Search Results for program-music
1-20 of 444 Search Results for
19th-Century Music. 1988; 12127–53 doi: https://doi.org/10.2307/746608
Published: 01 July 1988
... "Todtenfeier" and the Problem of Program Music STEPHEN E. HEFLING My two symphonies treat exhaustively my entire life; it is experience and suffering that I have written down with my lifeblood. Truth and poetry in music; and if someone understands how to read well, my life must in fact appear transparent to...
19th-Century Music. 1984; 73233–250 doi: https://doi.org/10.2307/746379
Published: 03 April 1984
..., p. 2 Finson 2 Liszt of Carnaval 1983 29 Dörffell and Die Grenzboten Dörffell Die Grenzboten Once More "Between Absolute and Program Music": Schumann's Second Symphony* ANTHONY NEWCOMB For recent critics, Schumann's Second Sym- phony has been a refractory text. While the...
19th-Century Music. 2016; 402159–181 doi: https://doi.org/10.1525/ncm.2016.40.2.159
Published: 01 November 2016
... composer-hero lineage of genius as Beethoven and Liszt. Nevertheless, the understanding of Dvořák as absolute Czech musician par excellence ultimately triumphed, weathering the assaults of his program music to survive into the present. This article provides a new understanding of the complexity of Dvořák's...
19th-Century Music. 2017; 41148–74 doi: https://doi.org/10.1525/ncm.2017.41.1.48
Published: 01 July 2017
...Mark Seto Ernest Chausson made two major aesthetic decisions in the mid-1880s: he resolved to “dewagnerize” himself and declared that he would no longer write program music. These developments were coeval with Chausson's revisions of Viviane (composed 1882–83, revised 1887 and 1893), a symphonic...
19th-Century Music. 2005; 283230–253 doi: https://doi.org/10.1525/ncm.2005.28.3.230
Published: 01 March 2005
...J. P. E. Scott Falstaff, Elgar's tragic symphonic study, is at once program music, a minor piece of Shakespearean criticism, early modernist tonal and structural experiment, and a cynical musical commentary on humankind's "failings and sorrows." A satisfactory analysis of the work calls for a...
19th-Century Music. 2001; 252-3212–236 doi: https://doi.org/10.1525/ncm.2001.25.2-3.212
Published: 01 November 2001
... metaphor in contemporary documents and examples of program music, this essay shows how the act III Prelude captures a moment not only on the stage of Die Meistersinger but also on the stage of nineteenth-century Western classical music. ©© Regents of the University of California 212 19TH CENTURY MUSIC...
19th-Century Music. 2015; 383193–218 doi: https://doi.org/10.1525/ncm.2015.38.3.193
Published: 01 March 2015
.... © 2015 by the Regents of the University of California 2015 Franz Liszt Mephisto Waltz No. 1 virtuosity program music memory daemonic drastic 193 DAVID LARKIN Liszt s Mephisto Waltz 19th-Century Music, vol. 38, no. 3, pp. 193 218 ISSN: 0148-2076, electronic ISSN 1533-8606. © 2015 by the...
19th-Century Music. 2010; 342186–207 doi: https://doi.org/10.1525/ncm.2010.34.2.186
Published: 01 November 2010
... stretto as its program and de- velops it systematically as the fugue progresses. After the first contraction the distance squeezes further down to a single half note (m. 14) and finally to a quarter note (m. 27). This last stretto occurs just past the midway point, after which the fugue occupies itself...
19th-Century Music. 2013; 363231–247 doi: https://doi.org/10.1525/ncm.2013.36.3.231
Published: 01 March 2013
... relate to his music, by applying the concept to the symphonic poem Héroïde funèbre . © 2013 by the Regents of the University of California 2013 Liszt identity language style codeswitching sociolinguistics 231 JOANNE CORMAC Liszt and Language 19th-Century Music, vol. 36, no. 3, pp. 231 47...
19th-Century Music. 2017; 41295–120 doi: https://doi.org/10.1525/ncm.2017.41.2.95
Published: 01 November 2017
... program is not novel, this work differs from most existing scholarship on the musical uncanny in that it presents a possible precursor to the twentieth-century psychoanalytic uncanny. Instead, it examines Schelling's definition of the uncanny in the larger context of his ideas in order to form a basis for...
