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third-reich

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Journal Articles
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
... about, much less the whole play. The fact that I cannot say that the ballade s shifting between incongruous themes in third-related keys is about a specific narrative does not mean that the music lacks narrative import (70). 7John Rink discusses the analytical literature on the First Ballade in his...
Journal Articles
19th-Century Music. 2018; 413206–224 doi: https://doi.org/10.1525/ncm.2018.41.3.206
Published: 01 March 2018
... Friendship (Sterling Heights: Harmonie Park, 2008); Gabriele Gaiser-Reich, Gustav Walter 1834 1910; Wiener Hofopernsänger und Liederfürst (Tutzing: Hans Schneider, 2011); and especially Beatrix Borchard, Stimme und Geige: Amalie und Joseph Joachim: Biographie und Interpreta- tionsgeschichte (Vienna: Böhlau...
Journal Articles
19th-Century Music. 2017; 41295–120 doi: https://doi.org/10.1525/ncm.2017.41.2.95
Published: 01 November 2017
Journal Articles
19th-Century Music. 2017; 403283–300 doi: https://doi.org/10.1525/ncm.2017.40.3.283
Published: 01 March 2017
... California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints . 2017 Richard Strauss Heinrich Heine orchestration Third Reich Romantic song 283 LAURA TUNBRIDGE Versioning Strauss 19th-Century Music, vol. 40, no. 3, pp. 283 300 ISSN: 0148-2076, electronic...
Journal Articles
19th-Century Music. 2015; 383219–242 doi: https://doi.org/10.1525/ncm.2015.38.3.219
Published: 01 March 2015
... Tagebücher, I, 193; at this time he was orchestrating the third act of Siegfried; the translation of Cosima Wagner s diaries into English is a difficult task because her native language was French, not German, and her German al- ways remained a little defective. Some entries in her dia- ries are thus...
Journal Articles
19th-Century Music. 2014; 382145–168 doi: https://doi.org/10.1525/ncm.2014.38.2.145
Published: 01 November 2014
... the evening I attended the theater, and here I felt for the first time that all was not as before.17 The reviewer goes on to criticize what he per- ceives to be problems in the music, such as the length and repetitiveness of the third act. His review paved the way for other critics to conflate Leonore...
Journal Articles
19th-Century Music. 2014; 38153–78 doi: https://doi.org/10.1525/ncm.2014.38.1.053
Published: 01 July 2014
...), 213 28. 57 DRAGANA JEREMIC MOLNAR ALEKSANDAR MOLNAR Adorno Schubert Mimesis ´ uncharacteristic for Adorno; it corresponded to the general tendency of his contemporaries to elevate Schubert to the status of a serious com- poser a position that had long evaded him and improve his reputation.24 Third...
Journal Articles
19th-Century Music. 2014; 3813–29 doi: https://doi.org/10.1525/ncm.2014.38.1.003
Published: 01 July 2014
... sec- ondary accents falling regularly on the first, third, and fifth syllables of each line). Adina par excellence: Eugenia Tadolini and the Performing Tradition of Donizetti s L elisir d amore in Vienna 419TH CENTURY MUSIC lasting local performing tradition of the opera. Generations of sopranos...
Journal Articles
19th-Century Music. 2014; 373161–187 doi: https://doi.org/10.1525/ncm.2014.37.3.161
Published: 01 March 2014
... Wagner s Ring, Central European History 9 (1976), 27 57; Nicholas Walker, Wagner amongst the Hegelians, in Music, Theater, and Politics in Germany, 1848 to the Third Reich, ed. Nikolaus Bacht (Burlington, VT: Ashgate, 2006), 31 47; Mark Berry, Treacherous Bonds and Laugh- ing Fire: Politics and...
Journal Articles
19th-Century Music. 2012; 362172–190 doi: https://doi.org/10.1525/ncm.2012.36.2.172
Published: 01 November 2012
... Romantic tradition. First, there is the Romanticism against which Darmstadt rebels, the nostalgic Romanticism in search of absolutes and the sublime. This Romanticism proved accommodating to the bar- baric nationalism of the Third Reich.10 The second Romanticism is characterized by the self-critical...
