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| kreisleriana hoffmann: Schumann's Music and E. T. A. Hoffmann's Fiction John MacAuslan, 2019-01-24 Four of Schumann's great masterpieces of the 1830s - Carnaval, Fantasiestücke, Kreisleriana and Nachtstücke - are connected to the fiction of E. T. A. Hoffmann. In this book, John MacAuslan traces Schumann's stylistic shifts during this period to offer insights into the expressive musical patterns that give shape, energy and individuality to each work. MacAuslan also relates the works to Schumann's reception of Bach, Beethoven, Novalis and Jean Paul, and focuses on primary sources in his wide-ranging discussion of the broader intellectual and aesthetic contexts. Uncovering lines of influence from Schumann's reading to his writings, and reflecting on how the aesthetic concepts involved might be used today, this book transforms the way Schumann's music and its literary connections can be understood and will be essential reading for musicologists, performers and listeners with an interest in Schumann, early nineteenth-century music and German Romantic culture. |
| kreisleriana hoffmann: E. T. A. Hoffmann's Musical Writings E. T. A. Hoffmann, 1989-11-16 This book contains the first complete translation in English of E. T. A. Hoffmann's major musical writings, complementing the well-known Tales. It offers, therefore, a long-awaited opportunity to assess the thought and influence of one of the most famous of all writers on music and the musical links with his fiction. Containing the first complete appearance in English of Kreisleriana, it reveals a masterpiece of imaginative writing whose title is familiar to musicians (from Robert Schumann's piano cycle) and whose profound humour and irony can now be fully appreciated. This volume offers translations aiming at the greatest fidelity to Hoffmann, as well as musical accuracy in the reviews. David Charlton's three introductory essays provide extensive information on the background to Romantic music criticism; on the origins and internal structure of Kreisleriana; and on Hoffmann and opera. A concluding essay by the late Friedrich Schnapp lists Hoffmann's planned reviews and those mistakenly attributed to him. |
| kreisleriana hoffmann: E.T.A. Hoffmann's Musical Aesthetics Abigail Chantler, 2017-07-05 Whilst E.T.A. Hoffmann (1776-1822) is most widely known as the author of fantastic tales, he was also prolific as a music critic, productive as a composer, and active as a conductor. This book examines Hoffmann's aesthetic thought within the broader context of the history of ideas of the late-eighteenth and early-nineteenth centuries, and explores the relationship between his musical aesthetics and compositional practice. The first three chapters consider his ideas about creativity and aesthetic appreciation in relation to the thought of other German romantic theorists, discussing the central tenets of his musical aesthetic - the idea of a 'religion of art', of the composer as a 'genius', and the listener as a 'passive genius'. In particular the relationship between the multifaceted thought of Hoffmann and Friedrich Schleiermacher is explored, providing some insight into the way in which diverse intellectual traditions converged in early-nineteenth-century Germany. In the second half of the book, Hoffmann's dialectical view of music history and his conception of romantic opera are discussed in relation to his activities as a composer, with reference to his instrumental music and his two mature, large-scale operas, Aurora and Undine. The author also addresses broader issues pertaining to the ideological and historical significance of Hoffmann's musical and literary oeuvre. |
| kreisleriana hoffmann: Schumann Eric Frederick Jensen, 2012-02-13 Robert Schumann is one of the most intriguing-and enigmatic-composers of the nineteenth century. Extraordinarily gifted in both music and literature, many of his compositions were inspired by poetry and novels. For much of his life he was better known as a music critic than as a composer. But whether writing as critic or composer, what he produced was created by him as a reflection of his often turbulent life. Best known was the tempestuous courtship of his future wife, the pianist Clara Wieck. Though marriage and family life seemed to provide a sense of constancy, he increasingly experienced periods of depression and instability. Mounting criticism of his performance as music director at Dusseldorf led to his attempted suicide in 1854. Schumann was voluntarily committed to an insane asylum near Bonn where, despite indications of improvement and dissatisfaction with his treatment, he spent the final two years of his life. Drawing on original research and newly published letters and journals from the time, author Eric Frederick Jensen presents a balanced portrait of the composer with both scholarly authority and engaging clarity. Biographical chapters alternate with discussion of Schumann's piano, chamber, choral, symphonic, and operatic works, demonstrating how the circumstances of his life helped shape the music he wrote. Chronicling the romance of Robert and Clara, Jensen offers a nuanced look at the evolution of their relationship, one that changed dramatically after marriage. He also follows Schumann's creative musical criticism, which championed the burgeoning careers of Chopin, Liszt, and Brahms and challenged the musical tastes of Europe. |
