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Journal Articles
19th-Century Music. 2000; 233191–217 doi: https://doi.org/10.2307/746878
Published: 01 April 2000
...Matthew Head Copyright 2000 The Regents of the University of California [Footnotes] 1 László Somfai, Joseph Haydn: His Life in Contemporary Pictures Somfai Joseph Haydn: His Life in Contemporary Pictures Mari Kuttna and Károly Ravasz (London, 1969), p. 141 Johann Friedrich...
Journal Articles
19th-Century Music. 2010; 3413–38 doi: https://doi.org/10.1525/ncm.2010.34.1.003
Published: 01 July 2010
...Emily I. Dolan Crucial to the spectacular effects of Joseph Haydn's Creation (1798) are his precise manipulations of his orchestra. From the brilliant moment of light to the colorful depictions of animals, these moments depended upon the new status of the orchestra in the late eighteenth century...
Journal Articles
19th-Century Music. 2008; 313179–192 doi: https://doi.org/10.1525/ncm.2008.31.3.179
Published: 01 March 2008
...Paul Christiansen In an article on Orientalism and musical style, Derek B. Scott posits a near-exhaustive list of musical characteristics that act as Orientalist signifiers. Measures 85––88 in the development section of the first movement of Haydn's ““Fifths”” Quartet contain eight of them...
Journal Articles
19th-Century Music. 2001; 252-3108–126 doi: https://doi.org/10.1525/ncm.2001.25.2-3.108
Published: 01 November 2001
... Haydn's sublime, in the Kantian sense. 3. A brief account of the crucial role of the 1790s in these developments, focusing on the complementary achievements of Haydn and Beethoven. For Beethoven, Haydn's and Mozart's music was, precisely, modern. Together, he and Haydn dominated the Viennese scene...
Journal Articles
19th-Century Music. 2009; 332110–150 doi: https://doi.org/10.1525/ncm.2009.33.2.110
Published: 01 November 2009
... background of the popularity and ubiquity of the ““Handelian sublime”” in early-nineteenth-century Viennese public life——that is, the aesthetics and social practice of grand choral singing, associated primarily with some of Handel's oratorios, but also with the late choral works of Haydn. Presenting new...
Journal Articles
19th-Century Music. 1992; 1613–17 doi: https://doi.org/10.2307/746616
Published: 01 July 1992
... Reading: Figural Language in Rousseau, Nietzsche, Rilke and Proust (New Haven, 1979), pp. 3-19. de Man Semiology and Rhetoric 3 Allegories of Reading: Figural Language in Rousseau, Nietzsche, Rilke and Proust 1979 12 "Music and Representation: The Instance of Haydn's Cre- ation" in Music and...
Journal Articles
19th-Century Music. 2020; 433143–169 doi: https://doi.org/10.1525/ncm.2020.43.3.143
Published: 01 March 2020
..., Haydn, Weber, Schubert, Chopin, Liszt, Mendelssohn, Wagner, Tchaikovsky, Bruckner, Mahler, Reger, Wolf, Schoenberg, and Berg. A mask of Mozart has been long dis- missed as inauthentic, but its dissemination despite evidence of forgery affirms how strongly these objects were valued.18 Plate 1: Lionello...
Journal Articles
19th-Century Music. 2019; 43267–85 doi: https://doi.org/10.1525/ncm.2019.43.2.67
Published: 01 November 2019
... to take Haydn s practice even further in order to underline the extent of themaniático s obsession. As ex. 6 shows, the final Allegro spiritoso seems to mark a decisive break that evidently corresponds to the next phase of Brunetti s pro- gram: The maniático for some time clings to his original...
Journal Articles
19th-Century Music. 2018; 42153–70 doi: https://doi.org/10.1525/ncm.2018.42.1.53
Published: 01 July 2018
... nineteenth-century theories of art and subjectivity. See Nietzsche and the Fate of Romantic Thought, 275 311. 9David Trippett, Wagner s Melodies: Aesthetics and Mate- rialism in German Musical Identity (Cambridge: Cam- bridge University Press, 2013); Emily Dolan, The Orches- tral Revolution: Haydn and the...
