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Journal Articles
19th-Century Music. 2012; 353224–237 doi: https://doi.org/10.1525/ncm.2012.35.3.224
Published: 01 March 2012
... aesthetic of three of Chopin's later Mazurkas (the op. 59 set) in the cult of the dandy, especially as described by Charles Baudelaire; to identify the musical means Chopin devised to realize that aesthetic, namely the “rogue pitches” of my title; and to illustrate how these rogue pitches and the persona of...
Journal Articles
19th-Century Music. 2003; 27297–115 doi: https://doi.org/10.1525/ncm.2003.27.2.97
Published: 01 November 2003
... consideration of the other songs of op. 59, "Dass sie hier gewesen" (D. 775), "Du bist die Ruh" (D. 776), and "Lachen und Weinen" (D. 777), reveals that "Du liebst mich nicht" opens the collection with an extreme representation of otherness from which the remaining songs gradually retreat. Copyright ©© 2003...
Journal Articles
19th-Century Music. 2020; 433170–193 doi: https://doi.org/10.1525/ncm.2020.43.3.170
Published: 01 March 2020
... , op. 2, Schumann draws inspiration from Jean Paul's novel Flegeljahre , surely capturing something of the author's unreliably quirky literary style, in part through the strategy of tonal pairing . Whereas Schumann ultimately played down the programmatic elements of Papillons that trace back to the...
Journal Articles
19th-Century Music. 2020; 433143–169 doi: https://doi.org/10.1525/ncm.2020.43.3.143
Published: 01 March 2020
.... Some con- tinue to use Adorno s essays as a lens to analyze Beethoven s late works, as in Michael Spitzer s monograph or Daniel Chua s reading of op. 130, but I would argue that it is equally important to contextualize Adorno s writings as primary sources in a longer history of late-style thought.13...
Journal Articles
19th-Century Music. 2019; 432121–139 doi: https://doi.org/10.1525/ncm.2019.43.2.121
Published: 01 November 2019
... it in actu rather than post mortem, Fechner devel- oped a method that related measurable physical entities to judgments. Fechner s aim in so doing was to understand whether there were scales in sensation that could be related tomeasurements in physics. Transferring such measurement...
Journal Articles
19th-Century Music. 2019; 43267–85 doi: https://doi.org/10.1525/ncm.2019.43.2.67
Published: 01 November 2019
... imitation of his chosen singer.26 Thus, Farinelli ascended to incomparable influence at court, which continued during the succeeding reign of Fernando VI (r. 1746 59). Though far more stable mentally than his father, Fernando VI was also given to bouts of melancholy, which he too assuagedwithFarinelli s...
Journal Articles
19th-Century Music. 2019; 43138–60 doi: https://doi.org/10.1525/ncm.2019.43.1.38
Published: 01 July 2019
... German immigrant to Paris, criticized Herz s Préludes et exercises, op. 21, in December 1833 for being peu chantants and governed by a system that was très défectueux, but the detailed, admittedly rigorous obser- vations and the appeal to Herz s perfect talent suggest a level of respect, or at...
Journal Articles
19th-Century Music. 2019; 4313–16 doi: https://doi.org/10.1525/ncm.2019.43.1.3
Published: 01 July 2019
... writ- ers surely also had Beethoven s Pathétique Sonata, op. 13, in mind as well in using the word patetico, which appears to have con- veyed great seriousness and perhaps even trag- edy. These nineteenth-century scores of the passion and their tempo and affect markings document a serious and...
Includes: Multimedia, Supplementary data
Journal Articles
19th-Century Music. 2019; 423225–248 doi: https://doi.org/10.1525/ncm.2019.42.3.225
Published: 01 April 2019
..., far from being a scientific cat- alog of various conditions, the book included colorful first-hand testimonies and scandalous details that appealed to the public, and it enjoyed fourteen editions between 1886 and 1903 as Krafft-Ebing gathered case studies and devel- oped his theories.44 Contemporaries...
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
... structural modus ope- randi from folklore, Kamarinskaia accom- plished the feat of creating for itself a novel formal procedure both original and organic, and one, moreover, hardly at all indebted to German symphonic methods. 6 Subsequent generations of Russian composers then suppos- 6Richard Taruskin...
