Wilhelmine Schroder-Devrient PDF Download

Author: Alfred Wolzogen
Publisher:
ISBN: 9781375481496
Category : History
Languages : en
Pages : 366

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Author: Richard Miller
Publisher: Oxford University Press
ISBN: 0198028008
Category : Music
Languages : en
Pages : 260

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Singing Schumann is likely to become the standard introduction to some of the best-loved songs in the singer's repertoire. Written by a distinguished performer and internationally known teacher, the book offers astute, practical advice for bringing Robert Schumann's Lieder to life in performance. Richard Miller guides the reader through the interpretation of all of Schumann's solo and duet songs, drawing thoroughly on Schumann's compositional style and its historical background. In addition to covering the "familiar forty"--the much-performed songs Schumann composed in and around 1840 while trying to win the hand of Clara Wieck--Miller takes an in-depth look at the lesser known early and later songs. In particular, he focuses on the rich and varied repertoire of Schumann's later years, challenging the conventional view that these works reflect a decline in the composer's creative powers. Singing Schumann begins with an overview of Schumann as a song composer and then proceeds to survey the entire repertoire, song by song. It features the well-known cycles, including the Eichendorff Liederkreis, Frauenliebe und -leben, and Dichterliebe, as well as the Liederalbum für die Jugend and settings of texts by Goethe, Burns, Rückert, and Kulmann. Using numerous musical examples, Miller uncovers Schumann's characteristic compositional devices and describes his novel and experimental approaches to the interpretation of texts, often achieved through exceptionally colorful keyboard accompaniments. Musically sensitive and eminently readable, Singing Schumann is an invaluable guide for teachers, coaches, pianists, and singers.

Author: David Trippett
Publisher: Cambridge University Press
ISBN: 1107067286
Category : Music
Languages : en
Pages : 463

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Since the 1840s, critics have lambasted Wagner for lacking the ability to compose melody. But for him, melody was fundamental - 'music's only form'. This incongruity testifies to the surprising difficulties during the nineteenth century of conceptualizing melody. Despite its indispensable place in opera, contemporary theorists were unable even to agree on a definition for it. In Wagner's Melodies, David Trippett re-examines Wagner's central aesthetic claims, placing the composer's ideas about melody in the context of the scientific discourse of his age: from the emergence of the natural sciences and historical linguistics to sources about music's stimulation of the body and inventions for 'automatic' composition. Interweaving a rich variety of material from the history of science, music theory, music criticism, private correspondence and court reports, Trippett uncovers a new and controversial discourse that placed melody at the apex of artistic self-consciousness and generated problems of urgent dimensions for German music aesthetics.

Author: Dan Marek
Publisher: Scarecrow Press
ISBN: 0810857111
Category : Music
Languages : en
Pages : 260

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The Italian singing technique Bel Canto instructs, "He who knows how to breathe and how to pronounce, knows how to sing." Singing: The First Art incorporates the techniques of Bel Canto along with those of masters like Berton Coffin and Manuel Garcia to promote and facilitate vocal excellence. Many concepts are described, from correct posture and alignment to improving and maintaining proper breathing, from good pronunciation and diction to producing an even, pure tone, and from vocal ranges to singing within and smoothly shifting between vocal registers. Mannes Vocal Faculty member Dan H. Marek effectively breaks down these complicated concepts with clear exercises, helping the vocal student to achieve freedom and complete control over his or her instrument. A primary section on the history of singing stresses the importance of understanding vocal history while inspiring and motivating the student through the experiences of opera stars such as Enrico Caruso, Maria Callas, and Jussi Björling. The second section explains vocal techniques, including the use and proper pronunciation of the IPA (International Phonetic Alphabet), and provides 64 specific exercises with clearly defined goals designed to overcome faults and to develop vocal virtuosity. Complete instructions for transposing the exercises for both male and female voices are included, as well as drawings of the exercises, musical examples from vocal literature, excellent anatomical illustrations by Frank Netter, MD, and copious photographs of opera stars. Singing: The First Art is an invaluable text for students, professionals, singers, conductors, composers, and vocal medical professionals, or anyone interested in understanding and appreciating the vocal art.

Author: Jennifer Ronyak
Publisher: Cambridge University Press
ISBN: 1316518841
Category : Music
Languages : en
Pages : 247

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"Leading musicologists and prominent German Lied performers collectively reveal productive connections between their two approaches, thereby opening doors to fresh and exciting modes of interpretative artistry and intellectual discovery. Investigates how historical, cultural and aesthetic research offer new perspectives on this important repertoire"--

Author: Natasha Loges
Publisher: Indiana University Press
ISBN: 0253047021
Category : Music
Languages : en
Pages : 205

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A singer in an evening dress, a grand piano. A modest-sized audience, mostly well-dressed and silver-haired, equipped with translation booklets. A program consisting entirely of songs by one or two composers. This is the way of the Lieder recital these days. While it might seem that this style of performance is a long-standing tradition, German Song Onstage demonstrates that it is not. For much of the 19th century, the songs of Beethoven, Schubert, Schumann, and Brahms were heard in the home, salon, and, no less significantly, on the concert platform alongside orchestral and choral works. A dedicated program was rare, a dedicated audience even more so. The Lied was a genre with both more private and more public associations than is commonly recalled. The contributors to this volume explore a broad range of venues, singers, and audiences in distinct places and time periods—including the United States, the United Kingdom, Russia, and Germany—from the mid-19th century through the early 20th century. These historical case studies are set alongside reflections from a selection of today's leading musicians, offering insights on current Lied practices that will inform future generations of performers, scholars, and connoisseurs. Together these case studies unsettle narrow and elitist assumptions about what it meant and still means to present German song onstage by providing a transnational picture of historical Lieder performance, and opening up discussions about the relationship between history and performance today.

