Search Results for battle-prague
1-20 of 23 Search Results for
19th-Century Music. 2016; 4017–19 doi: https://doi.org/10.1525/ncm.2016.40.1.7
Published: 01 July 2016
... their outcome in victory. These pieces constituted a genre that had long been a favorite of female amateur performers, their lineage beginning with Frantisek Kotzwara's 1788 Battle of Prague , which remained steadily popular throughout the nineteenth century. This article examines Civil War battle...
19th-Century Music. 2020; 433143–169 doi: https://doi.org/10.1525/ncm.2020.43.3.143
Published: 01 March 2020
... Hüttenbrenner that recounted Beethoven's death as a heroic battle with the storm clouds. Two conflicting physiognomies—the stubborn Napoleonic commander and the suffering Christ-like redeemer—led to a critical divide that saw late works as either transcendent of, or marred by, suffering. When we unmask a...
19th-Century Music. 2019; 43117–37 doi: https://doi.org/10.1525/ncm.2019.43.1.17
Published: 01 July 2019
... für gebildete Stände, 31 May 1831 (Prague). ellen Creathorne Clayton, Angelica Catalani, in Queens of Song: Being Memoirs of Some of the Most Celebrated Female Vocalists Who Have Appeared on the Lyric Stage, from the Earliest Days of Opera to the Present Time (London: Smith, elder and Company, 1863...
19th-Century Music. 2016; 402159–181 doi: https://doi.org/10.1525/ncm.2016.40.2.159
Published: 01 November 2016
... precipi- tated by battles over the language rights of Czechs in Bohemia; these battles were still in full swing during the Vienna and Prague pre- mieres of Písen bohaty´rská. Dvor ák s piece and its reception thus relate to a number of larger issues at play in the European musical world at the fin de...
19th-Century Music. 2014; 382145–168 doi: https://doi.org/10.1525/ncm.2014.38.2.145
Published: 01 November 2014
... Forbes (Princeton: Princeton University Press, 1967), 388 89. 4Sonneck, Beethoven: Impressions by His Contemporar- ies, 63. 147 ROBERT D. PEARSON Harmony of Hearts tion of what Röckel, in his 1861 letter to Thayer called an impending battle, suggests they sensed Beethoven was not accustomed to ced- ing...
19th-Century Music. 2013; 37291–112 doi: https://doi.org/10.1525/ncm.2013.37.2.91
Published: 01 November 2013
... ehrad and Mythologies of Czechness in Scholarship 1Smetana recorded this start date in a diary entry on 18 November 1874. Bedr ich Smetana: Letters and Reminis- cences, ed. Frantis ek Bartos , trans. Daphne Rusbridge (Prague: Artia, 1955), 151. A note on translations: in addi- tion to Bartos , I quote...
19th-Century Music. 2008; 32152–93 doi: https://doi.org/10.1525/ncm.2008.32.1.052
Published: 01 July 2008
... manuscript hitherto unconnected to the Dante Sonata, shows a sketch of the Sonata s characteristic major- chord progression written in the Stammbuch of a female admirer in Prague, suggesting that Liszt may have performed it there and, on re- quest, copied this music after the fact.20 Curi- ously, the...
19th-Century Music. 2006; 301004–043 doi: https://doi.org/10.1525/ncm.2006.30.1.004
Published: 01 July 2006
... verdict spoken over him: The A-minor episode [m. 293, Reh. No. 20] is his graduation [exam] in front of the pedantic [philiströsen] Professors in Prague, I think where Till arouses a downright Babylonian confusion of languages (the so-called fugato) with his monstrous propositions [monströsen Thesen...
19th-Century Music. 2004; 282089–107 doi: https://doi.org/10.1525/ncm.2004.28.2.089
Published: 01 November 2004
... performers of instrumental genres appropriated band music in their works and performances indeed it was a strategic, even an obvious, choice. Symphonies of Haydn and Beethoven, the renditions of battles or marches by pianists from Steibelt to Liszt, Romberg s Cello Concerto, op. 31, the E Clarinet Con...
