolle spielte, stellvertretend für zahlreiche Kurtheater deutschlandweit, das Comödienhaus in Liebenstein für die Rezeptionsgeschichte von Oper und Schauspiel im ländlichen Raum um 1800?

Composing the Volk

2016 ◽  
Author(s):  
Erin R. Hochman
Keyword(s):  
Interwar Period ◽  
Ludwig Van Beethoven ◽  
Johann Wolfgang Von Goethe ◽  
Franz Schubert ◽  
Walther Von Der Vogelweide

This chapter looks at cultural commemorations for the anniversaries of the deaths of Ludwig van Beethoven in 1927, Franz Schubert in 1928, Walther von der Vogelweide in 1930, and Johann Wolfgang von Goethe in 1932. It explores how Germans and Austrians used these festivals to stage a transborder German community in the interwar period. They hoped that a focus on culture, rather than politics, would help them overcome the sociopolitical fragmentation of the interwar years. At first glance, these cultural celebrations appeared to bridge the numerous divisions running through both societies, as people from various social and political backgrounds wanted to honor these German cultural heroes. Nonetheless, political fights broke out among participants as they interpreted the lives and impact of these cultural figures according to their own divergent worldviews. By investigating these disagreements, this chapter underscores the numerous understandings of Germanness in the Weimar era.

scholarly journals Schubert and Beethoven - Adorno’s early antipods of the music in bougeois epoch

2012 ◽  
Vol 23 (3) ◽  
pp. 221-236
Author(s):  
Dragana Jeremic-Molnar ◽  
Aleksandar Molnar
Keyword(s):  
20Th Century ◽  
Practical Reason ◽  
Ludwig Van Beethoven ◽  
Franz Schubert ◽  
Negative Dialectics ◽  
20Th Century Music ◽  
Theodor Adorno

In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes - Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Sch?nberg and the 20th century music avantgardism, Adorno was, in his works prior to his exile from Germany (1934), intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, fascinated by the ?practical reason? and the mission to rise up and reach the stars, Schubert wanted none of it (almost anticipating the failure of the whole revolutionary project). Instead, he was looking backwards, to primordial nature and the possibility of man to participate in its mythic cycles of death and regeneration. The lack of synthesis between this two opposing tendencies in the music of early bourgeois epoch lead to the ?negative dialectics? of Sch?nberg and 20th century music avantgardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis.

Personal Spin I

2017 ◽  
Author(s):  
Steven Isserlis
Keyword(s):  
String Quartet ◽  
Ludwig Van Beethoven ◽  
Johann Sebastian Bach ◽  
Franz Schubert ◽  
Robert Schumann

Franz Schubert: Fantasia in F minor, D940 Robert Schumann: Symphony No. 1 in B flat major ‘Spring’ The Beatles: I’m Only Sleeping Terry Jones: I’m So Worried Johann Sebastian Bach: St Matthew Passion Ludwig van Beethoven: String Quartet No. 13 in B flat major, Op. 130...

Study Abroad

2017 ◽  
Author(s):  
Beth Abelson Macleod
Keyword(s):  
United States ◽  
Johannes Brahms ◽  
The United States ◽  
Franz Liszt ◽  
Richard Wagner ◽  
Music Students ◽  
Giuseppe Verdi ◽  
Late Nineteenth Century ◽  
Anton Bruckner ◽  
Late Nineteenth

This chapter examines the experience of U.S. music students in late nineteenth-century Vienna as well as the musical scene at that time. In the 1870s and 1880s, Viennese audiences attended the premieres of works by Johannes Brahms, Anton Bruckner, Richard Wagner, and Giuseppe Verdi. They also flocked to piano recitals by Rafael Joseffy, Anton Rubinstein, Hans von Bülow, and Franz Liszt. The chapter considers Fanny Blumenfeld's living conditions, her struggles with health problems, and her studies with Theodor Leschetizky, which culminated in successful performances before Viennese critics that provided her with the European stamp of approval that was almost always necessary for success in the United States. It also recounts her first meeting with her future husband, Sigmund Zeisler.