| kreisleriana hoffmann: Offenbach's the Tales of Hoffmann (les Contes D'Hoffmann) Burton D. Fisher, 2001-08-15 |
| kreisleriana hoffmann: Robert Schumann John Daverio, 1997-04-10 Forced by a hand injury to abandon a career as a pianist, Robert Schumann went on to become one of the world's great composers. Among many works, his Spring Symphony (1841), Piano Concerto in A Minor (1841/1845), and the Third, or Rhenish, Symphony (1850) exemplify his infusion of classical forms with intense, personal emotion. His musical influence continues today and has inspired many other famous composers in the century since his death. Indeed Brahms, in a letter of January 1873, wrote: The remembrance of Schumann is sacred to me. I will always take this noble pure artist as my model. Now, in Robert Schumann: Herald of a New Poetic Age, John Daverio presents the first comprehensive study of the composer's life and works to appear in nearly a century. Long regarded as a quintessentially romantic figure, Schumann also has been portrayed as a profoundly tragic one: a composer who began his career as a genius and ended it as a mere talent. Daverio takes issue with this Schumann myth, arguing instead that the composer's entire creative life was guided by the desire to imbue music with the intellectual substance of literature. A close analysis of the interdependence among Schumann's activities as reader, diarist, critic, and musician reveals the depth of his literary sensibility. Drawing on documents only recently brought to light, the author also provides a fresh outlook on the relationship between Schumann's mental illness--which brought on an extended sanitarium stay and eventual death in 1856--and his musical creativity. Schumann's character as man and artist thus emerges in all its complexity. The book concludes with an analysis of the late works and a postlude on Schumann's influence on successors from Brahms to Berg. This well-researched study of Schumann interprets the composer's creative legacy in the context of his life and times, combining nineteenth-century cultural and intellectual history with a fascinating analysis of the works themselves. |
| kreisleriana hoffmann: Music and Fantasy in the Age of Berlioz Francesca Brittan, 2017-09-14 The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological heterodoxy, and the advent of 'radical' romanticism. |
| kreisleriana hoffmann: Enchantment Jean Starobinski, 2008 This book examines some figures of seduction as they have appeared over the course of opera's history. --introd. |
| kreisleriana hoffmann: Music and Transcendence Ferdia J. Stone-Davis, 2016-03-03 Music and Transcendence explores the ways in which music relates to transcendence by bringing together the disciplines of musicology, philosophy and theology, thereby uncovering congruencies between them that have often been obscured. Music has the capacity to take one outside of oneself and place one in relation to that which is ’other’. This ’other’ can be conceived in an ’absolute’ sense, insofar as music can be thought to place the self in relation to a divine ’other’ beyond the human frame of existence. However, the ’other’ can equally well be conceived in an ’immanent’ (or secular) sense, as music is a human activity that relates to other cultural practices. Music here places the self in relation to other people and to the world more generally, shaping how the world is understood, without any reference to a God or gods. The book examines how music has not only played a significant role in many philosophical and theological accounts of the nature of existence and the self, but also provides a valuable resource for the creation of meaning on a day-to-day basis. |
