Search Results for heinrich-heine
1-20 of 74 Search Results for
19th-Century Music. 2020; 433170–193 doi: https://doi.org/10.1525/ncm.2020.43.3.170
Published: 01 March 2020
..., learn more than they know about themselves. Romantic precursors of modernist experiments in fiction—incipient cases of narrative unreliability—arise in the works of, among others, Jean Paul Richter and Heinrich Heine, two of Robert Schumann's favorite writers. In his early solo piano cycle, Papillons...
19th-Century Music. 2017; 403283–300 doi: https://doi.org/10.1525/ncm.2017.40.3.283
Published: 01 March 2017
...Laura Tunbridge Strauss's song “Frühlingsfeier,” op. 56, no. 5, was originally composed for voice and piano in 1906 and orchestrated in 1933. Its choice of poet—Heinrich Heine—–is unusual in the context of the literary trends and political attitudes in Germany at the contemporaneous moments...
19th-Century Music. 2012; 36124–45 doi: https://doi.org/10.1525/ncm.2012.36.1.024
Published: 01 July 2012
... Heinrich Heine's poetry. In each of these venues, flowers served as imaginary conduits joining mundane and transcendent realms. Drawing on the work of Friedrich Kittler, I argue that Schumann's Blumenstück , with its conflicting imperatives of pleasure and instruction, congenial melody and motivic...
19th-Century Music. 2018; 4213–29 doi: https://doi.org/10.1525/ncm.2018.42.1.3
Published: 01 July 2018
... discomfort [or] softest change of mind, according to Heinrich Heine.30 Survey- ing the endless stream of piano virtuosos pass- ing through Paris in 1843, Heine let loose a Ludwig-like outburst aimed not at the musical approximations produced by automata, but at the humans who now sought to imitate them...
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
.... Johann Faust s death (Historia von D. Johann Faust, 1587), as well as versions by Nikolaus Lenau and Heinrich Heine. For a list of the Faust versions owned by Busoni at the time of his death, see Max Perl, Bibliothek Ferruccio Busoni: Werke der Weltliteratur in schönen Gesamtausgaben und Erstdrucken...
19th-Century Music. 2017; 4113–30 doi: https://doi.org/10.1525/ncm.2017.41.1.3
Published: 01 July 2017
... Tannhaüser [sic] à Paris (Paris: Dentu, 1861). Such a genealogy of the text has not stifled a reading of Baudelaire s text in the context of Wagner reception: see Susan Zeldes Bernstein, Virtuosity of the Nineteenth Century: Music and Language in Heine, Liszt, and Baudelaire (PhD diss., Johns Hopkins Univer...
19th-Century Music. 2016; 40147–55 doi: https://doi.org/10.1525/ncm.2016.40.1.47
Published: 01 July 2016
... every region of the brain that we know about, and nearly every neural subsystem. 22 Thus it registers as intimately true to say that a song reaches through the ear and into the brain in a more physical way than does, say, light through the eye. Heinrich Heine similarly observed that music stands half...
19th-Century Music. 2016; 393272–289 doi: https://doi.org/10.1525/ncm.2016.39.3.272
Published: 01 March 2016
... to time in pauses of the conversation, 25 nor is it the high- kicking demimondaine establishments of Heinrich Heine s Montmartre. This is instead the theater as a high bourgeois institution, a place of worship in late-nineteenth-century Kunstreligion enveloped by an impermeable membrane, an enclosure...
19th-Century Music. 2015; 383193–218 doi: https://doi.org/10.1525/ncm.2015.38.3.193
Published: 01 March 2015
.... Introduction In Heinrich Heine s Florentine Nights (1837), the narrator, Maximilian, recalls a soirée at the Chaussée d Antin where Franz Liszt had al- lowed himself to be forced to the piano, threw his hair up above his genial brow, and played one of his most brilliant battle pieces. . . . There were in the...