Clara Schumann

Music ◽  
2019 ◽  
Author(s):  
Jonathan Kregor
Keyword(s):  
Ludwig Van Beethoven ◽  
Johannes Brahms ◽  
Piano Concerto ◽  
Her Family ◽  
Critical Editions ◽  
Piano Trio ◽  
Extensive Coverage ◽  
Joseph Joachim ◽  
Felix Mendelssohn ◽  
The 19Th Century

Clara Schumann, née Wieck (b. 1819–d. 1896), ranks among the most important musical artists of the 19th century. As composer, she published twenty-one numbered compositions—including a piano concerto, piano trio, songs, and Lieder—in an era when it was uncommon for women to do so. As pianist, she was one of the first to consistently program the music of J. S. Bach, Ludwig van Beethoven, Johannes Brahms, and her husband, Robert Schumann. And with a career that spanned more than half a century—from her solo debut in Leipzig at the age of eleven until her death sixty-six years later in Frankfurt—she came into contact with most of the major and minor artists of the day, including Woldemar Bargiel, Frédéric Chopin, Niels Gade, Joseph Joachim, Franz Liszt, Felix Mendelssohn, Pauline Viardot-Garcia, and Richard Wagner. Yet, despite these activities and associations, prior to about the 1980s she was rarely the subject of sustained scholarly study, except in cases where she provided context for the understanding of her husband’s life and works. Since the late 1970s, however, studies have proliferated (albeit almost exclusively in English- and German-language publications), with extensive coverage devoted to her family and associates, the cities she toured and places she called home, the role(s) in which gender played in shaping her image and compositions, her composition oeuvre, her editorial and pedagogical legacy, and her posthumous reception. These studies have benefited from the appearance of critical editions of almost her entire compositional catalogue. (Note that before her marriage in 1840, she was named Clara Wieck; from 1840 onward, Clara Schumann. For consistency’s sake, this article always refers to her as “Clara Schumann,” even if the respective scholarship does not or if the topic exclusively concerns her life or activities before marriage.)

scholarly journals The reception of west European music in Belgrade between world wars: On the examples of “Muzicki glasnik” and “Muzika” magazines

Muzikologija ◽  
2011 ◽  
pp. 203-218
Author(s):  
Aleksandar Vasic
Keyword(s):  
Ludwig Van Beethoven ◽  
Franz Schubert ◽  
Foreign Languages ◽  
High Culture ◽  
French Music ◽  
English Music ◽  
European Tradition ◽  
Music Community ◽  
West European

The very first music magazines started in Belgrade between World Wars were ?Muzicki glasnik? (issued monthly from January to December 1922) and ?Muzika? (also issued monthly in the period January 1928 - March 1929). These magazines used to publish music essays, researches, debates, notes, news and other kind of articles. This paper brings an analysis of texts on West European music in these two journals. ?Muzicki glasnik? published only few articles on European music. Those were on bibliographical news concerning editions on musicology in England and on French music magazines. There was a report on the concert held in Leipzig in1922 in honour of late Arthur Nikisch. ?Glasnik? also published an obituary to Camille Saint-Sa?ns containing, by contemporary standards, excessively complimentary evaluation of his music. West European music was far more present on the pages of ?Muzika? magazine. The editorial board used to publish thematic issues dedicated to jubilees of great European composers (such as Franz Schubert, Ludwig van Beethoven). One issue was dedicated to English music and this magazine also wrote about Puccini. Essays on European music were translated from foreign languages and the authors of some were coming from Yugoslavia. ?Muzika? magazine was addressing wide, educated audience, not only musicians. Therefore the texts giving biographical and psychological portraits of composers used to prevail over musicological analyses of their works. Serbian music community was not highly developed thus ?Muzika? moderately used expert terminology. Essays, as dominant forms in Serbian musicography up to 1941, were often written in a literary manner. This is evident in ?Muzika? as well. ?Muzika? and ?Muzicki glasnik? adopted different aesthetics and ideology. The fact that the reception of West European music in ?Glasnik? was minimal was not only due to the insufficient number of associates. The editorial board of ?Glasnik? was more concerned with domestic music and problems of music institutions. Besides, the editors of this magazine were of opinion that the Serbian music should not solely look up to West European composers but even more to the Slav and domestic music exemplars. The editors of ?Muzika? were, however, strongly adhering to West European tradition. They thought that only high culture and knowledge could bring the Serbian music to a serious level, both technique and art wise. The editors of this magazine did not desire our composers to be epigones of Western musicians, but wanted to provide domestic musicians and readers with information on European art. In this regard, ?Muzika? used to have an enlightening mission in our country.

scholarly journals Ludwig Van Beethoven: La Musica Del Silenzio

2014 ◽  
Vol 25 (4) ◽  
pp. 343-351
Author(s):  
Luciano Sterpellone
Keyword(s):  
Ludwig Van Beethoven ◽  
Franz Schubert

