9 search hits
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Goethes Faust musikalisch betrachtet
(2002)
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Dieter Borchmeyer
- Goethes Opus summum Faust ist - wie keine andere seiner Dichtungen - ein Werk voller Musik, von durchaus realisierbarer, ja oft genug realisierter Bühnenmusik, also von instrumentalen, lied- und kantatenhaften Einlagen über szenische Analogien musikdramatischer Formen bis zu einer imaginären oder symbolischen Welt der Töne. Kaum eine dramatische Dichtung der Weltliteratur ist so sehr von unhörbarer Musik erfüllt und trotz der zahllosen kompositorischen Annäherungsversuche, trotz der deutlich opernhaften Strukturen des zweiten Teils letzten Endes doch so unkomponierbar wie Faust.
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Mozart and aristocratic women performers in Salzburg : a study of the piano concertos K. 242 and K. 246
(2002)
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Adena Portowitz
- Among recent approaches to Classic music, one of the most revealing is the investigation of expression via topoi. Pioneered by Leonard Ratner, and developed by leading musicologists specializing in 18th-century music, this system identifies characteristic figures and styles that conveyed specific meanings to 18th-century audiences via processes of association. These implications resulted from intimate contacts with everyday musical activities in worship, entertainment, dance ceremonies, the military, hunt, and outdoor events. Familiarity with such characteristic topoi and styles enables listeners and performers today to reconstruct the original venues of communication between composers and their audiences. Serving as case studies, this paper explores the expressive content of two concertos intended for aristocratic women performers in Salzburg: the Concerto for three keyboards in F, K. 242 (1776), written for the Countess Antonia Lodron and her two daughters, Aloysia and Josepha, and the keyboard concerto in C, K. 246 (1776) intended for the Countess Antonia Lützow. Indeed, it seems that much as Mozart provided his singers with arias that were tailored to their voices,3 in these cases, he granted the Countesses music that was redolent of their social milieu. In support of this hypothesis, this article opens with a description of several social-musical activities that engaged the Lodron and Lützow families in Salzburg during the 1770s. It then proceeds to discuss references to these concertos found in the Mozart family correspondence. While much of this information is gleaned from well-known Mozart sources, its recall establishes the cultural and sociological context for these specific works, and provides an insight into the manner of performance that Mozart valued for this music. The paper concludes with a semiotic analysis of selected passages, suggesting that the choice of the topical content bears homage to the women dedicatees.
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The intriguing forms of trouvère poems and melodies
(2002)
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Hans Tischler
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Russian music before Glinka : a look from the beginning of the third millennium
(2002)
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Marina Ritzarev
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Arnold Schoenberg and Max Reger : some parallels
(2002)
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Yulia Kreinin
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Zvi Keren: his contribution to Israel's music scene : an interview in honor of his 85th birthday
(2002)
- It is with great pride that I introduce a new section in this issue of Min-Ad: Israel Studies in Musicology, dedicated to interviews with musicians who have made major contributions to Israel’s music life. I am particularly pleased to inaugurate this section with an interview with our esteemed colleague (and in my case, teacher), Zvi Keren, a major figure in the development of Israel´s contemporary, jazz and light music. This interview is conducted by Alona Keren-Sagee, Zvi Keren´s daughter.
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"Wir erleben den Tod als die Verklärung des Seins" : Musik-Standort Wien im Dritten Reich ; (Vortrag, gehalten am 16. 3. 2002 im Wiener Alten Rathaus im Rahmen der Vortragsreihe „Die ‚österreichische‘ nationalsozialistische Ästhetik“)
(2002)
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Gerhard Scheit
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Die Musik und der "quälbare Leib" : eine Anmerkung zu Alban Berg
(2002)
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Gerhard Scheit
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Ov'e condotto il mio amoroso stile? : Poetica e committenza nei madrigali di Marenzio dedicati a Mario Bevilacqua
(2002)
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Paolo Cecchi
