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haydn-symphonies

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Journal Articles
The Journal of Musicology. 2012; 293292–322 doi: https://doi.org/10.1525/jm.2012.29.3.292
Published: 01 August 2012
.... This article demonstrates that the moment of transition can play an active role in generating relationships among formal sections of a work. This is particularly apparent in a number of Haydn's symphonies, where the music at the end of a slow introduction seems to “generate” the opening of the fast...
Journal Articles
The Journal of Musicology. 2010; 27184–134 doi: https://doi.org/10.1525/jm.2010.27.1.84
Published: 01 January 2010
... volatile but is rather characterized by unusual gestures or oddly timed events. These produce an expressive ambivalence that is in fact one of the strongest attributes of Haydn's art. This is explored with reference to the slow movements of Symphonies nos. 42, 52, 55, 64, and 67. ©© 2010 by the Virginia...
Journal Articles
The Journal of Musicology. 2003; 202157–195 doi: https://doi.org/10.1525/jm.2003.20.2.157
Published: 01 April 2003
... consideration of myriad factors, including Mozart's exposure to the music of J. S. and C. P. E. Bach, Joseph Haydn, Michael Haydn, Carlo d'Ordonez, Antonio Salieri, and others; his knowledge of Killian Rheinhardt's Rubriche Generali; his exposure to the Viennese C major trumpet-symphony tradition; and the...
Journal Articles
The Journal of Musicology. 2009; 263379–403 doi: https://doi.org/10.1525/jm.2009.26.3.379
Published: 01 July 2009
... Joachim s advocacy of the title as indicating concern for Brahms s mixing of genres and for the critical censure that this might provoke. Joachim s remark in any case, symphony is proclaimed by the piece may refer to the allusion to Haydn s Symphony No. 104 at the beginning of the piece and the fact...
Journal Articles
Journal of Musicology. 2020; 372123–157 doi: https://doi.org/10.1525/jm.2020.37.2.123
Published: 11 May 2020
..., Oyez! Fresh Thoughts about the Cries of London Repertory, in Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Linda Phyllis Austern, Candace Bailey, and Amanda Eubanks Winkler (Bloomington: Indiana University Press, 2017), 67 78. 24 Nicholas Mathew, Interesting Haydn: On...
Journal Articles
The Journal of Musicology. 2020; 37163–93 doi: https://doi.org/10.1525/jm.2020.37.1.63
Published: 01 January 2020
..., James H. Johnson, Listening in Paris: A Cultural History (Berkeley: University of California Press, 1995); and William Weber, The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (Cambridge: Cambridge University Press, 2008). 3 Mary Hunter, To Play as if from the Soul of...
Journal Articles
The Journal of Musicology. 2019; 36168–95 doi: https://doi.org/10.1525/jm.2019.36.1.68
Published: 01 January 2019
... a subject might generate. The Genesis of Harold en Italie Four years after writing Symphonie Fantastique, Berlioz was approached by the elderly and ailing Niccolo` Paganini, who asked him to compose 25 Melanie Lowe, Falling from Grace: Irony and Expressive Enrichment in Haydn s Symphonic Minuets...
Journal Articles
The Journal of Musicology. 2019; 36196–129 doi: https://doi.org/10.1525/jm.2019.36.1.96
Published: 01 January 2019
... a mini-jamboree of them (he parodies Beethoven, Haydn, and himself). Economy of means also sets the two composers apart. Much of the ten- sion in Ustvolskaya s score arises from a persistent rhythmic motive involving a dotted-thirty-second note tripping up or down onto an eighth. Her pitch selection...
Journal Articles
The Journal of Musicology. 2019; 36139–67 doi: https://doi.org/10.1525/jm.2019.36.1.39
Published: 01 January 2019
... discourse about music s value and the music of the past that we find valuable today. It is all too easy to take the ideas of Kant, or for that matter a critic such as E. T. A. Hoffmann, as an explanation for or vindication of the instru- mental music of Haydn, Mozart, and Beethoven. Even at the apex of a...
Journal Articles
The Journal of Musicology. 2018; 353336–367 doi: https://doi.org/10.1525/jm.2018.35.3.336
Published: 01 July 2018
... have been labelled variously socialist realist, conformist, conservative, or even dissident, depending on the taste and opinion of those passing judgement. This article argues that picking and choosing which symphony is socialist realist and which is not cannot be justified either logically or...