Journal Articles
19th-Century Music. 2018; 422123–154 doi: https://doi.org/10.1525/ncm.2018.42.2.123
Published: 04 December 2018
... feelings, and even moral sensibilities. 49 Thus Watts s Joachim por- 46Veronica Franklin Gould, with Hilary Underwood and Richard Jeffries, The Catalogue, The Vision of G.F. Watts, 59. 47Although Cameron s photographs are not discussed by Leistra-Jones, Staging Authenticity, they clearly relate to the...
Journal Articles
19th-Century Music. 2018; 42273–95 doi: https://doi.org/10.1525/ncm.2018.42.2.73
Published: 04 December 2018
...: Univer- sity of California Press, 2000), 59 85. 76 19TH CENTURY MUSIC object of pleasure, de Certeau argues, the travel writing of Jean de Léry could not do justice to the seductive qualities of native speech; what remained were the mere traces of irrecoupable, unexploitable moments. 23 Likewise, when...
Journal Articles
19th-Century Music. 2018; 4213–29 doi: https://doi.org/10.1525/ncm.2018.42.1.3
Published: 01 July 2018
... Frédéric Chopin s Waltz in C Minor, op. 64, no. 2 (1847), was a longstanding staple of Arthur Rubinstein s repertoire. When the elderly pia- nist was asked how he could play the same waltz for more than seventy-five years, Rubin- stein was said to reply, Because it s not the same, and I don t play it the...
Journal Articles
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
...Michael L. Klein This article considers the problem of narration in a collection of works gathered around Chopin's Ballade in G Minor, op. 23: Guillermo del Toro's Crimson Peak , Poe's “The Raven,” Mickiewicz's Konrad Wallenrod , Dickens's The Chimes , and Władysław Szpilman's The Pianist along...
Journal Articles
19th-Century Music. 2018; 413206–224 doi: https://doi.org/10.1525/ncm.2018.41.3.206
Published: 01 March 2018
... Schwanengesang, D. 957, Robert Schumann s Dichterliebe, op. 48, Myrthen, op. 25, and the Spanish cycles for vocal ensembles op. 74 and op. 138. 207 NATASHA LOGES Die schöne Müllerin then be surveyed; these reveal that a perfor- mance of the complete cycle meant many different things in his day. Stockhausen s...
Journal Articles
19th-Century Music. 2018; 413225–251 doi: https://doi.org/10.1525/ncm.2018.41.3.225
Published: 01 March 2018
... Appunti (58 59) in July 1889. 8Leoncavallo, Appunti, 65. 9Ibid., 65 66. Foà s Manuale del diritto d autore (Milan: Trèves, 1931) includes a section ( Obbligo di pubblicazione e rappresentazione, 138 44) that may have been inspired by Leoncavallo s experience. 10Leoncavallo, Appunti, 67. 11Samson et...
Journal Articles
19th-Century Music. 2018; 413183–205 doi: https://doi.org/10.1525/ncm.2018.41.3.183
Published: 01 March 2018
... ladroncello, which Treitschke transformed from a suggestive celebration of erotic love to a warning against infidelity.17 The Prague corre- spondent noted with displeasure that the 13Ibid., 255 59. For a discussion of some of the musical adjustments in the Prague conducting score of Così fan tutte, see...
Journal Articles
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
... allowed to be present at the opera rehearsals and I learnt the opera by heart. 16 Although he was unable to attend Gounod s Faust in Vienna in 1874, Busoni also studied the work in detail, and he held Berlioz s La damnation de Faust, op. 24, in the highest esteem, stating that it is a work with talent...
Journal Articles
19th-Century Music. 2017; 41295–120 doi: https://doi.org/10.1525/ncm.2017.41.2.95
Published: 01 November 2017
... the music that, irrespective of plot or program, critics most consistently describe as uncanny.5 The recurrent identification of a par- 2E. T. A. Hoffmann, Recension, Allgemeine musikalische Zeitung 12/40, 41 (1810): cols. 630 42, 652 59. 3Emily I. Dolan, Mozart, Song and the Pre-Uncanny, Mozart...
Journal Articles
19th-Century Music. 2017; 412121–150 doi: https://doi.org/10.1525/ncm.2017.41.2.121
Published: 01 November 2017