Search Results for ludwig-van-beethoven
1-20 of 59 Search Results for
Journal of Musicology. 2020; 372158–196 doi: https://doi.org/10.1525/jm.2020.37.2.158
Published: 11 May 2020
... Pierrot lunaire in 1912. The chamber works that had riled some critics in the fall of 1918 were Schoenberg s First Quartet, op. 7 and Scherchen s own String Quartet, op. 1. Scherchen s two orchestral concerts in the fall of 1918 included works by Mozart, Beethoven, and Bruckner alongside works by living...
The Journal of Musicology. 2019; 362228–260 doi: https://doi.org/10.1525/jm.2019.36.2.228
Published: 01 April 2019
The Journal of Musicology. 2018; 354498–534 doi: https://doi.org/10.1525/jm.2018.35.4.498
Published: 01 October 2018
... Fidelio . © 2014 by The Regents of the University of California 2018 Ludwig van Beethoven censorship Fidelio opéra-comique opera adaptations Vienna Frey nach dem Franzo¨sischen bearbeitet: Fidelio and the Viennese Vogue for Ope´ra-comique, 1802 1805 MICHAEL C. TUSA The importance of...
The Journal of Musicology. 2018; 352223–266 doi: https://doi.org/10.1525/jm.2018.35.2.223
Published: 01 April 2018
..., including the relative probability of coincidence. A particularly illuminating case is the famous resemblance between the opening themes of Mozart’s Bastien und Bastienne and Beethoven’s Eroica Symphony, discussed by hundreds of writers for more than 150 years. Bringing together all the types of evidence...
The Journal of Musicology. 2018; 35142–75 doi: https://doi.org/10.1525/jm.2018.35.1.42
Published: 01 January 2018
... of California 2018 Hans von Bülow Ludwig van Beethoven Kunstreligion performance practice German nationalism cultural Protestantism Hans von Bu¨low and the Confessionalization of Kunstreligion KAREN LEISTRA-JONES I believe in Bach the Father, Beethoven the Son, and in Brahms the...
The Journal of Musicology. 2018; 3511–41 doi: https://doi.org/10.1525/jm.2018.35.1.1
Published: 01 January 2018
... tenure as the emperor s representatives in Regensburg, many celebrated musicians, including Christoph Willibald Gluck, Carl Ditters, Vincenzo Righini, Wolfgang Amadeus Mozart, Joseph Haydn, Antonio Salieri, and Ludwig van Beethoven, sojourned in the city and had occasion to expe- rience its political and...
The Journal of Musicology. 2017; 344515–558 doi: https://doi.org/10.1525/jm.2017.34.4.515
Published: 01 October 2017
... of synthesis, as a result rather than precondition of musical discourse.30 26 Carl Dahlhaus, Ludwig van Beethoven: Approaches to his Music , trans. Mary Whittall (Oxford: Clarendon Press, 1991), 115. See Michael Spitzer s dialectical interpre- tation of this passage in Music as Philosophy...
The Journal of Musicology. 2017; 342241–280 doi: https://doi.org/10.1525/jm.2017.34.02.241
Published: 01 April 2017
..., for instance, was enthralled by his Liszt performances, but questioned his interpretations of Beethoven and Chopin: When [Busoni] played the famous Campanella, it became a breathtaking experience, although his Beethoven and Chopin, I must admit, left me entirely cold. To my amazement, he would...
The Journal of Musicology. 2016; 334483–521 doi: https://doi.org/10.1525/jm.2016.33.4.483
Published: 01 October 2016
... Solomon, Beethoven, second rev. ed. (New York: Schirmer, 1998), 151. 3 Beethoven crafted the testament s draft meticulously, making corrections and ad- ditions over an extended period while in Heiligenstadt. The autograph is dated 6 and 10 October 1802. Ludwig van Beethoven, Briefwechsel: Gesamtausgabe, 7...
The Journal of Musicology. 2017; 34171–114 doi: https://doi.org/10.1525/jm.2017.34.01.71
Published: 01 January 2017
...Chantal Frankenbach Early in 1904 the American modern dancer Isadora Duncan, already notorious for her barefoot “Greek dancing” to concert music not intended for the stage, created a scandal in Germany by presenting a program of dances to Beethoven’s Seventh Symphony. Critics and composers...