Journal Articles
19th-Century Music. 2012; 3613–23 doi: https://doi.org/10.1525/ncm.2012.36.1.003
Published: 01 July 2012
... paragraph of the first edition, cutting most of it for the second edition of 1858 and the remainder for the third edition of 1865. This original ending evokes imagery that stands out from most of the rest of the treatise, including references to the “great motions of the cosmos” and “profound and secret...
Journal Articles
19th-Century Music. 2011; 3513–33 doi: https://doi.org/10.1525/ncm.2011.35.1.3
Published: 01 July 2011
... spoken of the beloved briefly and in the third person das Mädchen sprach von Liebe in the first stanza. In the fourth stanza, in directly addressing her, he reveals a tender side we might not have inferred from his ear- lier bitterness and anger. We can now feel the 31Feil (Franz Schubert [1988], p. 92...
Journal Articles
19th-Century Music. 2011; 35134–71 doi: https://doi.org/10.1525/ncm.2011.35.1.34
Published: 01 July 2011
... contemporary writers explicitly appraised as feminine. This article sets out to examine the following: first, critical dialogues surrounding the proliferation of romances during this period of social upheaval; second, the Parisian bourgeoisie's valorization and fetishization of female amateurism; third, the...
Journal Articles
19th-Century Music. 2011; 343271–301 doi: https://doi.org/10.1525/ncm.2011.34.3.271
Published: 01 March 2011
... pathetic character, could we hope that the audience would enjoy its third or fourth repetition in one hour? 15 Beynon comments in a general sense: The orchestra opens the picture with a beautiful number. . . . The music changes. In a few minutes the first selection is played again. It s a nice number. Two...
Journal Articles
19th-Century Music. 2010; 34161–86 doi: https://doi.org/10.1525/ncm.2010.34.1.061
Published: 01 July 2010
..., Melissa de Graaf, Elizabeth Joyce, Kevin Karnes, and Michael McGrade for their valuable feedback; and to David Ferris, Nancy Reich, and Joel Sheveloff for responding quickly and thoroughly to questions related to their respective areas of expertise. Condensed versions of this article were presented at a...
Journal Articles
19th-Century Music. 2006; 301044–064 doi: https://doi.org/10.1525/ncm.2006.30.1.044
Published: 01 July 2006
... geographies. In Ritter 15Charlton, Hoffmann s Musical Writings, p. 8. 16 Die Musik schließt dem Menschen ein unbekanntes Reich auf; eine Welt, die nichts gemein hat mit der äußern Sinnenwelt, die ihn umgibt, und in der er alle durch Begriffe bestimmbaren Gefühle zurückläßt, um sich dem Unaussprechlichen...
Journal Articles
19th-Century Music. 2006; 293261–288 doi: https://doi.org/10.1525/ncm.2006.29.3.261
Published: 01 March 2006
... throughout the Reich, Brahms s motets could not only accen- 3The mistake can be found in works spanning multiple nationalities, time periods, and intended audiences. A rep- resentative sampling, in chronological order: Max Burckhardt, Johannes Brahms (Berlin: Globus Verlag, 1912), p. 177; Richard Specht...
Journal Articles
19th-Century Music. 2005; 292185–295 doi: https://doi.org/10.1525/ncm.2005.29.2.185
Published: 01 November 2005
... music could be tolerated in the Third Reich so long as it was the work of Aryan composers like Winfried Zillig and es- pecially Paul von Klenau, who openly touted it in the Nazi press as totalitarian. 10 The latest ploy with regard to Webern, im- ported by Joseph Auner into CH20 (p. 256) via a...
Journal Articles
19th-Century Music. 2005; 292161–184 doi: https://doi.org/10.1525/ncm.2005.29.2.161
Published: 01 November 2005
...William Kinderman The Prelude to the third act of Parsifal is one of Wagner's most advanced essays in expanded tonality. One author has described it as "set[ting] foot in atonal territory as it re-explores the melancholy, disjointed polytonal idiom of the introduction to the third act of Tristan...
Journal Articles
19th-Century Music. 2005; 292121–141 doi: https://doi.org/10.1525/ncm.2005.29.2.121
Published: 01 November 2005
... invite me to pursue him, he answers.18 Puzzled by Schenker s high regard for Brahms, Halm points out that the openings of the F-Minor Piano Sonata, op. 5, and the Third Symphony, op. 90, are enough to alienate him.19 A related comment on the first movement of Brahms s C-Minor String Quartet, op. 51, no...