1-20 of 26 Search Results for


Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Journal Articles
19th-Century Music (2007) 31 (2): 164–174.
Published: 01 November 2007
...Stååle Wikshååland Perhaps more than any other opera by Strauss, Elektra is a drama about the sense of hearing. It belongs to the phantasmagoric realm of listening, and it affirms, like few other operas, the power of music alone to fire up the listener's imagination. In this sense, it renders the...
Journal Articles
19th-Century Music (2016) 39 (3): 272–289.
Published: 01 March 2016
... case). Their reflections on the role of dance in operatic and theatrical spectacle find their expression in Elektra 's final dance, which turns on its head the mysterious persuasiveness that Wagner had feared in dance and that Wedekind and Strauss had used to such effect in Salomé : a dance so...
Journal Articles
19th-Century Music (2017) 40 (3): 283–300.
Published: 01 March 2017
... created the leading soprano roles in Strauss s Arabella (1933, Dresden), Friedenstag (1938, Munich), and Capriccio (1942, Munich) and sang the title role in the public dress rehearsal of Die Liebe der Danae (1944, Salzburg). She also appeared in Elektra, Der Rosenkavalier, Die Frau ohne Schatten, Ariadne...
Journal Articles
19th-Century Music (2015) 39 (1): 3–34.
Published: 01 July 2015
Journal Articles
19th-Century Music (2015) 38 (3): 272–301.
Published: 01 March 2015
..., review of the Cambridge Opera Handbooks on Arabella, Salome and Elektra, Times Literary Supplement (15 20 June 1990): 642. 7I discuss both of these in more detail in chapter 8 of my thesis: Marc Brooks, Precision and Soul: The Relationship between Science and Religion in the Operas Arabella and Wozzeck...
Journal Articles
19th-Century Music (2012) 36 (2): 122–135.
Published: 01 November 2012
... for the great dramas that followed like Salome and Elektra, see Ed- ward F. Kravitt, The Lied: Mirror of Late Romanticism (New Haven, CT: Yale University Press, 1996), p. 103. Example 1: Richard Strauss, Enoch Arden, mm. 1 3. 44 44...
Journal Articles
19th-Century Music (2008) 31 (3): 267.
Published: 01 March 2008
..., Arman Rough Music: Tosca and Verismo Reconsidered 228 Wikshåland, Ståle Elektra s Oceanic Time: Voice and Identity in Richard Strauss 164 ...
Journal Articles
19th-Century Music (2007) 31 (1): 053–095.
Published: 01 July 2007
Journal Articles
19th-Century Music (2001) 25 (2-3): 296–312.
Published: 01 November 2001
... his pupils, and Strauss through Elektra. One particularly rich vein of this pe- riod that has yet to be fully mined is what might be called historicist modernism, incor- porating music written in the years around 1900 that derives its compositional and aesthetic en- ergy not primarily from an impulse...
Journal Articles
19th-Century Music (1998) 22 (2): 101–126.
Published: 01 October 1998
..., p. 75 75 109 Daverio, "Poetry and Philosophy," pp. 213-14. Daverio 213 Poetry and Philosophy 110 Bryan Gilliam, Richard Strauss's Elektra (Oxford, 1991), p. 74. Gilliam 74 Richard Strauss's Elektra 1991 111 Werbeck, Tondichtungen, p. 142. 142 112 Daverio, "Poetry...
Journal Articles
19th-Century Music (1998) 22 (1): 91–99.
Published: 01 July 1998
... describing Beethoven's development. The same formula for Strauss will perhaps be tempting to those for whom the perverse element in the Salome- Elektra period is the most striking one; but it is safer to say simply: 'music, program music, and music drama8 The cult of Beethoven has taken over. Burnham and...
Journal Articles
19th-Century Music (1995) 18 (3): 277–290.
Published: 01 April 1995
... since Grey's review, then Darcy's study of Das Rheingold and Martha Frohlich's recent mono- graph on Beethoven's "Appassionata" Sonata clearly belong in the former category, while Bryan Gilliam's study of Strauss's Elektra (and Tusa's as well, in my opinion-in contradis- tinction to Grey) occupies a...
Journal Articles
Journal Articles
Journal Articles
19th-Century Music (1992) 16 (1): 100–103.
Published: 01 July 1992
... music at Duke University. His recent publications include Ri- chard Strauss's Elektra, Richard Strauss and His World, and Richard Strauss: New Perspec- tives on the Composer and His Work. He is ed- iting Music and Performance during the Wei- mar Republic for Cambridge University Press. Thomas Grey is an...
Journal Articles
19th-Century Music (1993) 16 (3): 286–302.
Published: 01 April 1993
... the post-Elektra Strauss, they did not forfeit their reputations as mod- ernists. Indeed, its proponents have often touted neoclassicism as the first truly "mod- ern" twentieth-century style, in that its end run around Romanticism signaled a true break with the past rather than mere maximalization of...
Journal Articles
19th-Century Music (1986) 9 (3): 176–188.
Published: 01 April 1986
..., but the idea never got beyond a text draft. Strauss Til Eulenspiegel bei den Schildbürgern Guntram Schuh, pp. 503-08. 503 5 Bekker, p. 262. 262 6 Elektra, Der Rosenkavalier, Ariadne auf Naxos, Arabella, and Daphne Elektra, Der Rosenkavalier, Ariadne auf Naxos, Arabella, and Daphne...
Journal Articles
19th-Century Music (1986) 9 (3): 253–256.
Published: 01 April 1986
... Humanities, Cape Cod Academy, and has founded J. B. Elkus and Son, Overland Music Distributors, a concern dedicated to the dissem- ination of new music. Bryan Gilliam has been appointed to the faculty of music at Duke University. He is at work on a study of Elektra for the Oxford University Press series of...
Journal Articles
19th-Century Music (1986) 9 (3): 189–205.
Published: 01 April 1986
... und Gegenwart, uses the term Rückungstechnik to describe this harmonic procedure 4 Norman M. Dinerstein, Polychordialty in Salome and Elektra: A Study of the Application of Reinterpretation Technique (Ph.D. diss., Princeton University, 1974). 5 Schenker, Harmonielehre, pp. 299-300...
Journal Articles
19th-Century Music (1987) 11 (1): 92–104.
Published: 01 July 1987
... still a burningly topical issue, a problem, the problem of modernism itself-and everything that has followed, including Elektra, seems uninterest- ing by comparison" (p. 41). Indeed, following the path of the young Nietzsche, Mann, in his youth, became almost obsessed with Wagner. He experienced both...