Nell'estate del 1797 all'età di 27 anni e periodo che coincide con gli inizi dei disturbi uditivi, il musicista contrae una infezione, un tifo addominale dal quale non si riprenderà più completamente, con reiterati disturbi gastrointestinali negli anni a venire. Solo nel ottobre 1802 Beethoven ammette la propria sordità, accompagnata da acufeni, una patologia che avrebbe interessato prima l'orecchio sinistro, poi quello destro, e che sarà progressiva, sino alla sordità completa. Le cure cui verrà sottoposto saranno le più diverse, ma verosimilmente tutte inutili, Beethoven sarà un paziente sui generis, che fa di testa propria, ignorando le prescrizioni dei medici, bevendo molto vino e molto caffè, e non rispettando i dosaggi dei medicinali. Poco risolvono anche i cornetti acustici, applicati a lungo solo all'orecchio sinistro, perché, il destro è già completamente sordo. Viceversa per aumentare l'intensità dei suoni si serve di uno strumento ingombrante, una specie di coperchio di legno che mentre suona interpone tra sé e il pianoforte come cassa di risonanza. Nel 1822, alla prova generale del Fidelio non sente assolutamente nulla di ciò che si canta sulla scena. Nel maggio 1824, al termine di un concerto, una cantante deve prenderlo per le spalle e voltarlo verso il pubblico perché, si renda conto che lo stanno applaudendo freneticamente. Nel 1825 compaiono i segni dell'interessamento epatico con una ematemesi che origina verosimilmente da varice esofagee. Nel 1826 le condizioni generali peggiorano compaiono coliche addominali, diarrea, ittero, e l'asche richiede numerose paracentesi con aspirazione sino a 14 litri. Il 27 marzo del 1827 Ludwig van Beethoven muore, e due giorni dopo ventimila persone seguiranno il feretro; tra i presenti Franz Schubert, ignaro che appena un anno dopo riposerà vicino a Beethoven. Sulla sordità di Beethoven non si è giunti a conclusioni definitive. Otosclérosi, un'affezione dell'orecchio interno, una degenerazione del nervo acustico, una forma post-infettiva come nel tifo addominale, una improbabile degenerazione di origine luetica, un morbo di Paget. Dai reperti autoptici appare molto probabile che la morte del musicista possa essere addebitata ad una malattia epatica, dato che all'esame autoptico questo organo risulta molto più piccolo del normale e molto poco elastico; inoltre ambedue i reni appaiono infiltrati da un liquido marrone e opaco e i calici renali appaiono calcificati. È forse “merito” della sordità se Beethoven ha così interiorizzato la sua vis creativa da vedere aumentata la propria percezione della rappresentazione corticale dei suoni.

Variation Form

Music ◽  
2021 ◽  
Author(s):  
Judith Ofcarcik ◽  
Gillian Robertson
Keyword(s):  
Ludwig Van Beethoven ◽  
Johannes Brahms ◽  
Narrative Approaches ◽  
Current State ◽  
Time Period ◽  
Instrumental Works ◽  
State Of Research ◽  
Form Type ◽  
New Research ◽  
Analytical Approaches

For centuries, variations have garnered the attention of Western composers and amassed popularity among virtuosi and audiences alike. Unfortunately, the reception of this form type within the scholarly community is less enthusiastic, especially in comparison to sonata form, which continues to draw curiosity and inquiry. This is unfortunate, as scholars who analyze variations are faced with fundamental musical questions such as: Where are the borders drawn between same, similar, and different musical material? How does a listener determine whether one passage is a variation of another? How does a composer signal that a piece is finished, and is this signal always convincing? Do musical events need to occur in a particular order to make sense, or can the ordering be changed without serious consequences? Variation form brings these issues to the fore, and the works listed in this article engage them in a variety of ways. Sections are primarily organized chronologically by time period, focusing on stylistic eras, composers, and specific compositions. Of note to readers is the almost exclusive focus on instrumental works and the limited sources addressing music written before the baroque period. There is a notable emphasis on the “canon” and “canonic composers,” especially J. S. Bach, Ludwig van Beethoven, Wolfgang Mozart, and Johannes Brahms, as well as structural approaches to analysis (particularly the writings of Heinrich Schenker). These shortcomings and limited perspectives reflect the current state of research on variation form; we encourage new research that will diversify the range of scholarship on this topic in regard to composers, repertoires, and analytical approaches. In particular, hermeneutic/semiotic/narrative approaches to variation form are particularly appealing, and works by underrepresented composers deserve analytical attention and scholarship.

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