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...

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.

Schubert's Self-Elegies

2008 ◽  
Vol 5 (2) ◽  
pp. 71-105 ◽  
Author(s):  
James William Sobaskie
Keyword(s):  
String Quartet ◽  
Franz Schubert ◽  
String Quintet ◽  
Piano Trio ◽  
A Minor

The later music of Franz Schubert confers a remarkable blend of impact and intimacy. Some masterpieces, such asDie schöne MüllerinandWinterreise, capture striking images of despair and loneliness. Others, such as the String Quartet in A minor, the Piano Trio in E major and the String Quintet in C major, carry stirring impressions of struggle culminated by success. Yet all captivate us with sensitivity and sincerity, the products of considerable self-investment.

scholarly journals Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)

2018 ◽  
Vol 59 (3-4) ◽  
pp. 301-308
Author(s):  
David Vondráček
Keyword(s):  
String Quartet ◽  
Franz Schubert ◽  
Formal Concept ◽  
Antonin Dvorak ◽  
Piano Quintet ◽  
The Third ◽  
Piano Quartet ◽  
Double Function ◽  
A Minor ◽  
Symmetric Structures

Abstract Dohnányi's Second Piano Quintet in E-flat minor was written in 1914 and is less well-known than his first one dating from 1895. The composer has been called a traditionalist, so it is worth examining how tradition appears in this work. The outer movements of the three-movement-form are both elegiac and weighty. The beginning bears the key signature of E-flat major instead of minor, but the keys are changing rapidly as the piece progresses. This is reminiscent of Franz Schubert or of Antonín Dvořák, for instance in his Piano Quartet (op. 87) inspired by Brahms. The third movement's opening is a homage to Beethoven's late String Quartet in A Minor (op. 132). While the latter works on a sub-thematic level, Dohnányi presents an elaborated theme in fugal technique, which in 1914 was a more conservative approach than Beethoven's in 1825. For Dohnányi, the symmetric structures are not a way out of traditional tonality (unlike for Bartók, who also frequently used symmetries), but rather are a way of extending it. The formal concept is no less interesting. The recapitulation of the first movement's material within the third is evocative of the double-function form used by Franz Liszt. While Liszt conflated the traditional multi-movement form into a new one-movement form, Dohnányi – so to speak – concealed the characteristics of the new one-movement form inside a traditional three-movement form. Thus, one could ask if the accusations against Dohnányi for being a traditionalist are justified. Perhaps instead we should reconsider how traditionalism and modernity are situated in our own set of aesthetic values.

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.

scholarly journals Hölderlin kot spomenik umetnosti 19. in 20. stoletja

2011 ◽  
Vol 47 (1) ◽  
pp. 31-38
Author(s):  
Helmut Loos
Keyword(s):  
Ludwig Van Beethoven ◽  
Robert Schumann

Naj Hölderlinovemu pesništvu pripisujemo še tako tehtne glasbene kvalitete, kljub temu ni bil preferenčen pesnik romantičnega samospeva. Že njegovi sodobni skladatelji, kot npr. Ludwig van Beethoven, ga niso upoštevali. Izjemo predstavlja Robert Schumann, ki ga je Hölderlin že v njegovi mladosti popolnoma očaral.

Music and Mathematics— Creating the Sublime

2019 ◽  
pp. 191-260
Author(s):  
Tom McLeish
Keyword(s):  
String Quartet ◽  
Liberal Arts ◽  
Detailed Examination ◽  
Robert Schumann ◽  
Music Notation ◽  
Fluctuation Dissipation ◽  
The World ◽  
Music And Mathematics ◽  
And Mathematics

The third mode of imagination is the abstract—the world shared by mathematics and music. Once held together in the ‘quadrivum’ of medieval liberal arts, they have now lost their obvious connection. This chapter explores their deeper commonalities, starting with Andrew Wiles’ proof of Fermat’s last theorem, and Shostakovich’s eighth string quartet, the shared role of number in rhythm, volume, and pitch leads to a deeper world of multi-layered structure and the unconscious imagination. The writing of, and writing about music of Robert Schumann, including a detailed examination of his Konzertstück for four horns and orchestra, is contrasted with writing about mathematical creativity by Hadamard. The collision of beauty, structure, and universality is illustrated by a close encounter with the Fluctuation–Dissipation Theorem. In both cases of mathematics and music, notation is explicitly displayed in an exploration of how it serves as an extension to imaginative thought.

City of Sound

2017 ◽  
Author(s):  
Sally McKee
Keyword(s):  
African American ◽  
New Orleans ◽  
Art Song ◽  
Franz Schubert ◽  
Robert Schumann ◽  
Hector Berlioz ◽  
Foot Tapping ◽  
Charles Gounod

This chapter chronicles a time when Dede worked as a cigar roller in the day time while he dedicated himself to his avocation at night. In this period between his return to New Orleans in late 1851 and his departure for Europe, he published a song, “Mon pauvre coeur” (“My poor heart”). It was a melodie, a form of art song most closely associated with Hector Berlioz and Charles Gounod and similar to the German lieder of Robert Schumann and Franz Schubert. The printed song makes it among the oldest, if not the oldest, published music by an African American. We can conclude from the song that Dede was composing stately melodies for a white and black audience at a time when most music lovers were responding to more lively, foot-tapping kinds of songs.

scholarly journals Kirchenferne "Operngesänge" - "wahrer Oratorienstyl" - "unermeßlicher Inhalt" : Schütz-Bilder im 19. Jahrhundert und ihre Vermittler

2017 ◽  
Vol 27 ◽  
pp. 7-23
Author(s):  
Walter Werbeck
Keyword(s):  
Ludwig Van Beethoven ◽  
Johann Sebastian Bach ◽  
Franz Liszt ◽  
Richard Wagner ◽  
A Cappella

Das Heinrich-Schütz-Bild des 19. Jahrhunderts, geprägt durch Carl von Winterfeld, war im Wesentlichen das eines Komponisten, der die Grundlagen des Oratoriums gelegt hatte. Noch Philipp Spitta war am Jahrhundertende der Meinung, Johann Sebastian Bach wie Georg Friedrich Händel hätten ihre oratorischen Werke sozusagen auf schützischer Grundlage geschrieben. Auch wenn gelegentlich Schütz'sche Motetten als Beispiele für die alte A-cappella-Kirchenmusik erklangen: Als Hauptwerke des Meisters galten seine Passionen sowie die Vertonung der Sieben Worte. Popularisiert wurden die Stücke in einer Bearbeitung durch Carl Riedel, der sie dem Zeitgeschmack kommensurabel zu machen suchte. Weil aber Riedel zugleich langjähriger Vorsitzender des durch Franz Liszt gegründeten Allgemeinen Deutschen Musik-Vereins war, erweiterte sich das Schütz-Bild um einige neudeutsche Farben: Man spannte Schütz nun ebenso mit Ludwig van Beethoven wie mit Richard Wagner zusammen. So problematisch und verzerrt dieses Bild war, so hat es doch die Beschäftigung mit Schütz erstmals auf eine breitere Basis gestellt. Die erste Gesamtausgabe durch Spitta wäre ohne Riedel wohl nicht möglich geworden. (Autor) Quelle: Bibliographie des Musikschrifttums online

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