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  • Inst. f. Musikforschung  (21)
  • Technikmuseum Berlin  (10)
  • SB Wriezen  (2)
  • Landeshauptarchiv Brandenburg  (1)
  • 1990-1994  (34)
Type of Medium
Language
Region
Library
Year
  • 1
    Book
    Book
    New York, NY ; Oxford :Oxford Univ. Press,
    UID:
    almafu_BV005587258
    Format: XVI, 506, [16] S. : , Ill. ; , 25 cm.
    ISBN: 0-19-506508-5
    Content: From 1922 until his death in 1954, Wilhelm Furtwangler was the foremost cultural music figure of the German-speaking world, conductor of both the Berlin and Vienna Philharmonic orchestras. But a cloud still hangs over his reputation, despite his undeniable brilliance as a musician, because of a fatal and tragic decision. Wilhelm Furtwangler remained in Germany when thousands of intellectuals and artists fled after the Nazis seized power in 1933. His decision to stay behind earned him lasting condemnation as a Nazi collaborator--"The Devil's Music Master." Decades after his death, Furtwangler remains for many not only the greatest but also the most controversial musical personality of our time. In The Devil's Music Master, Sam H. Shirakawa forges the first full-length and comprehensive biography of Furtwangler
    Content: He surveys Furtwangler's formative years as a difficult but brilliant prodigy, his rise to pre-eminence as Germany's leading conductor, and his development as a musician, composer, and thinker. Shirakawa also reviews the rich recorded legacy Furtwangler documented throughout his forty-year career--such as the legendary Tristan with Kirsten Flagstad and the famous performances of Beethoven's Ninth Symphony in 1942 and 1951. Equally important, Shirakawa goes backstage and behind the lines to explore how the Nazis seized control of the arts and how Furtwangler single-handedly tried to prevent such evil characters as Propaganda Minister Joseph Goebbels and Luftwaffe Chief Hermann Goring from annihilating Germany's musical life. He shows how Furtwangler, far from being a toady to the Nazis, stood up openly against Hitler and Himmler--at enormous personal risk--to salvage the musical traditions of Bach, Mozart, and Beethoven
    Content: Shirakawa also presents moving and overwhelming evidence of Furtwangler's astonishing efforts to save the lives of Jews and other persecuted individuals trapped in Nazi Germany--only to be proscribed at the end of the war and nearly framed as a war criminal. But there was more to Furtwangler than his politics, or even his music, and we come to know this extraordinary man as a reluctant composer, a prolific essayist and diary keeper, a loyal friend, a formidable enemy when crossed, and an incorrigible philanderer. Numerous musical luminaries share their memories of Furtwangler to round out this vivid portrait. Based on dozens of interviews and research in numerous documents, letters, and diaries, many of them previously unpublished, The Devil's Music Master is an in-depth look at the life and times of a unique personality whose fatal flaw lay in his uncompromising belief that music and art must be kept apart from politics, a conviction that transformed him into a tragic figure
    Note: Literaturangaben
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: 1886-1954 Furtwängler, Wilhelm ; 1886-1954 Furtwängler, Wilhelm ; Biografie ; Biographie ; Biografie ; Biografie ; Biografie ; Biografie
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  • 2
    Book
    Book
    New Haven [u.a.] :Yale University Press,
    UID:
    almafu_(DE-604)BV004398799
    Format: xviii, 251 Seiten.
    ISBN: 0-300-04705-3 , 0-300-05669-9
    Content: Confrontations between the powerless and the powerful are laden with deception - the powerless feign deference and the powerful subtly assert their mastery. Peasants, serfs, untouchables, slaves, labourers, and prisoners are not free to speak their minds in the presence of power. These subordinate groups instead create a secret discourse that represents a critique of power spoken behind the backs of the dominant. At the same time, the powerful also develop a private dialogue about practices and goals of their rule that cannot be openly avowed. In this book, the author, a social scientist, offers a discussion both of the public roles played by the powerful and powerless and the mocking, vengeful tone they display off stage - what he terms their public and hidden transcripts. Using examples from the literature, history, and politics of cultures around the world, the author examines the many guises this interaction has taken throughout history and the tensions and contradictions it reflects. The author describes the ideological resistance of subordinate groups - their gossip, folktales, songs, jokes, and theater - their use of anonymity and ambiguity. He also analyzes how ruling elites attempt to convey an impression of hegemony through such devices as parades, state ceremony, and rituals of subordination and apology. Finally he identifies - with quotations that range from the recollections of American slaves to those of Russian citizens during the beginnings of Gorbachev's glasnost campaign - the political electricity generated among oppressed groups when, for the first time, the hidden transcript is spoken directly and publicly in the face of power.