19th-Century Music. 2015; 383219–242 doi: https://doi.org/10.1525/ncm.2015.38.3.219
Published: 01 March 2015
... steeped in Sprechgesang. As the sketches show, Friedrich von Telramund s and King Heinrich s parts in particular were revised and reworked intensively to make them appear as declamatory as possible. It must be borne in mind that, in this context, German declamation in the nineteenth century was ev...
19th-Century Music. 2014; 382169–190 doi: https://doi.org/10.1525/ncm.2014.38.2.169
Published: 01 November 2014
... labeled energeticism, a term not widely understood and explored in postwar musicology. The notion of musical content as fundamentally emerging out of a dynamic en- ergy was in fact widespread until the 1940s and indeed underpinned the work of perhaps the most famous energeticist, Heinrich Schenker. As...
19th-Century Music. 2014; 38130–52 doi: https://doi.org/10.1525/ncm.2014.38.1.030
Published: 01 July 2014
..., however, one insists on taking it up in this case, one ought to take account of Heine s own arrival at that final word, which in an early edition of these poems was freudiglich (joy- ously). See Heinrich Heines Buch der Lieder nebst einer Nachlese nach den ersten Drucken oder Handschriften (Heilbronn...
19th-Century Music. 2013; 363231–247 doi: https://doi.org/10.1525/ncm.2013.36.3.231
Published: 01 March 2013
... expression of the German spirit. Liszt s one-time friend Heinrich Heine may also have subscribed to Wagner s view of the Deutschen. Jeffrey Sammons tells us that Heine did not allow himself to be completely acculturated in France 11 despite his prolonged period of exile in the country. He chose to retain...
19th-Century Music. 2011; 35134–71 doi: https://doi.org/10.1525/ncm.2011.35.1.34
Published: 01 July 2011
... in their observations of mu- sical phenomena. Heinrich Heine called piano virtuosos a plague of locusts swarming to pick Paris clean and later coined the term Liszto- mania to describe the public fervor ignited by Franz Liszt.25 In musical circles, the romance quickly became one of the most...
19th-Century Music. 2011; 35172–89 doi: https://doi.org/10.1525/ncm.2011.35.1.72
Published: 01 July 2011
... Wilhelm Grimm, Der singende Knochen, in Kinder- und Hausmärchen gesammelt durch die Brüder Grimm, vol. 1 (Munich: Heinrich Ellermann, 1966), pp. 132 33. In 2004 Hans-Jörg Uther published an expanded catalogue based on the Aarne-Thompson index, replacing A.T. with A.T.U. numbers (Aarne-Thompson-Uther...
19th-Century Music. 2011; 343271–301 doi: https://doi.org/10.1525/ncm.2011.34.3.271
Published: 01 March 2011
19th-Century Music. 2010; 342109–140 doi: https://doi.org/10.1525/ncm.2010.34.2.109
Published: 01 November 2010
... Wilhelm Chris- tian Müller memorialized his son with what is A. W. Müller, b. 1784 (son of W. C. M physician in Bremen, student of [Johann Heinrich] Löwe, later, at twelve, of Giornovichi s conservatory, studied medicine in Halle and Berlin; brought about the Singakademie in Bremen; died of typhus in the...
19th-Century Music. 2010; 34161–86 doi: https://doi.org/10.1525/ncm.2010.34.1.061
Published: 01 July 2010
...), but also at least one rare first edition and a set of hand- written manuscripts apparently copied out in large part by Santini.17 Brahms played Scarlatti specimen of Scarlatti to Elisabeth and Heinrich von Herzogenberg, recommending that the couple seek to ac- quire Czerny s edition of the sonatas...
19th-Century Music. 2010; 333232–246 doi: https://doi.org/10.1525/ncm.2010.33.3.232
Published: 01 March 2010
... Similarities between the personal and artis- tic lives of Gluck and Wagner encouraged this comparison. Mid-century Paris prided itself on its cosmopolitanism and accepted artists and refugees from other lands, including Germany. Heinrich Heine, as one well-known example, lived in France for an extended period...