Author: Thomas S. Grey
Publisher: Princeton University Press
ISBN: 1400831784
Category : Music
Languages : en
Pages : 560

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Richard Wagner (1813-1883) aimed to be more than just a composer. He set out to redefine opera as a "total work of art" combining the highest aspirations of drama, poetry, the symphony, the visual arts, even religion and philosophy. Equally celebrated and vilified in his own time, Wagner continues to provoke debate today regarding his political legacy as well as his music and aesthetic theories. Wagner and His World examines his works in their intellectual and cultural contexts. Seven original essays investigate such topics as music drama in light of rituals of naming in the composer's works and the politics of genre; the role of leitmotif in Wagner's reception; the urge for extinction in Tristan und Isolde as psychology and symbol; Wagner as his own stage director; his conflicted relationship with pianist-composer Franz Liszt; the anti-French satire Eine Kapitulation in the context of the Franco-Prussian War; and responses of Jewish writers and musicians to Wagner's anti-Semitism. In addition to the editor, the contributors are Karol Berger, Leon Botstein, Lydia Goehr, Kenneth Hamilton, Katherine Syer, and Christian Thorau. This book also includes translations of essays, reviews, and memoirs by champions and detractors of Wagner; glimpses into his domestic sphere in Tribschen and Bayreuth; and all of Wagner's program notes to his own works. Introductions and annotations are provided by the editor and David Breckbill, Mary A. Cicora, James Deaville, Annegret Fauser, Steven Huebner, David Trippett, and Nicholas Vazsonyi.

Author: Marco Clemente Pellegrini
Publisher: Cambridge Scholars Publishing
ISBN: 144380083X
Category : Music
Languages : en
Pages : 610

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This Guide has resulted from years of research on the papers and music of Giacomo Meyerbeer, and aims to provide a bibliographical aid and point of reference for further research. The first part presents the private papers connected to the composer and his principal librettist, Eugène Scribe—both archival and printed, with working papers and correspondence, as found in Berlin, Paris and some of the famous libraries of the world. The body of Part 2 draws together all the known resources on Meyerbeer's life and historical reputation—from full scale biographies and entries in reference books, through critical discussions to website resources to records of symposia. The third part provides material about his background with its unique mixture of Jewish and Prussian elements, the powerful role of the city of Berlin in his life and work. The fourth part lists bibliographic material for Meyerbeer's music, looking at his operas, grouped as German, Italian and French, with each individual entry providing a record of the scores available, both modern and historical, the various arrangements made from the operas during the heyday of their popularity, reviews of modern performances, discography, and bibliography of studies and publications pertinent to the wider cultural and historical contexts of the works. The next two sections constitute an extended record of material pertinent to the contemporaries of Meyerbeer. In the fifth section are select bibliographies of composers, authors, artists, performers, politicians, those who played some part in the composer's life, or anyone of significance in his wider contemporary circumstances. This is continued in the sixth part where the cultural and aesthetic elements of the composer's milieu, or life in the theatre during seventy years of the nineteenth century, are listed. The seventh part adds a bibliography of social and historical background, where the incidental issues of Judaism in nineteenth-century Europe, and the wider political, historical and geographical circumstances of Meyerbeer's life, his relentless travelling, and closely recorded experiences in Germany, France, Italy, Belgium, England, and Austria. The eighth section provides a thematic key to this extensive material. Part 9 provides an extended tripartite series of lists of the published scores, arrangements and some special studies of Meyerbeer over the period 1820 to 2005—in alphabetical, chronological and thematic ordering. The last two sections furnish the modern equivalent of this record of Meyerbeer and his compositions, showing in Part 11 the list of performances of his operas since the Second World War, and in Part 12, listing the recordings of the operas, both commercial and private, for the same period. The thirteenth and last section is iconographical, pictures that represent an interesting survey of the popular response to Meyerbeer in the 19th century.

Author: Margaret Medlyn
Publisher: Routledge
ISBN: 0429999224
Category : Music
Languages : en
Pages : 249

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Embodying Voice: Singing Verdi, Singing Wagner articulates the process of developing an operatic voice, explaining how and why the training of such a voice is as complex and sophisticated as it is mysterious. This book illustrates how putting together a voice, embodying a sound, and creating a character are vital to an audience’s emotional involvement and enjoyment. Moreover, it addresses an imbalance of power between the opera director and the orchestra conductor – ultimately, it is the communicative power of the singer’s voice that brings life to an opera, a fact well known by Verdi and Wagner. Embodying Voice highlights the singer’s creative agency to be co-creator of the composer’s music. It explores the ways in which vocal performance is constructed and controlled, connecting layers of mind and bodily engagement that allow operatic singers to achieve expression beyond the text itself. Further reading, listening, and performance lists are provided at the end of each chapter, complemented by musical examples throughout.

Author: Hugh Chisholm
Publisher:
ISBN:
Category : Encyclopedias and dictionaries
Languages : en
Pages : 1116

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