| kreisleriana hoffmann: Musical Sincerity and Transcendence in Film Timothy B. Cochran, 2021-08-16 Musical Sincerity and Transcendence in Film focuses on the ways filmmakers treat music reflexively—that is, draw attention to what it is and what it can do. Examining a wide range of movies from recent decades including examples from Indiewood, teen film, and blockbuster cinema, the book explores two recurring ideas about music implied by foregrounded musical activity on screen: that music can be a potent means of sincere expression and genuine human connection and that music can enable transcendence of disenchantment and the mundane. As an historical musicologist, Timothy Cochran explores these assumptions through analysis of musical style, aesthetic implications, and narrative strategy while treating the ideas as historically-grounded and culturally-situated with conceptual origins often lying outside of film. The book covers eclectic critical terrain to highlight various layers of musical sincerity and transcendence in film, including the nineteenth-century aesthetics of E.T.A. Hoffmann, David Foster Wallace’s literary resistance to irony (sometimes called the New Sincerity), strategies of self-revelation in singer-songwriter repertoires, Lionel Trilling’s distinction between sincerity and authenticity, theories of play, David Nye’s notion of the American technological sublime, and Svetlana Boym’s writings on nostalgia. These lenses reveal that film is a way of perpetuating, revising, and critiquing ideas about music and that music in film is a potent means of exploring broader social, emotional, and spiritual desires. |
| kreisleriana hoffmann: The Two Cultures: Shared Problems Ernesto Carafoli, Gian Antonio Danieli, Giuseppe O. Longo, 2010-06-28 The aim of the book is to encourage an in-depth discussion of problems of fundamental importance that are common to the two cultures, but that are traditionally seen from different perspectives. The forum will bring together scientists, philosophers, humanists, musicians with the aim of fostering comprehension of problems that have traditionally troubled humankind, and establish more fertile grounds for the communication between the two cultures. The themes of the contributions are the followings: the concept of time, infinity, the concept and meaning of nothingness, numbers, intelligence and the human mind, basic mechanisms in the production of thought and of artistic creation, the relationship between artistic and scientific creativity. |
| kreisleriana hoffmann: Diseases of the Head Matt Rosen, 2020 Diseases of the Head is an anthology of essays from contemporary philosophers, artists, and writers working at the crossroads of speculative philosophy and speculative horror. At once a compendium of multivocal endeavors, a breviary of supposedly illicit ponderings, and a travelogue of philosophical exploration, this collection centers itself on the place at which philosophy and horror meet. Employing rigorous analysis, incisive experimentation, and novel invention, this anthology asks about the use that speculation can make of horror and horror of speculation, about whether philosophy is fictional or fiction philosophical, and about the relationship between horror, the exigencies of our world and time, and the future developments that may await us in philosophy itself. From philosophers working on horrific themes, to horror writers influenced by heresies in the wake of post-Kantianism, to artists engaged in projects that address monstrosity and alienation, Diseases of the Head aims at nothing less than a speculative coup d'état. Refusing both total negation and absolute affirmation, refusing to deny everything or account for everything, refusing the posture of critique and the posture of all-encompassing unification, this collection of essays aims at exposition and construction, analysis and creation - it desires to fight for some thing, but not everything, and not nothing. And it desires, most of all, to speak from the position of its own insufficiency, its own partiality, its own under-determinacy, which is always indicative of the practice of thinking, of speculation. Considering themes of anonymity, otherness and alterity, the gothic, extinction and the world without us, the end times, the apocalypse, the ancient and the world before us, and the uncanny or unheimlich, among other motifs, this anthology seeks to articulate the cutting edge which can be found at the intersection of speculative philosophy and speculative horror. |
| kreisleriana hoffmann: 1001 Classical Recordings You Must Hear Before You Die Matthew Rye, Steven Isserlis, 2017-10-24 A thick and informative guide to the world of classical music and its stunning recordings, complete with images from CD cases, concert halls, and of the musicians themselves. |
| kreisleriana hoffmann: George Eliot and Europe John Rignall, 2016-12-05 This book is based on a conference held in Warwick in July 1995. It is a collection of essays which explore various aspects of George Eliot's relation to the literature and culture of Continental Europe. The essays range widely over the novelist's life and work, examining her Journals and Impressions of Theophratus Such as well as her novels, and focusing on different countries and cultures, including not only France, Germany and Italy, but also Holland and Spain. Some essays examine the complex general issues of language and culture raised in her work, while others concentrate on her response to specific European writers and texts. There are investigations of intertextualities and possibilities of influence, as well as contextual discussions and comparative readings of her novels alongside works by European writers. The overall effect is to illuminate her writing by setting it in the wider European context which, with her knowledge of languages, her travels and her extraordinary wide reading, she knew so well. |