    Note: Contents: Frontmatter -- Contents -- Preface -- Acknowledgments -- Chapter One: Behind the Official Story -- Chapter Two: Domination, Acting, and Fantasy -- Chapter Three: The Public Transcript as a Respectable Performance -- Chapter Four: False Consciousness or Laying It on Thick? -- Chapter Five: Making Social Space for a Dissident Subculture -- Chapter Six: Voice under Domination: The Arts of Political Disguise -- Chapter Seven: The Infrapolitics of Subordinate Groups -- Chapter Eight: A Saturnalia of Power: The First Public Declaration of the Hidden Transcript -- Bibliography -- Index
    Language: English
    Subjects: Comparative Studies. Non-European Languages/Literatures , Sociology
    RVK:
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    RVK:
    Keywords: Gewaltloser Widerstand ; Gewalt ; Politik ; Widerstand
    Author information: Scott, James C. 1936-2024
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  • 3
    Book
    Book
    Cambridge [u.a.] :Cambridge Univ. Press,
    UID:
    almafu_BV009807998
    Format: XIV, 220 S. : , Notenbeisp.
    Edition: 1. publ.
    ISBN: 0-521-42012-1
    Series Statement: Cambridge studies in performance practice 3
    Content: Following the collapse of the Wilhelmine Empire in Germany, a new generation of artists found a fresh environment where they might flourish. Their optimism was accompanied by an equally powerful distrust of the immediate past, for post-romanticism, and ultimately expressionism, served as symbols of a bygone era. Composers, performers, and audiences alike sought to negate their recent post in various ways: by affirming modern technology (electronic or mechanical music, sound recordings, radio, and film), exploring music of a more remote past (principally Baroque music), and celebrating popular music (particularly jazz). The essays contained in this volume address these fundamental themes. Examining the way in which German music was performed, staged, programmed, and received in the 1920s not only offers deeper insights into Weimar culture itself but sheds light on our contemporary musical world.
    Note: Rez.: Richard-Strauss-Blätter 32 (1994), S. 134 - 136 (Sabine Kurth)
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: Weimarer Republik ; Musikalische Aufführungspraxis ; Musikalische Aufführungspraxis ; Aufsatzsammlung ; Aufsatzsammlung ; Aufsatzsammlung ; Aufsatzsammlung
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  • 4
    UID:
    almafu_BV010150450
    Format: XVI, 256 S. : Notenbeisp.
    ISBN: 0-19-816224-3
    Series Statement: Studies in musical genesis and structure
    Content: This study provides a new view of a composer long considered to be one of this century's most rigorously intellectual creators, Anton Webern. By examining a central pre-twelve-tone work, the Trakl cycle, Op. 14, in the context of the Viennese intellectual and artistic climate, Professor Shreffler shows how Webern's responses to Trakl's complex verse enabled him to expand his musical vocabulary. Her emphasis on Webern's compositional process is of particular importance: whether because of the anxiety of creating a new musical language, or because of an innate hyper-perfectionism (or both), Webern rejected most of what he composed. A close examination of the manuscript sources - fragments, sketches, and fair copies - of Webern's comparatively neglected middle-period lieder enables Shreffler to shed light on Webern's musical language and his working methods
    Content: A focus on the sources also helps to modify the view that his music progressed steadily in the direction of the twelve-tone technique. The works reveal instead a concern with expressing the essence of the text; this lyricism, rather than articulating a substantially different aesthetic from the later works, provides a better understanding of the consummate lyricism of all his music, however compressed or fragmented its utterance in the 'classic' twelve-tone works
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: 1883-1945 Webern, Anton ; Vertonung ; 1887-1914 Trakl, Georg ; Lyrik
    Author information: Shreffler, Anne C. 1957-
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  • 5
    UID:
    almahu_BV005099406
    Format: 618 S. : , Ill.
    ISBN: 0-931340-18-7
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: Belcanto ; Vokalmusik ; Schallplattenaufzeichnung ; Aufsatzsammlung ; Aufsatzsammlung
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  • 6
    Book
    Book
    Portland, Or. :Amadeus Press,
    UID:
    almahu_BV010096045
    Format: 376 S. : Ill.
    ISBN: 0-931340-69-1
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: 1886-1954 Furtwängler, Wilhelm ; 1886-1954 Furtwängler, Wilhelm ; Tonträger ; Biografie ; Verzeichnis ; Biografie
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  • 7
    Book
    Book
    Portland, Or. :Amadeus Press,
    UID:
    almahu_BV009700506
    Format: XIX, 398 S. : Ill.
