Nineteenth-Century Music Review最新文献_第10页

Longing for the Tonic in Robert Schumann's ‘Meine Rose’ Op. 90 No. 2 and Fantasiestück Op. 73 No. 1 罗伯特·舒曼的《我的玫瑰》作品90第2号和《幻想曲》作品73第1号中对主音的渴望

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-03-21 DOI: 10.1017/S1479409821000483

Lauri Suurpää

{"title":"Longing for the Tonic in Robert Schumann's ‘Meine Rose’ Op. 90 No. 2 and Fantasiestück Op. 73 No. 1","authors":"Lauri Suurpää","doi":"10.1017/S1479409821000483","DOIUrl":"https://doi.org/10.1017/S1479409821000483","url":null,"abstract":"This article studies two late works by Schumann: the Lied ‘Meine Rose’, Op. 90 No. 2 (1850), and the Fantasiestück, Op. 73 No. 1, for clarinet and piano (1849). It analyses the works in the light of nineteenth-century developments in approaches to the treatment of tonality. Both ‘Meine Rose’ and the Fantasiestück are miniatures and can thus be linked with music-making in private salons. The choice of the two works is based on musical as well as aesthetic factors. Musically, they both avoid confirming their main tonic in a firm manner, a feature that the article links with aesthetics of the time. Most importantly, the music's inability to secure a firm tonal centre can be associated with early nineteenth-century aesthetics of longing: in the same way that unsuccessful attempts to secure the tonic underlie the two Schumann works, so contemporaneous aesthetics saw human existence as being governed by unfulfilled longing. The paper argues that in ‘Meine Rose’ the Romantic ideology can be connected to transcendental qualities associated with nature, while the Fantasiestück can be associated more generally with infinity and longing. In both works, it is precisely Schumann's special treatment of the tonic, drastically departing from Classical conventions, that justifies connecting the works with these aesthetic issues.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"385 - 408"},"PeriodicalIF":0.3,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47966239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Letting the Music ‘Speak For Itself’? Dvořák as Strategist 让音乐“自己说话”？Dvořák作为战略家

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-03-07 DOI: 10.1017/S1479409821000501

E. Branda

{"title":"Letting the Music ‘Speak For Itself’? Dvořák as Strategist","authors":"E. Branda","doi":"10.1017/S1479409821000501","DOIUrl":"https://doi.org/10.1017/S1479409821000501","url":null,"abstract":"‘I only write music and let it speak for itself’ – such was Antonín Dvořák's attitude, according to Josef Kovařík, the composer's personal secretary in New York. Indeed, throughout his career, Dvořák seemed reluctant to share his views publicly. He did not contribute articles to Czech periodicals, his acquaintances were well aware of his dread of making public appearances and speeches, and contemporary critics often commented on his humble and unenterprising nature. Yet Dvořák was not as passive as his alleged statement to Kovařík would imply. While visiting England during the 1880s, he became particularly concerned about forging a certain kind of image for himself in the Czech lands. Not only did Dvořák take an interest in English reviews of his music, he also sent several of these critiques to his contacts at home with the request that they be reprinted in Czech translation in the newspapers and journals of Prague. He proved to be equally strategic in some of his other professional choices, including the surprising decision to dedicate his patriotic cantata Hymnus: Heirs of the White Mountain ‘to the English people’, which can be understood as a clever tactical ploy, meant to signal the composer's international credentials to audiences at home. Drawing upon various letters and the many excerpted English reviews that appeared in the Czech press, this article shows that Dvořák played an active part in determining which aspects of his reception in England would be relayed to the Czech public. More broadly, the article examines Dvořák's role as strategist – an aspect of the composer's career that has remained largely unexplored. Ultimately, Dvořák was mindful of what Michael Beckerman calls ‘the public-relations aspect of nationalism’, and the suggestion that he was content simply to let the music ‘speak for itself’ does not tell the whole story.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"599 - 624"},"PeriodicalIF":0.3,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48777500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Wagner's Shakespeare: Das Liebesverbot, the Problem Comedy and the Carnivalesque 瓦格纳的莎士比亚：李、问题喜剧与狂欢节

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-03-07 DOI: 10.1017/s1479409822000015

Justin Mueller

{"title":"Wagner's Shakespeare: Das Liebesverbot, the Problem Comedy and the Carnivalesque","authors":"Justin Mueller","doi":"10.1017/s1479409822000015","DOIUrl":"https://doi.org/10.1017/s1479409822000015","url":null,"abstract":"This paper explores Wagner's early comedic opera, Das Liebesverbot. Though his ‘mature comedy’ Die Meistersinger von Nürnberg has been the focus of much scholarly attention, the composer's first and only other foray into the genre has been much less studied and often outright dismissed. While contemporary scholars have increasingly looked to Wagner's pre-Dutchman operas, they often read them purely in light of his later works; with this examination of his adaptation of Shakespeare's Measure for Measure, I offer a consideration of the young composer's work in its own right. After considering issues of textual and cultural adaptation, this paper offers close readings of several passages of the opera, in tandem with parallel scenes from the original play-text, to show how Wagner's transformation of this not-quite-so-comedic comedy into an expression of the carnivalesque reveals an expansive and cosmopolitan artistic and political philosophy during a period during which he was greatly influenced by the authors of the Junges Deutschland movement. Such a reconsideration disrupts the standard conception of a composer who is still often considered, in his own words, the ‘most German being’. Here, we see Wagner at arguably his most cosmopolitan, adapting the work of an English playwright he revered, altering the plot so that it ostensibly aligned with the ideological outlook of his German revolutionary colleagues, and setting it to music of a decidedly French and Italian flavour, all this in a way that still preserves many of the same, seemingly contradictory themes present in the original play.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44493443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Modalities of Assimilation: Subcultural Currents in Felix Mendelssohn's Lieder Ohne Worte – ERRATUM 同化的形式:门德尔松的作品中的亚文化潮流-勘误