Journal Articles
19th-Century Music. 2018; 413183–205 doi: https://doi.org/10.1525/ncm.2018.41.3.183
Published: 01 March 2018
...- ducting scores.12 At the same time, however, 6Lydia Goehr, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, rev. edn. (New York: Oxford University Press, 2007). 7William Weber, The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (New York...
Journal Articles
19th-Century Music. 2018; 413206–224 doi: https://doi.org/10.1525/ncm.2018.41.3.206
Published: 01 March 2018
... tendency toward establishing an Austro-German musical hegemony.14 The 1850s 9For a broader consideration, see especially William We- ber, The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (New York: Cam- bridge University Press, 2008). 10It is beyond the scope of this...
Journal Articles
19th-Century Music. 2017; 41295–120 doi: https://doi.org/10.1525/ncm.2017.41.2.95
Published: 01 November 2017
... sublime were no longer rhetorical, but precisely Kantian. James Webster, The Creation, Haydn s Late Vocal Music, and the Musical Sublime, in Haydn and His World, ed. Elaine Sisman (Princeton: Princeton University Press, 1997), 64 66. 50Mark Evan Bonds, The Symphony as Pindaric Ode, in Haydn and His...
Journal Articles
19th-Century Music. 2017; 412121–150 doi: https://doi.org/10.1525/ncm.2017.41.2.121
Published: 01 November 2017
Journal Articles
19th-Century Music. 2017; 41148–74 doi: https://doi.org/10.1525/ncm.2017.41.1.48
Published: 01 July 2017
Journal Articles
19th-Century Music. 2017; 41131–47 doi: https://doi.org/10.1525/ncm.2017.41.1.31
Published: 01 July 2017
... orchestral music in Spain where one had not existed be- fore; symphonic music did not begin to make significant inroads to the Iberian Peninsula un- til the formation of the Sociedad. Therefore, the bulk of their repertoire consisted of music from the late eighteenth and early nineteenth centuries Haydn...
Journal Articles
19th-Century Music. 2017; 4113–30 doi: https://doi.org/10.1525/ncm.2017.41.1.3
Published: 01 July 2017
... 1900) was the Secretary of the Conservatoire Royal de Musique in Brussels and a devotee of Wagner. He was also a playwright and translator who had collaborated with Gravrand on the Brussels transla- tion of Verdi s Nabucco in 1848, and translated arias by Bach, Handel, and Haydn into French in addition...
Journal Articles
19th-Century Music. 2016; 402131–158 doi: https://doi.org/10.1525/ncm.2016.40.2.131
Published: 01 November 2016
..., Cambridge Op- era Journal 2/2 (1990): 197 218, and Haydn s Farewell Symphony and the Idea of Classical Style: Through-Com- position and Cyclic Integration in His Instrumental Mu- sic (Cambridge: Cambridge University Press, 1991), 3 5; and Allan W. Atlas, Multivalence, Ambiguity and Non- Ambiguity...
Journal Articles
19th-Century Music. 2016; 402159–181 doi: https://doi.org/10.1525/ncm.2016.40.2.159
Published: 01 November 2016
Journal Articles
19th-Century Music. 2016; 40120–46 doi: https://doi.org/10.1525/ncm.2016.40.1.20
Published: 01 July 2016
Journal Articles
19th-Century Music. 2001; 252-391–107 doi: https://doi.org/10.1525/ncm.2001.25.2-3.91
Published: 01 November 2001
.... Accordingly, this article examines Mozart's compositional practices to delineate the various modes of musical play he used and their significance. These considerations also apply to Haydn, although his characteristic wit may be more fine-grained than Mozart's play-impulse. Plato considered play as fundamental...