The Journal of Musicology. 2014; 313299–325 doi: https://doi.org/10.1525/jm.2014.31.3.299
Published: 01 July 2014
... commentator on the composer’s own usage of this sign as a representation of freedom and progress. © 2014 by The Regents of the University of California 2014 absolute music Ludwig van Beethoven Choral Fantasy Op. 80 freedom Georg Wilhelm Friedrich Hegel Immanuel Kant Beethoven Going Blank...
Journal of Musicology. 2015; 322279–322 doi: https://doi.org/10.1525/jm.2015.32.2.279
Published: 01 April 2015
... Musical Courier, provided a larger and more detailed body of information about recent music, as did periodicals not geared exclusively to music, including Van- ity Fair, The Dial, and The Nation.16 The approach of each of these three types of publications was different. Although newspapers were in the...
The Journal of Musicology. 2014; 31143–90 doi: https://doi.org/10.1525/jm.2014.31.1.43
Published: 01 January 2014
... zu schreiben, wenn ichs so ho¨ren soll Letter from Beethoven to Friedrich Sebastian Mayer, 10 April 1806, in Ludwig van Beethoven, Briefwechsel. Gesamtausgabe, ed. Sieghard Brandenburg (Munich: Henle, 1996), 1:282 (no. 248). 11 See Kenneth Hamilton, After the Golden Age. Romantic Pianism and Modern...
The Journal of Musicology. 2013; 303287–329 doi: https://doi.org/10.1525/jm.2013.30.3.287
Published: 01 July 2013
... of destabilized gambits in Beethoven, see Ryan McClelland, Brahms and the Principle of Destabilised Beginnings Music Analysis 28, no. 1 (2009): 4 7. 5 Carl Dahlhaus, Ludwig Van Beethoven: Approaches to his Music, trans. Mary Whittall (Oxford: Clarendon Press, 1991), 170 71. For an extended...
The Journal of Musicology. 2013; 303330–368 doi: https://doi.org/10.1525/jm.2013.30.3.330
Published: 01 July 2013
...John Paul Ito This paper, taking its cue from the movement’s heading, reads the “Heiliger Dankgesang” from Beethoven’s String Quartet, op. 132, in terms of spirituality, divinity, and death, following a formal narrative understood in terms of Eastern-influenced conceptions of death and afterlife...
The Journal of Musicology. 2013; 303369–423 doi: https://doi.org/10.1525/jm.2013.30.3.369
Published: 01 July 2013
... celebrate—Schumann’s idiosyncratic approach to sonata form. They also demonstrate that Schumann’s earlier experimental tendencies did not contradict his efforts in the early 1840s to further advance his inherited classical past. © 2013 by The Regents of the University of California 2013 Beethoven...
The Journal of Musicology. 2013; 302252–286 doi: https://doi.org/10.1525/jm.2013.30.2.252
Published: 01 April 2013
...) opens with three quota- tions, each labeled in the published score: one excerpt each from Orlando di Lasso and Ludwig van Beethoven works, as well as Shostakovich s D S C H monogram. As Hartmut Schick has shown, monograms for Lasso (A D D A S As) and Beethoven (D G A B E H) also appear on the first page...
The Journal of Musicology. 2012; 29144–84 doi: https://doi.org/10.1525/jm.2012.29.1.44
Published: 01 January 2012
... of op. 19. The essay concludes with some thoughts on the implications of the solo-tutti relationship in op. 19 for the ways that the young Beethoven positioned himself within Viennese society and its musical heritage. © 2012 by the Regents of the University of California 2012 Ludwig van...
The Journal of Musicology. 2010; 273265–303 doi: https://doi.org/10.1525/jm.2010.27.3.265
Published: 01 July 2010
..., November 2009; and at Oxford University, Univer- sity of Nottingham, and King s College, London, February 2010. I am grateful to William Caplin, Tim Carter, Gerhard Dohrn-van Rossum, Annegret Fauser, Thomas McAuley, Michael Morse, and Elaine Sisman for their comments and suggestions in conversa- tions...
The Journal of Musicology. 2010; 27184–134 doi: https://doi.org/10.1525/jm.2010.27.1.84
Published: 01 January 2010
... expectation was shared by listeners of Haydn's day. However, Haydn's own slow movements do not always seem to fit this bill. In his critique of 1776, Carl ludwig Junker specifically named the composer's Adagios in connection with what he termed Haydn's "eccentricity" and "whimsy" ( Laune ). That the...