Louis Spohr

After Spohr's death , his memoirs were edited , amplified to cover the years 1838 to 1859 , and published by his family under the title Louis Spohr's Selbstbiographie ( 2 vols . , Kassel and Göttingen 1860-1 ) .

Author: Clive Brown

Publisher: Cambridge University Press

ISBN: 0521029058

Category: Biography & Autobiography

Page: 380

View: 212


The life and works of the once renowned nineteenth-century composer who is now largely overlooked.

Beethoven Impressions by His Contemporaries

LOUIS SPOHR (1812-1816) The impressions of Beethoven which Spohr recorded in his autography belong to the most vivid we possess. Louis Spohr (1784-1859) frankly confessed his inability to comprehend Beethoven's music of the last period.

Author: Oscar Sonneck

Publisher: Rare Treasure Editions

ISBN: 9781774643266

Category: Music


View: 231


Beethoven's eating habits, his growing deafness and ill-health, his tendency to be suspicious of friends, his daily schedule of work, his famous contempt for etiquette, his daily walks in all weathers, his brilliant abilities as composer and conductor - all these traits and characteristics are described in this book by contemporary friends and acquaintances of the great master. This compilation contains the most interesting, evocative, and amusing sections of letters, diaries, memoirs, etc. describing Beethoven. There are notes on the young Beethoven by his father's landlord, by young Beethoven's piano teacher, by admiring friends, by such musical giants as Rossini, Weber, and Liszt, by the poet Goethe, and by many others. The book is illustrated with sixteen portraits of Beethoven. Arranged chronologically, this engrossing collection presents a remarkably full and convincing picture of Beethoven and his time.

Chamber Music

The present commentary on the life and works of Prince Louis Ferdinand is based in part on my jacket notes for that recording. 5. Spohr's account in his Selbstbiographie von Louis Spohr (Kassel: Georg H. Wigand, 1860) ended in June 1838 ...

Author: Mark A. Radice

Publisher: University of Michigan Press

ISBN: 9780472051656

Category: Music

Page: 375

View: 116


A thorough overview and history of chamber music

Chamber Music

Spohr's style is characterized by " seamless legato and the prolongation of linear strands of string sound ... chromatic appoggiaturas .... " Spohr looks both forward and backward in his compositions . 1875. Kahl , Willi . " Louis Spohr ...

Author: John H. Baron

Publisher: Psychology Press

ISBN: 0415937361

Category: Music

Page: 656

View: 191


The Clarinet in the Classical Period

Concertos of Louis Spohr,” 72, 126; Brown, “Louis Spohr, Worklist,” in Sadie, New Grove, 2d ed. 204. Spohr, Lebenserinnerungen, vol. 1, 121–22; trans. and cited in Johnston, “The Clarinet Concertos of Louis Spohr,” 52–53, 132. 205.

Author: Albert R. Rice

Publisher: Oxford University Press on Demand

ISBN: 9780195342994

Category: Music

Page: 336

View: 121


A comprehensive study of the clarinet in use through the classical period, 1760 to 1830, a period of intensive musical experimentation. The book provides a detailed review and analysis of construction, design, materials, and makers of clarinets. Rice also explores how clarinet construction and performance practice developed in tandem with the musical styles of the period.

Structural Novelty and Tradition in the Early Romantic Piano Concerto

47 Louis Spohr : Concerto no . 8 in A Minor. ginning of the second ritornello . The opening of the development replays this bold juxtaposition , abruptly stepping from Ab minor at the end of the second ritornello ( m .

Author: Stephan D. Lindeman

Publisher: Pendragon Press

ISBN: 1576470008

Category: Music

Page: 348

View: 893


In the early nineteenth century, seven composers experimented with the design of the piano concerto at roughly the same time. Two mature figures - Johann Baptist Cramer and Carl Maria von Weber - and five young firebrands - Felix Mendelssohn, Valentin Alkan, Clara Wieck, Robert Schumann and Franz Liszt - probed the possibilities and challenged the traditions of the genre regarded as problematic, and even anachronistic by the 1830s. Lindeman considers each composer's approach to concerto form in a lucid and engaging account. He then pairs this with an analysis of their concertos, including a combination of LaRue timelines and Schenkerian techniques that is logical and insightful. A different perspective is seen in the reviews of Robert Schumann in his Neue Zeietschrift für Musik. The critic's profound dismay with the state of the noble genre is apparent in his reviews of concertos by the Parisian virtuoisi, which he regarded with particular disdain. Lindeman's overview reveals that Schumann's criticism offers a touchstone for the reformulation of the genre in the experimental works of the seven composers. Lindeman's book includes measure-by-measure timeline analyses of the first movements of over 100 concertos. Included are all those of Mozart, Cramer, Beethoven, Hummel, Weber, Field, Moscheles, Alkan, Chopin, Mendelssohn, Wieck, Schumann, and Liszt, plus examples by Sterndale Bennett, Boiëldieu, Burgmüller, Czerny, Dussek, Ries, and Steibelt. Structural Novelty and Tradition in the Early Romantic Piano Concerto offers the first detailed examination of a critical time in the development of the form. It is an indispensable reference tool for anyone interested in the piano concerto genre.