    ISBN: 0-931340-63-2
    Content: This is a meticulously researched and superbly detailed biography of composer Jules Massenet, a musical prodigy who entered the Paris Conservatory at the age of ten in 1853 and was at the heart of Parisian musical life until his death in 1912. During his lifetime Massenet was one of the best known and most highly regarded musicians in all Europe. Although his works fell out of vogue for several decades after his death, the 1970s and 80s brought a renewal of interest in his work and a welcome series of new performances
    Content: Relying on primary sources for firsthand information, Irvine profiles the composer and draws a rich portrait of the fascinating era in which Massenet lived. The narrative begins in 1748 with the birth of Massenet's grandfather, details the composer's early years and family life, traces his educational career, and highlights important events in his life. This carefully documented biography of Massenet and his milieu is lively and readable, conveying a vivid sense of the life of a successful musician in the late nineteenth century. Along the way one meets numerous composers, conductors, singers, publishers, artists, writers, and critics - everyone who contributed to the exciting cultural ferment of the time
    Content: Massenet's Paris was the city of expositions, a magnet for artistic talent and innovative ideas. As Massenet composed his first operas, Cezanne, Degas, Monet, Renoir, and their compatriots were unveiling the new Impressionism; Bizet, Faure, Wagner, Offenbach, Debussy, and Saint-Saens were his musical contemporaries. Great operatic performers such as Sibyl Sanderson, Emma Calve, Mary Garden, Geraldine Farrar, and Feodor Chaliapin were eager to star in the premier of any new work by Massenet. The composer had many eminent students, including Gustave Charpentier, Lucien Hillemacher, and Reynaldo Hahn. In this period of extraordinary artistic vitality, Massenet was applauded by his arch-rival Saint-Saens as a "sparkling diamond" of French music. Alfred Bruneau and Claude Debussy penned tributes upon his death, and Saint-Saens memorably commented, "Massenet has been much imitated; he imitated no one.
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: 1842-1912 Massenet, Jules ; 1842-1912 Massenet, Jules ; Biografie ; Biografie
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  • 8
    UID:
    almahu_BV009849845
    Format: XIV, 337 S. : , Notenbeisp.
    ISBN: 0-226-31808-7
    Content: In this ground-breaking exploration of late nineteenth-century music and music theory, Daniel Harrison illuminates the structure and idioms of highly chromatic music, long resistant to investigation. Reanimating Hugo Riemann's notion of harmonic function Harrison explores the technical bases of post-Wagnerian harmony and ideas ancillary to it. He engages the work of Brahms, Franck, Strauss, Mahler, Reger, Busoni, and Wolf, creating new analytical methods to penetrate their harmonic complexities
    Content: Applicable on a wide scale not only to this repertory, Harrison's lucid explications of abstract theoretical concepts provide new insights into the workings of tonal systems in general
    Content: One of Harrison's central innovations is his reconstruction of the notion of harmony. Harrison understands harmonic power to flow not from chords as such but from the constituents of chords, reckoned for the most part as scale degrees of a key. This approach allows the analyst access to any harmonic formation, not just to one recognized either by convention or by consequence of a theoretical system
    Language: English
    Subjects: Musicology
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    Keywords: Romantik ; Musik ; Harmonik ; Harmonik ; Chromatik ; Chromatik ; Harmonik
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  • 9
    Book
    Book
    Oxford :Clarendon Press,
    UID:
    almafu_BV010443614
    Format: XIV, 473 S. : Notenbeisp.
    ISBN: 0-19-816169-7
    Content: The history of tempo rubato ('stolen time') is as old as music itself. Composers and performers sometimes alter the expected rhythm or tempo in order to enhance the expressive power of the music. The technique has been variously described by theorists and composers as 'an honest theft', 'a pernicious nuisance', even 'seductive' (by Franz Liszt), yet it remains integral to the performance and history of music
    Content: Professor Hudson's book is the first to present the complex history of this device. He identifies and traces the development of two main types of rubato: an earlier one in which note values in a melody are altered while the accompaniment keeps strict time, and a later, more familiar one in which the tempo of the entire musical substance fluctuates. In the course of his narrative he ranges widely over Western music, from Gregorian Chant to Chopin, from C. P. E. Bach to jazz, quoting extensively from the writings of theorists, composers, and performers. In so doing he not only suggests new ways of approaching rubato in the music of nineteenth-century composers such as Chopin and Liszt, where we expect to encounter the term, but also illuminates the music of earlier and later periods, revealing its use even in the music of that most metronomic of composers, Stravinsky. As such his book will be of wide interest and of particular relevance to performers
    Content: The text is illustrated throughout by nearly 140 music examples and a number of illustrations
    Language: English
    Subjects: Musicology
    RVK:
    Keywords: Tempo rubato ; Geschichte
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  • 10
    Book
    Book
    Cambridge, Mass. u.a. :Harvard Univ. Press,
    UID:
    almahu_BV005799144
    Format: 237 S.
    ISBN: 0-674-95602-8
    Series Statement: Studies in the history of music 4
    Language: German
    Subjects: Musicology
    RVK:
    Keywords: Musikalische Form ; Metapher ; Figurenlehre ; Aufsatzsammlung ; Aufsatzsammlung
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