| kreisleriana hoffmann: "Art, History and the Senses " Gabriel Koureas, 2017-07-05 Should sight trump the other four senses when experiencing and evaluating art? Art, History and the Senses: 1830 to the Present questions whether the authority of the visual in 'visual culture' should be deconstructed, and focuses on the roles of touch, taste, smell, and sound in the materiality of works of art. From the nineteenth century onward, notions of synaesthesia and the multi-sensorial were important to a series of art movements from Symbolism to Futurism and Installations. The essays in this collection evaluate works of art at specific moments in their history, and consider how senses other than the visual have (or have not) affected the works' meaning. The result is a re-evaluation of sensory knowledge and experience in the arts, encouraging a new level of engagement with ideas of style and form. |
| kreisleriana hoffmann: Journal Philadelphia Orchestra, 1923 |
| kreisleriana hoffmann: Beethoven after Napoleon Stephen Rumph, 2004-08-15 In this provocative analysis of Beethoven's late style, Stephen Rumph demonstrates how deeply political events shaped the composer's music, from his early enthusiasm for the French Revolution to his later entrenchment during the Napoleonic era. Impressive in its breadth of research as well as for its devotion to interdisciplinary work in music history, Beethoven after Napoleon challenges accepted views by illustrating the influence of German Romantic political thought in the formation of the artist's mature style. Beethoven's political views, Rumph argues, were not quite as liberal as many have assumed. While scholars agree that the works of the Napoleonic era such as the Eroica Symphony or Fidelio embody enlightened, revolutionary ideals of progress, freedom, and humanism, Beethoven's later works have attracted less political commentary. Rumph contends that the later works show clear affinities with a native German ideology that exalted history, religion, and the organic totality of state and society. He claims that as the Napoleonic Wars plunged Europe into political and economic turmoil, Beethoven's growing antipathy to the French mirrored the experience of his Romantic contemporaries. Rumph maintains that Beethoven's turn inward is no pessimistic retreat but a positive affirmation of new conservative ideals. |
| kreisleriana hoffmann: Tarr Wyndham Lewis, 2010-09-09 'The nearest the general run get to art is Action: sex is their form of art: the battle for existence is their picture.' Tarr tells the blackly comic story of the lives and loves of two artists, played out against the backdrop of Paris before the start of the First World War - the English enfant terrible Frederick Tarr, and the middle-aged German Otto Kreisler, a failed painter who finds himself in a widening spiral of militaristic self-destruction. When both become interested in the same two women - Bertha Lunken, a conventional German, and Anastasya Vasek, the ultra-modern international devotee of 'swagger sex' - Wyndham Lewis sets the stage for a scathing satire of national and social pretensions, the fraught relationship between men and women, and the incompatibilities of art and life. In his introduction and notes Scott W. Klein explores Lewis's stylistic experimentation within the context of avant-garde movements in painting, and offers new insights into Tarr as a work of mordent wit and enduringly ferocious irony. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. |
| kreisleriana hoffmann: Music, Modernity, and God Jeremy Begbie, 2013 Jeremy Begbie explores how the practices of music and the discourses it has generated bear witness to some of the pivotal theological currents and counter-currents shaping modernity. Begbie argues that music is capable of yielding highly effective ways of addressing some of the more intractable theological problems and dilemmas of modernity. |
