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reminiscence-motifs

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Journal Articles
19th-Century Music (2018) 42 (2): 96–122.
Published: 04 December 2018
... Bayreuth. This new source also enriches our knowledge of two composers who, each in his own way, sought to respond to Wagnerian theater, all the while being inspired by it: from Wagner’s example both composers drew subjects based on legends, used reminiscence motifs or enriched their orchestral and...
Journal Articles
19th-Century Music (2020) 43 (3): 194–208.
Published: 01 March 2020
Journal Articles
19th-Century Music (2019) 43 (1): 38–60.
Published: 01 July 2019
...) contains reviews of six (6) published works, and four (4) are published by Schlesinger: Henry Lemoine, Valse brillant du Revenant [Gomis]; Johann-Peter Pixis, Impromptu à quatre mains sur des motives du Revenant [Gomis], Franz Hünten, Beautés du Revenant [Gomis]; and Lemoine, 17e Bagatelle sur des motifs...
Journal Articles
19th-Century Music (2019) 42 (3): 225–248.
Published: 01 April 2019
... as an adolescent, not to determine its veracity, but in part to reveal how this motif functions in two different narrative models of Brahms biographies to about 1933. In the first model, the composer emerges spotless from the trials of a low-income childhood; in the second, however, he remains...
Journal Articles
19th-Century Music (2019) 42 (3): 184–224.
Published: 01 April 2019
Journal Articles
19th-Century Music (2017) 41 (2): 151–179.
Published: 01 November 2017
..., Illustrierte Bücher aller Jahrhunderte, Auc- tion no. 96, 30 31 March 1925 (Berlin: Max Perl, 1925). For a more detailed analysis of Busoni s synthesis of mul- tiple Faust sources, see Nancy Oris Chamness, The Li- bretto as Literature: Doktor Faustus by Ferruccio Busoni, Studies on Themes and Motifs in...
Journal Articles
19th-Century Music (2017) 40 (3): 257–282.
Published: 01 March 2017
... protagonist as a Ro- mantic vagabond-artist. In this reading the song marks a moment of internalized creative enlightenment (a flash- back or reminiscence, as Hallmark has it), as the Vagabond shuns the pleasures of domes- ticity in favor of a nobler creative fate. In reflecting upon in order to leave...
Journal Articles
19th-Century Music (2017) 40 (3): 283–300.
Published: 01 March 2017
... II, and, from the end of the opera, the E-major passage after the Marschallin s final Ja, ja, when the violins play a similar motif to the piano s triplet anacrusis, and the upper and lower strings echo the distinctive rising octave of the song s schöne. There are occasional mo- ments, Bayard...
Journal Articles
19th-Century Music (2016) 40 (2): 159–181.
Published: 01 November 2016
... bohaty´rská clearly belongs to this tradition. Returning to Dvor ák s letter to Hirschfeld: the paragraph after the discussion of bards fur- ther shores up the composer-as-hero motif. Dvor ák likens the hero of the tone poem to a spiritual hero and an artist: Naturally I was thinking more of a champion...
Journal Articles
19th-Century Music (2016) 39 (3): 223–247.
Published: 01 March 2016
... reminiscence and allusion; auditory distancing; disruptions of form and genre; and surface distortions. Nostalgia as a cultural and medical concept also provides a prism through which his contemporaries perceived Chopin's illness, his experience in exile, and his music. I am grateful to Daniel R. Melamed...
Journal Articles
19th-Century Music (2015) 38 (3): 272–301.
Published: 01 March 2015
....2015.38.3.272. MARC BROOKS When Arabella appears at the top of the stairs in the final scene of the opera ready to forgive her fiancé for doubting her honor, Strauss uses a motif whose rhythm and harmony subtly re- calls the opening of Beethoven s Das Lebe- wohl Piano Sonata, op. 81a (1810). (See ex. 1a and...
Journal Articles
19th-Century Music (2015) 38 (3): 243–271.
Published: 01 March 2015
... and experienced Joachim playing as Beethoven; he quipped, Yes- terday Joachim did not play Beethoven and Bach; Beethoven played himself. 17 Brahms himself reminisced about a time in his life when, still wandering in chaotic enthusiasm, he heard Joachim play Beethoven s Violin Concerto and...
Journal Articles
19th-Century Music (2014) 38 (2): 169–190.
Published: 01 November 2014
... mitigating influence that might qualify the artist's final word on aesthetic matters is reminiscent of a reductive, Nietzschean ideal of vitality. Nevertheless, writers struggle to reconcile it with the messier realities of performing, as an embodied and collaborative activity, and subsequently what speaks...
Journal Articles
19th-Century Music (2014) 37 (3): 211–241.
Published: 01 March 2014
... foot of gently sloping hills, further helped to ensure the success of Castelbon s venture. As Saint- Saëns reminisced, the mountains painted by [Jambon] were so life-like that when many of the spectators arrived for the performance they believed them to be real and were surprised that they had never...
Journal Articles
19th-Century Music (2012) 35 (3): 204–223.
Published: 01 March 2012
... which Louise used to embroider [his] slippers. 23 Chopin s insistence on objects that evoked his sister s absence is not only symptomatic of his retreat inward in the mid-1840s, but also reminiscent of his description of Christmas Eve 1830. It was during the first holiday season he sis here is Sand s...
Journal Articles
19th-Century Music (2011) 35 (1): 72–89.
Published: 01 July 2011
Journal Articles
19th-Century Music (2011) 34 (3): 237–270.
Published: 01 March 2011
... a klutz who has trouble with the simplest of tasks, like carrying a box of flowers through a doorway or putting on a sweater. Given the plot s jealousy motif, one could say that Alfred is as out of place in modern America as Othello was in Renaissance Venice. But Alfred needs no Iago to set him on...
Journal Articles
19th-Century Music (2011) 34 (3): 271–301.
Published: 01 March 2011
Journal Articles
19th-Century Music (2010) 34 (2): 168–185.
Published: 01 November 2010
... reminiscent of the literary fantastic and its way of slipping be- tween dream and reality (or realities). In Smarra, for example, sections apparently nar- rating events lapse slowly into long, ellipses- filled run-on sentences describing people, ani- mals, and dreams that are largely unrelated with respect...
Journal Articles
19th-Century Music (2010) 33 (3): 247–269.
Published: 01 March 2010
... disengage it and return the passage to its earlier state by simplifying the rhythms and removing active parts. By contrast, the second threshold takes the form of a dispassionate dia- logue between alto soloist and obbligato flute in a four-octave registral space reminiscent of the beginning.21 The...