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-03-03 DOI: 10.1017/s1479409822000076

Dan Deutsch

引用次数: 0

Nicholas Temperley, Edward Loder, and Retrospect Opera's Raymond and Agnes 尼古拉斯·坦波利，爱德华·罗德，以及回顾歌剧的雷蒙德和艾格尼丝

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-02-15 DOI: 10.1017/s1479409821000355

J. Vickers

引用次数: 0

Historiographical Reflections on the Beethoven Year 250 250年贝多芬的史学反思

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-02-15 DOI: 10.1017/S1479409821000525

R. Mauro

引用次数: 0

The Boatswain's Mate, music and libretto by Ethel Smyth. Edition by Valerie Langfield Lontano Ensemble, conducted by Odaline de la Martinez Nadine Benjamin, sop; Edward Lee, ten; Jeremy Huw Williams, bar; Simon Wilding, bass; Ted Schmitz, ten; Rebecca Louise Dale, mezzo-sop; Mark Nathan, bar Retrospect Opera RO001, 2016 (2 CDs: 73 minutes, 74 minutes). - Pickwick, music by Edward Solomon and libretto by F.C. Burnand Cups and Saucers, music and libretto by George Grossmith. Simon Butteriss, bar; Gaylor Keeble, mezzo-sop; Toby Stafford-Allen, bar; and Alessandro MacKinnon, treble; directed from the piano by Stephen Higgins Retrospect Opera RO002, 2017 (1 CD: 74 minutes). 《水手长的伴侣》，音乐和歌词由埃塞尔·史密斯创作。瓦莱丽·兰菲尔德·朗塔诺合奏团版，奥达琳·德拉·马丁内斯指挥，纳丁·本杰明，sop;爱德华·李，十岁;杰里米·休·威廉姆斯，律师;西蒙·怀尔丁，贝斯;泰德·施密茨，10岁;丽贝卡·路易斯·戴尔，中音sop;马克·内森，酒吧回顾歌剧RO001, 2016(2张cd: 73分钟，74分钟)。——《匹克威克》，配乐爱德华·所罗门，剧本F.C.伯恩和《茶杯与碟子》，配乐和剧本乔治·格罗斯史密斯。西蒙·巴特里斯，律师;盖勒·基布尔，中音歌手;Toby Stafford-Allen，律师;亚历山德罗·麦金农，三冠王;由斯蒂芬·希金斯(Stephen Higgins)执导的钢琴回溯歌剧RO002, 2017(1张CD: 74分钟)。

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-02-14 DOI: 10.1017/s147940982100032x

William A. Everett

引用次数: 0

Stylistic Duality in Gabriel Fauré's Music for Pauline Viardot's Salon 加布里埃尔·福尔<s:1>为波琳·维亚多沙龙创作的音乐的风格二重性

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-02-14 DOI: 10.1017/S1479409821000471

J. Sobaskie

引用次数: 0

‘Wanted – An Opera’

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-02-14 DOI: 10.1017/S1479409821000331

Paul Rodmell

引用次数: 0

Retrospect Opera: Reviving Britain's Operatic Past 回顾歌剧:复兴英国歌剧的过去

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-02-10 DOI: 10.1017/s1479409821000318

Christina Fuhrmann

{"title":"Retrospect Opera: Reviving Britain's Operatic Past","authors":"Christina Fuhrmann","doi":"10.1017/s1479409821000318","DOIUrl":"https://doi.org/10.1017/s1479409821000318","url":null,"abstract":"The average music lover knows little about British opera between Henry Purcell and Benjamin Britten. Composers such as Thomas Arne, Sir Henry Rowley Bishop and Isidore de Lara are hardly household names, performances and recordings are sparse, and a sense of Britain as ‘Das Land ohne Musik’ lingers. In recent years, however, interest in this neglected repertoire has grown. This is in large part due to the tireless efforts of organizations such as Retrospect Opera, founded in 2014 byDavid Chandler and Valerie Langfield to record ‘forgotten’ British operas. To date, they have issued recordings of works by Charles Dibdin, Edward James Loder, Ethel Smyth, Liza Lehman, George Grossmith and Edward Solomon, with projects on George AlexanderMacfarren and Charles Villiers Stanford in progress. This special review section highlights and contextualizes Retrospect Opera’s achievements. Paul Rodmell addresses themany complex reasons why the English Musical Renaissance – the period in the late nineteenth and early twentieth centuries fromwhichmost of Retrospect Opera’s repertoire comes – did not see the same flowering of opera as of other genres. James Brooks Kuykendall interviews Chandler and Langfield about their beginnings, their goals, and the challenges they face. The section concludes with reviews of their recordings of Raymond and Agnes (Loder) by Justin Vickers and of The Boatswain’s Mate (Smyth), Pickwick (Solomon), and Cups and Saucers (Grossmith) by William A. Everett.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"107 - 110"},"PeriodicalIF":0.3,"publicationDate":"2022-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43135969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0