| kreisleriana hoffmann: Silence and Absence in Literature and Music , 2016-04-08 This volume focusses on the rarely discussed reverse side of traditional, ‘given’ objects of studies, namely absence rather than presence (of text) and silence rather than sound. It does so from the bifocal and interdisciplinary perspective which is a hallmark of the book series Word and Music Studies. The twelve contributors to the main subject of this volume approach it from various systematic and historical angles and cover, among others, questions such as to what extent absence can become significant in the first place or iconic (silent) functions of musical scores, as well as discussions of fields ranging from baroque opera to John Cage’s 4’33’’. The volume is complemented by two contributions dedicated to further surveying the vast field of word and music studies. The essays collected here were originally presented at the Ninth International Conference on Word and Music Studies held at London University in August 2013 and organised by the International Association for Word and Music Studies. They are of relevance to scholars and students of literature, music and intermediality studies as well as to readers generally interested in phenomena of absence and silence. |
| kreisleriana hoffmann: At the Crossroads of the Senses Polina Dimova, 2025-03-04 Inspired by Richard Wagner’s idea of the total artwork, European modernist artists began to pursue multimedia projects that mixed colors, sounds, and shapes. Polina Dimova’s At the Crossroads of the Senses traces this new sensory experience of synaesthesia—the physiological or figurative blending of senses—as a modernist phenomenon from its scientific description in the late nineteenth century to its prevalence in the early twentieth. Structured around twenty theses on synaesthesia, this book explores the integral relationship between modernist art, science, and technology, tracing not only how modernist artists perceptually internalized and absorbed technology and its effects but also how they appropriated it to achieve their own aesthetic, metaphysical, and social goals. Through case studies of prominent multimodal artists—Oscar Wilde, Aubrey Beardsley, Richard Strauss, Aleksandr Scriabin, Wassily Kandinsky, František Kupka, Andrei Bely, and Rainer Maria Rilke—At the Crossroads of the Senses reveals the color-forms and color-sounds that, for these artists, laid the foundations of the world and served as the catalyst for the flourishing exchanges among the arts at the fin de siècle. Rooted in archival research in Russia, Germany, France, and the Czech Republic, At the Crossroads of the Senses taps overlooked scientific sources to offer a fresh perspective on European modernism. Sensory studies scholars, literary critics, and art and music historians alike will welcome its many contributions, not least among them a refreshing advocacy for a kind of sensuous reading practice. |
| kreisleriana hoffmann: Schumann John C. Tibbetts, 2010 Schumann - A Chorus of Voices is a Hal Leonard publication. |
| kreisleriana hoffmann: Music's Fourth Wall and the Rise of Reflective Listening Cary C Boshamer Distinguished Professor of Music Emeritus Mark Evan Bonds, Mark Evan Bonds, 2025 Music's Fourth Wall and the Rise of Reflective Listening examines fundamental changes in concert-hall listening since the Enlightenment, with an emphasis on changing assumptions about the very act of listening itself. Author Mark Evan Bonds shows how reflective--distanced--listening, previously limited to professional musicians and connoisseurs, ousted the earlier ideal of resonant--self-forgetful--listening. And for better or worse, it is the ideal of reflective listening that has prevailed ever since. |
| kreisleriana hoffmann: Schumann's Piano Cycles and the Novels of Jean Paul Erika Reiman, 2004 A study on the influence which the German novelist Jean Paul Friedrich Richter had upon Robert Schumann's music. |
| kreisleriana hoffmann: The French Review James Frederick Mason, Hélène Harvitt, 1973 |
| kreisleriana hoffmann: Reader's Guide to Music Murray Steib, 2013-12-02 The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology). |
| kreisleriana hoffmann: Musical News and Herald , 1923 |
| kreisleriana hoffmann: Sounding Values Scott Burnham, 2017-05-15 For several decades, Scott Burnham has sought to bring a ready ear and plenty of humanistic warmth to musicological inquiry. Sounding Values features eighteen of his essays on mainstream Western music, music theory, aesthetics and criticism. In these writings, Burnham listens for the values-aesthetic, ethical, intellectual-of those who have created influential discourse about music, while also listening for the values of the music for which that discourse has been generated. The first half of the volume confronts pressing issues of historical theory and aesthetics, including intellectual models of tonal theory, leading concepts of sonata form, translations of music into poetic meaning, and recent rifts and rapprochements between criticism and analysis. The essays in the second half can be read as a series of critical appreciations, engaging some of the most consequential reception tropes of the past two centuries: Haydn and humor, Mozart and beauty, Beethoven and the sublime, Schubert and memory. |