19th-Century Music. 2004; 273263–286 doi: https://doi.org/10.1525/ncm.2004.27.3.263
Published: 01 March 2004
... programmatic note of the early 1930s. The existential program, as expressed through this text and amplified by the music, intersects with the language, imagery, structure, and worldview conveyed in Ralph Waldo EmersonÕs poem The Sphinx and IvesÕs "Emerson" essay from Essays before a Sonata. These connections...
19th-Century Music. 2001; 252-3190–211 doi: https://doi.org/10.1525/ncm.2001.25.2-3.190
Published: 01 November 2001
... weeks after the opera's premiere when Wagner (albeit anonymously) published his infamous article "Judaism in Music." Wagner's own program for the Prelude was written in 1853 and is clearly as much——or more——a revision of Liszt's as it is the revelation of an originating intention. Wagner, indeed, was...
19th-Century Music. 2006; 301004–043 doi: https://doi.org/10.1525/ncm.2006.30.1.004
Published: 01 July 2006
... other, the proclaiming of a new aesthetic staging itself as exhilaratingly emancipated from the overly inflated "Spirit of Gravity" still dominating that cultural sector of the musical world. These subversions are perceptible not only in the piece's program but also in its local musical details and...
19th-Century Music. 2005; 283214–229 doi: https://doi.org/10.1525/ncm.2005.28.3.214
Published: 01 March 2005
... natural scenes present. Indeed, he rejects entirely the notion that music can or should represent anything (when it appears to represent, it is, precisely, not music). Debussy accordingly despises programs and critics who look in his music for images or ideas that they expect him to have put there. Why...
19th-Century Music. 2010; 34161–86 doi: https://doi.org/10.1525/ncm.2010.34.1.061
Published: 01 July 2010
... Scarlatti reference necessitates reevaluation of the oft-proposed idea that the Trio's song references function as a lament for Brahms's own ““distant beloved,”” Clara Schumann. The reference to Scarlatti, while potentially supportive of such a program, also suggests an alternative interpretation: perhaps...
19th-Century Music. 2007; 303257–287 doi: https://doi.org/10.1525/ncm.2007.30.3.257
Published: 01 March 2007
...David Code The second performance of Debussy's String Quartet, given by the Ysaye Quartet on an all-Debussy program during the 1894 salon of "La Libre Esthtique" in Brussels, offers an ideal context for a critical reexamination of his musical and aesthetic affinities at this pivotal moment. In the...
19th-Century Music. 2006; 293211–239 doi: https://doi.org/10.1525/ncm.2006.29.3.211
Published: 01 March 2006
...Francesca Brittan Both the literary program of Berlioz's Symphonie fantastique and his personal letters dating from the year of the work's composition are suffused with the rhetoric of illness, detailing a maladie morale characterized by melancholy, nervous "exultation," black presentiments, and a...
19th-Century Music. 2014; 373211–241 doi: https://doi.org/10.1525/ncm.2014.37.3.211
Published: 01 March 2014
... asserting contemporary French musical values. As Steven Huebner has stated, the composer was a quintessential colo- 28Louis Gallet, Critique musicale, La nouvelle revue (May 1897), 363: Je voudrais parler aujourd hui d autre chose que de Wagner et pourtant si je consulte les affiches, les programmes...
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
... unrelated to claims for program music: to show that truemusic suggests analogous ideas to differ- ent minds, in Baudelaire s formulation):19 Here objectivity emerges in its most detailed form within music. Whereas before, general impressions of music on our inwardness, or the objectivity of music in...
19th-Century Music. 2019; 43286–98 doi: https://doi.org/10.1525/ncm.2019.43.2.86
Published: 01 November 2019
... unpredictably between snippets of music stored on two barrels.24 Originally multiple individual barrels were created, of which seven have survived.25 Automata capa- ble of merely playing static musical program- mes, such as music boxes, were not a novelty by the time of the Componium, but by auto- mating the...