Journal Articles
The Journal of Musicology. 2018; 354498–534 doi: https://doi.org/10.1525/jm.2018.35.4.498
Published: 01 October 2018
Journal Articles
The Journal of Musicology. 2018; 352223–266 doi: https://doi.org/10.1525/jm.2018.35.2.223
Published: 01 April 2018
... are we healed from Handel s Messiah and the A-minor fugue from book 2 of The Well-Tempered Clavier. A strikingly similar subject appears in the fugal finale of Joseph Haydn s String Quar- tet in F Minor, op. 20/5, the first movement of Carlos Ordonez s String Quartet in C Major, op. 1/3, and the...
Journal Articles
The Journal of Musicology. 2018; 351104–143 doi: https://doi.org/10.1525/jm.2018.35.1.104
Published: 01 January 2018
... style history would be considered passe´ by the vast majority of musicologists today. In the field of Haydn studies James Webster s 1991 monograph on the Farewell Symphony has done much to debunk received wisdom about the composer s stylistic development.31 In this article, I do not intend to...
Journal Articles
The Journal of Musicology. 2018; 35142–75 doi: https://doi.org/10.1525/jm.2018.35.1.42
Published: 01 January 2018
... the Berlin Philharmonic in a concert of Haydn, Mozart, and Beethoven on 21 October 1887, Theodor Krause made the connection to theology even more explicit. The philological meticulous- ness with which Bu¨low parsed out the orchestral ideas in a Beethoven symphony, he wrote, directly recalled...
Journal Articles
The Journal of Musicology. 2017; 344515–558 doi: https://doi.org/10.1525/jm.2017.34.4.515
Published: 01 October 2017
... . . . in the wrong place 7) of the first movement of Haydn s Farewell Symphony. This modal/tonal tactic, however, does more than create certain expressive effects. In delaying the advent of the right mode/key, a com- position calls a listener s attention to that mode/key more emphatically than...
Journal Articles
The Journal of Musicology. 2017; 344473–514 doi: https://doi.org/10.1525/jm.2017.34.4.473
Published: 01 October 2017
... orchestra performed symphonies and over- tures, especially of Mozart and Haydn, with a fire, a precision, a care such that even the strictest critic could hardly find anything wanting Two of Beethoven s symphonies were also performed masterfully9 The Paris Conservatoire s contributions to the...
Journal Articles
The Journal of Musicology. 2017; 343391–431 doi: https://doi.org/10.1525/jm.2017.34.3.391
Published: 01 July 2017
... September 1919 is a rare example of a devoted Schenker disciple standing up to the master. Over the course of six crammed pages of text Dahms lambasted the corruptness of the German officer class and mocked their cultural vacuousness: t]hese wretched people, who never even heard a single Beethoven symphony...
Journal Articles
The Journal of Musicology. 2016; 334433–482 doi: https://doi.org/10.1525/jm.2016.33.4.433
Published: 01 October 2016
... Symphony and Christian Friedrich Michaelis s 1805 essay, which applies Kantian categories to symphonies by Haydn, Mozart, and Beethoven.5 Beyond the orchestral realm, Franz Liszt enjoyed a reputation as a sublime virtuoso. Documents of his reception read like a compendium of sublime imagery: reviewers...
Journal Articles
The Journal of Musicology. 2016; 334483–521 doi: https://doi.org/10.1525/jm.2016.33.4.483
Published: 01 October 2016
... shift that raised to piercing levels of intensity the centripetal sense of drama Haydn and Mozart had brought to instrumental music.4 Opening new horizons for the motivic techniques and instrumental forms of the classical style, Beethoven crafted the compositional matrix that yielded a year later the...
Journal Articles
The Journal of Musicology. 2016; 333401–431 doi: https://doi.org/10.1525/jm.2016.33.3.401
Published: 01 July 2016
... yevich Silant yev (1919 83), whose name may not be familiar to musicians or music lovers in the West, but who was a very big name in those days as the leader of the Variety-Symphony Orchestra of Central Television and All-Union Radio, to give it its official name as listed in the program (Estradno...