| kreisleriana hoffmann: Eye hEar The Visual in Music Simon Shaw-Miller, 2017-07-05 'Eye hEar The Visual in Music' employs the concept of the visual in proximate relation to music, producing a tension: 'is it not the case that there is a gulf between painting and music, between the visible and the audible? One is full of colour and light yet silent; one is invisible and marvellously noisy.' Such a belief, this book argues, betrays an ideological constraint on music, desiccating it to sound, and art to vision. The starting point of this study is more hybrid (and hydrating): that music is never employed without numerous and complex intersections with the visual. By involving the concept of synaesthesia, the book evokes music?s multi-sensory nature, stops it from sounding alone, and offers music as a subject for art historians. Music bleeds into art and visuality, in its graphic depiction in notation, in the theatre of performance, its sights and sites. This book looks at music in its absolute guise as a model for art; at notation and the conductor as the silent visual fulcra around which music circulates; at the music and image of Erik Satie; at the concert hall as white cube; at the symphonic film '2001: A Space Odyssey'; and at the liminality of John Cage and Andy Warhol. |
| kreisleriana hoffmann: The Figure of the Musician in German Literature George C. Schoolfield, 2020-05-01 This survey of the literary treatment of musicians in German novels and novellas begins with the Romantics and ends with the publication of Thomas Mann’s Doktor Faustus. Schoolfield explores the work of a large selection of writers, including Hoffmann, Tieck, Kleist, Brentano, Grillparzer, Werfel and Hesse among many others. Through these works he tracks the progression of the figure of the musician as professional, artist, genius, composer, and pedagogue and how the pursuit of their art is interpreted by major literary movements. |
| kreisleriana hoffmann: Readers' Guide to Periodical Literature Anna Lorraine Guthrie, Bertha Tannehill, Neltje Marie Tannehill Shimer, 1919 |
| kreisleriana hoffmann: Beethoven's Letters Ludwig van Beethoven, 1909 |
| kreisleriana hoffmann: The National Union Catalog, Pre-1956 Imprints Library of Congress, American Library Association. Committee on Resources of American Libraries. National Union Catalog Subcommittee, 1973 |
| kreisleriana hoffmann: The Oxford History of Music... William Henry Hadow, 1905 |
| kreisleriana hoffmann: The Romantic Period Edward Dannreuther, 1905 |
| kreisleriana hoffmann: Bulletin of the Public Library of the City of Boston ... Boston Public Library, 1914 |
| kreisleriana hoffmann: Bulletin [1908-23] Boston Public Library, 1914 |
| kreisleriana hoffmann: Encyclopedia of Literary Translation Into English: A-L O. Classe, 2000 |
| kreisleriana hoffmann: The Literature of German Romanticism Dennis F. Mahoney, 2004 Sharply focused essays on the most significant aspects of German Romanticism. This volume of sharply focused essays by an international team of scholars deals not only with the most significant literary, philosophical, and cultural aspects of German Romanticism -- one of the most influential, albeit highlycontroversial movements in the history of German literature -- but also with the history and status of scholarship on the literature of the period. The introduction and first section establish an overall framework by placing German Romanticism within a European context that includes its English counterpart. Goethe and Schiller are considered, as are the Jena Romantics. The second section is organized according to the traditional distinctions between epic,dramatic, and lyric modes of writing, while realizing that particularly in the Romantic novel, there was an attempt to blend these three. A final group of essays focuses on German literary Romanticism's relation to other aspects of German culture: folklore studies, politics, psychology, natural science, gender presentation and representation, music, and visual art. Contributors: Gerhard Schulz, Arnd Bohm, Richard Littlejohns, Gerhart Hoffmeister, Ulrich Scheck, Claudia Stockinger, Bernadette Malinowski, Fabian Lampart, Klaus Peter, Gabriele Rommel, Martha B. Helfer, Kristina Muxfeldt, Beate Allert, Paul Bishop and R. H. Stephenson, Nicholas Saul Dennis F. Mahoney is Professor of German and Director of the European Studies Program at the University of Vermont. |
| kreisleriana hoffmann: The Musical Quarterly Oscar George Sonneck, 1917 |
Kreisleriana - Wikipedia
Kreisleriana, Op. 16, is a composition in eight movements by Robert Schumann for solo piano, subtitled Phantasien für das Pianoforte. Schumann claimed to have written it in only four days …
Robert Schumann - Kreisleriana, Op. 16 - YouTube
- Composer: Robert Schumann (8 June 1810 -- 29 July 1856) - Performer: Vladimir Horowitz - Year of recording: 1969 Kreisleriana Op. 16, subtitled 8 Phantasi...