19th-Century Music. 2003; 2713–24 doi: https://doi.org/10.1525/ncm.2003.27.1.3
Published: 01 July 2003
... composer s integrity. Martin Cooper s claim that Beethoven consciously condescended in the Battle of Vittoria and Der glorreiche Augenblick 9 opens up the possibil- ity that the composer was adapting his art to a sincerely perceived social and political func- tion. This line of argument (as far as it goes...
19th-Century Music. 2001; 252-3165–189 doi: https://doi.org/10.1525/ncm.2001.25.2-3.165
Published: 01 November 2001
... as her control over the part of Zerlina. During the years that Pauline Viardot was singing Zerlina and Donna Anna on stages from London to Prague, the autograph of Don Giovanni was simultaneously criss-crossing Europe. The manuscript had been sold by Constanze Mozart to Johann Anton André in 1800, at...
19th-Century Music. 1998; 2213–19 doi: https://doi.org/10.2307/746789
Published: 01 July 1998
19th-Century Music. 1994; 182152–167 doi: https://doi.org/10.2307/746358
Published: 01 October 1994
.... Leaving the sexual metaphor-the enchantment and the em- brace-for later discussion, I shall turn first to the pervading imagery of the family. Bloom's reference to incest is programmati- cally Oedipal. "Battle between strong equals, father and son as mighty opposites, Laius and Oedipus at the crossroads...
19th-Century Music. 1994; 173285–293 doi: https://doi.org/10.2307/746571
Published: 01 April 1994
... during this period might also have con- tributed to the professionalization of musical life for women, Hoffmann suggests that this was not so. At first girls were admitted to these institutions only to study voice, although at both the Prague and Vienna conservatories girls studying voice could study...
19th-Century Music. 1993; 17165–78 doi: https://doi.org/10.2307/746781
Published: 01 July 1993
... English- women ended their education with the 'Battle of Prague 20Smiles, Self-Help, pp. 168-209 (pp. 205-09 deal specifi- cally with musicians). 210ne brief discussion of Schubert nonetheless attempts this strategy, appealing to the sheer quantity of Schubert's youthful compositions: in Smiles, Life and...
19th-Century Music. 1992; 16135–48 doi: https://doi.org/10.2307/746618
Published: 01 July 1992
... Stagebill 10 Antonín Sychra, in his Antonin Dvořák: Zur Aesthetik seines sinfonischen Schaffens (Leipzig, 1973) Sychra Antonin Dvořák: Zur Aesthetik seines sinfonischen Schaffens 1973 Prague as Estetika Dvořákovy symfonické tvorby (The Aesthetic of Dvořák's Symphonic Works) Prague...
19th-Century Music. 1991; 1513–22 doi: https://doi.org/10.2307/746295
Published: 01 July 1991
... Eichendorff's "Lied," the sweetheart has vanished from the mill, and the sound of the turning mill-wheels still haunts the poetic persona. To escape the sound, he would ride out into the wide world as a minstrel or go into battle; if only he were dead, the mill-wheels would at last be still. See also Justinus...
19th-Century Music. 1991; 143221–246 doi: https://doi.org/10.2307/746536
Published: 01 April 1991
... because they are usually at- tached only by explicit partisans in the heat of battle. One may suppose that Dahlhaus would have insisted that his project was above poli- tics, equally open to the best ideas of the left, center, or right. It is also likely that he would have objected to any collapse of his...
19th-Century Music. 1985; 92136–144 doi: https://doi.org/10.2307/746579
Published: 01 October 1985
..., Zdenek Fibich (Prague, 1963), p. 22. Allegro molto vivace 6 chvt- le ra- dost- nri chvt- le mi- lo- sti 0 joyous moment, moment of grace. Example 1 137 19TH CENTURY MUSIC Act I opens with an old and exhausted fugi- tive from the battle being succored by Helena, to whom he gives a ring before dying in the...
19th-Century Music. 1985; 83226–230 doi: https://doi.org/10.2307/746513
Published: 01 April 1985
... triomphale d'Isly, after the battle where the French de- feated the Moroccan army at the Isly River. He performed it in Paris several times-though without the same wild response accorded the Marche marocaine-before leaving in late April for London.9 In late October 1845 Berlioz embarked on a con- cert tour...