The Art of Bowing of Ludwig Spohr

S.v. " Spohr , Louis , " Hauptmann , Moritz . The Letters of a Leipzig Cantor : Being the Letters of Moritz Hauptmann to Franz Hauser , Ludwig Spohr , and Other Musicians . Translated by A. D. Coleridge .

Author: Roberta Denise Chevalier


ISBN: STANFORD:36105042416128

Category: Violin music

Page: 172

View: 425


Mendelssohn in Performance

Louis Spohr, Lebenserinnerungen, ed. Folker Göthel (Tutzing: H. Schneider, 1968),1:43. 12. Romberg, 109. 13. G. C. F. Lobedanz, “Gibt es in der Musik, wie in der Malerey, verschiedene Schulen,und wie wären solche wohl zu bestimmen?

Author: Siegwart Reichwald

Publisher: Indiana University Press

ISBN: 9780253002617

Category: Music

Page: 272

View: 140


Exploring many aspects of Felix Mendelssohn's multi-faceted career as musician and how it intersects with his work as composer, contributors discuss practical issues of music making such as performance space, instruments, tempo markings, dynamics, phrasings, articulations, fingerings, and instrument techniques. They present the conceptual and ideological underpinnings of Mendelssohn's approach to performance, interpretation, and composing through the contextualization of specific performance events and through the theoretic actualization of performances of specific works. Contributors rely on manuscripts, marked or edited scores, and performance parts to convey a deeper understanding of musical expression in 19th-century Germany. This study of Mendelssohn's work as conductor, pianist, organist, violist, accompanist, music director, and editor of old and new music offers valuable perspectives on 19th-century performance practice issues.

Notes for Clarinetists

Louis Spohr, Concerto for Clarinet and Orchestra, op. 26 Date of composition: 1808 First edition/modern editions: Louis Spohr, Premier Concerto pour la Clarinette, Leipzig: A. Kühnel, 1812; Louis Spohr, Orchester, op. 26, ed.

Author: Albert R. Rice

Publisher: Oxford University Press

ISBN: 9780190205201

Category: Clarinet music

Page: 328

View: 103


Notes for Clarinetists: A Guide to the Repertoire offers important historical and analytical information about thirty-five of the best-known pieces written for the instrument. Numerous contextual and theoretical insights make it an essential resource for professional, amateur, and student clarinetists. With engaging prose supported by fact-filled analytical charts, the book offers rich biographical information and informative analyses to help clarinetists gain a more complete understanding of Three Pieces for Clarinet Solo by Igor Stravinsky, Aaron Copland's Concerto for Clarinet, String Orchestra, Harp, and Piano, Robert Schumann's Fantasy Pieces for Clarinet and Piano, Op. 73. and Time Pieces for Clarinet and Piano, Op. 43. by Robert Muczynski, among many others. With close attention to matters of context, style, and harmonic and formal analysis, Albert Rice explores a significant portion of the repertoire, and offers a faithful and comprehensive guide that includes works by Boulez, Brahms, and Mozart to Hindemith, Poulenc, and Stamitz. Rice includes biographical information on each composer and highlights history's impact on the creation and performance of important works for clarinet. Intended as a starting point for connecting performance studies with scholarship, Rice's analysis will help clarinetists gain a more complete picture of a given work. Its valuable insights make it essential to musicians preparing and presenting programs, and its detailed historical information about the work and composer will encourage readers to explore other works in a similarly analytical way. Covering concertos, chamber pieces, and works for solo clarinet, Rice presents Notes for Clarinetists as an indispensable handbook for students and professionals alike.

The Origins and Ascendancy of the Concert Mass

37 Ferris (2006 [1891]), 'Cherubini and His Predecessors', Section VII. 38 Fétis (1884), Cherubini. As translated and cited in Mongrédien (1996), French Music, 170. 39 Louis Spohr, Selbstbiographie.

Author: Stephanie Rocke

Publisher: Routledge

ISBN: 9781000300192

Category: Music

Page: 222

View: 268


The mass is an extraordinary musical form. Whereas other Western art music genres from medieval times have fallen out of favour, the mass has not merely survived but flourished. A variety of historical forces within religious, secular, and musical arenas saw the mass expand well beyond its origins as a cycle of medieval chants, become concertised and ultimately bifurcate. Even as Western societies moved away from their Christian origins to become the religiously plural and politically secular societies of today, and the Church itself moved in favour of congregational singing, composers continued to compose masses. By the early twentieth century two forms of mass existed: the liturgical mass composed for church services, and the concert mass composed for secular venues. Spanning two millennia, The Origins and Ascendancy of the Concert Mass outlines the origins and meanings of the liturgical texts, defines the concert mass, explains how and why the split occurred, and provides examples that demonstrate composers’ gradual appropriation of the genre as a vehicle for personal expression on serious issues. By the end of the twentieth century the concert mass had become a repository for an eclectic range of theological and political ideas.