Behind the masks of Florestan and Eusebius: Schumann's Kreisleriana
Oct 1, 2017 · Written in a fevered outpouring of inspiration over the course of just four days in April 1838, Robert Schumann's Kreisleriana remains one of the staples of the Romantic solo …
Kreisleriana, Op.16 (Schumann, Robert) - IMSLP
Retrieved from "http://imslp.org/index.php?title=Kreisleriana,_Op.16_(Schumann,_Robert)&oldid=4370304"
Schumann’s Kreisleriana, Op. 16 - La Folia
In a suite of dances such as Kreisleriana the performer must time the entrances just so, sometimes letting several beats elapse before moving ahead. Schumann writes a fermata or …
Kreisleriana, Op. 16 - Robert Schumann - Pianio.blog
Kreisleriana, Op. 16 is a masterpiece of the Romantic period, and continues to resonate with audiences today. Its strong character and emotional complexity have established it as a …
Kreisleriana | work by Schumann | Britannica
Other articles where Kreisleriana is discussed: program music: …connection between movements of his Kreisleriana, yet his music differs from Weber’s not so much in its lack of programmatic …
Kreisleriana, Op. 16, Robert Schumann - LA Phil
And his most famous literary creation, Kapellmeister Johannes Kreisler, a half-mad musical genius tumbling into insanity, would inspire Robert Schumann’s (1810-1856) early …
Kreisleriana, Op. 16 (Live) - YouTube
Provided to YouTube by Sony Classical/Sony MusicKreisleriana, Op. 16 (Live) · Vladimir Horowitz · Robert SchumannDas legendäre Berliner Konzert 18.Mai 1986℗ ...
Schumann Kreisleriana, Op. 16 - Download free sheet music
Kreisleriana, Op. 16, is an eight-movement composition for solo piano by Schumann. Subtitled Phantasien für das Pianoforte, it was written in 1838 and dedicated to Frederic Chopin. A very …
Kreisleriana - Wikipedia
Kreisleriana, Op. 16, is a composition in eight movements by Robert Schumann for solo piano, subtitled Phantasien für das Pianoforte. Schumann claimed to have written it in only four days …
Robert Schumann - Kreisleriana, Op. 16 - YouTube
- Composer: Robert Schumann (8 June 1810 -- 29 July 1856) - Performer: Vladimir Horowitz - Year of recording: 1969 Kreisleriana Op. 16, subtitled 8 Phantasi...
Behind the masks of Florestan and Eusebius: Schumann's Kreisleriana
Oct 1, 2017 · Written in a fevered outpouring of inspiration over the course of just four days in April 1838, Robert Schumann's Kreisleriana remains one of the staples of the Romantic solo …
Kreisleriana, Op.16 (Schumann, Robert) - IMSLP
Retrieved from "http://imslp.org/index.php?title=Kreisleriana,_Op.16_(Schumann,_Robert)&oldid=4370304"
Schumann’s Kreisleriana, Op. 16 - La Folia
In a suite of dances such as Kreisleriana the performer must time the entrances just so, sometimes letting several beats elapse before moving ahead. Schumann writes a fermata or …
Kreisleriana, Op. 16 - Robert Schumann - Pianio.blog
Kreisleriana, Op. 16 is a masterpiece of the Romantic period, and continues to resonate with audiences today. Its strong character and emotional complexity have established it as a …
Kreisleriana | work by Schumann | Britannica
Other articles where Kreisleriana is discussed: program music: …connection between movements of his Kreisleriana, yet his music differs from Weber’s not so much in its lack of programmatic …
Kreisleriana, Op. 16, Robert Schumann - LA Phil
And his most famous literary creation, Kapellmeister Johannes Kreisler, a half-mad musical genius tumbling into insanity, would inspire Robert Schumann’s (1810-1856) early …
Kreisleriana, Op. 16 (Live) - YouTube
Provided to YouTube by Sony Classical/Sony MusicKreisleriana, Op. 16 (Live) · Vladimir Horowitz · Robert SchumannDas legendäre Berliner Konzert 18.Mai 1986℗ ...
Schumann Kreisleriana, Op. 16 - Download free sheet music
Kreisleriana, Op. 16, is an eight-movement composition for solo piano by Schumann. Subtitled Phantasien für das Pianoforte, it was written in 1838 and dedicated to Frederic Chopin. A very …
