Davidsbündlertänze, Op. 6, No. 08 (1st Edition, 1937)

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MacDowell made frequent use of motives associated with music of the American Indians, although he disavowed the notion that this practice amounted to the creation of an American national music. MacDowell seems to have been particularly drawn to a "dirge" motive derived from a "Kiowa song of a mother to her absent son" appearing in the Baker, for the motive appears in several works.

Compared to similar efforts by his contemporaries, MacDowell finds a method of incorporating Indian motives in his music that is not contextually incongruous and that avoids overwhelming the melodies through over-harmonization. Although both harmony and melody correspond only partially, this is a clear case of quotation, in which the two measures point to the complete model: Brahms used the motivic material in question at formally similar places as Chopin and also the key schemes correspond.

A knowledge of Debussy's earliest works is important to the understanding of the development of his personal style. One can compare the first conception of an idea to its further realization in a later work. Two examples are considered: These works demonstrate that Debussy's personal style is already implicit in his earliest works. Brahms's Four-hand Waltzes, Op. Brahms acknowledged the debt to Schubert, as seen in examples of harmonic similarities and the introduction of counterpoint into simple dance forms.

Her Life and Times. Maeder, although laden with humor, including extensive parody, exemplifies both a respect for masterpieces of the past and a newly-developed historical consciousness. Although this is most readily ascertainable through the text of the burlesque, as the music has been lost, reconstruction of the likely musical parodies reveals wit and rapid juxtapositions of high and low genres, intermixed with a sense of a false history. Includes an extensive table of probable sources for the songs in Pocahontas Widow Machree 28 ; Anonymous: La Sonnambula 34, 37 ; Verdi: Ernani 35, 38 ; Stephen Foster: Maritana 38, 44 ; Daniel D.

De Boatman Dance Haydn's late oratorios The Creation and The Seasons were performed all over Europe soon after their premieres and became immensely popular throughout the nineteenth century and beyond. Haydn borrowed from some previous traditions and predecessors, and the two oratorios were in turn sources of allusions, quotations, and models to many composers in the German-speaking lands, such as Beethoven, Schubert, Weber, and Mendelssohn, providing many musical, textual, and rhetorical relationships.

Haydn borrowed from specific works of Handel, Mozart, and himself, as well as from the general stylistic conventions of opera seria and the Singspiel. The famous representation of chaos leading to the appearance of light employed in The Creation was particularly influential for the next generation of composers, with Beethoven prominent among them. Further source materials were provided by the pastoral setting of both oratorios, spinning choruses, and general representations of nature such as storms and sunrises. The Creation , , The Seasons ; Beethoven: Overture to A Midsummer Night's Dream After , the music of Robert Schumann shifted in focus from idiosyncratic piano music toward more traditional instrumental works, reflecting the influence of the composer's past.

One movement in particular, the finale of his Piano Quartet in E-flat Major, draws upon more traditional sonata-form techniques and reworks them in unique ways, all while alluding to and subverting earlier works by Schubert, Beethoven, and Schumann himself. For instance, the self-contained arabesque that interrupts the recapitulation is similar to a technique used in Schumann's Piano Fantasy, Op.

Additionally, this unique take on sonata form in the finale recalls the "parallel forms" present in some of Schumann's s piano sonatas, as well as in some earlier models by Schubert including first movement of the Impromptu in F Minor and the finale of the Piano Trio in B-flat major.

The subject of Schumann's fugato also seems to draw upon a similar fugal melody from Beethoven's Hammerklavier Sonata. Finally, there is a musical allusion to the fifth movement of Schumann's own Novelletten, which is particularly meaningful because both works are closely tied to Schumann's relationship with his wife Clara. These reflections of the past taken together are seen as Schumann's way, not of battling with his predecessors, but rather of working with them to create his own unique style.

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Piano Quartet in E-flat Major, Op. Impromptu in F Minor, D. Piano Sonata in B-flat Major, Op. There exists no written evidence of the Fantasy having any connection to the song during Schubert's lifetime, or even almost fifty years after his death. It was not until that the first published record of the borrowing can be found. The moniker stuck because at this time, the whole work was viewed as a cyclic development of the second movement Adagio theme, which itself had motivic similarities to the song.

However, the character of the Adagio theme and the song theme differ slightly, and the C-sharp minor tonality of both melodies may be seen as a result of Schubert's fondness for semitonal key relationships rather than a deliberate quotation. Judging the borrowing as accidental rather than intentional then calls into question analyses that incorporate the song's mood into a discussion of the Fantasy. The Aesthetics of Robert Schumann.

Schumann embraced numerous Romantic concepts as articulated by these authors, including the Romantic genius, the transcendent power of music, and fascination with the historic past. He actively absorbed and emulated styles of past masters, as seen in the Bachian counterpoint of Novelletten, Op. Furthermore, he promoted both past and contemporary geniuses by transcribing or arranging their works, or by borrowing and reworking their melodies.

La Marseillaise 73 ; Anonymous: The "Indianist" composers of the period took two approaches to the Native melodies that they used: For MacDowell, these tunes were strictly raw musical material, with no reference or attention to tribal sources. Whatever cultural interpretation he made of the music is a generic one based on Lewis Henry Morgan's theory of "cultural evolutionary stages.

Ultimately, the Indianist composers sacrificed cultural authenticity as a result of their attempt to make the music accessible for a consumer culture. Second "Indian" Suite, Op. Kiowa melody, collected by Theodore Baker: Although Meyerbeer had influenced some of Verdi's operatic works in terms of music-dramatic techniques, Verdi remained at odds with Meyerbeer in terms of approach to structure, as Meyerbeer's strength was not in large-scale development, but in small numbers. Ein Feste Burg 13 ; Donizetti: Le Duc d'Albe , Charles Ives's Uses of His Models.

It has long been known that Charles Ives borrows from other composers and from himself. These borrowings have generally been labeled quotations. However, quotation is not the only technique Ives uses when he is alluding to other pieces. Others include modeling emulation , paraphrasing, cumulative setting, and quodlibet. The emphasis of this article is on Ives's use of models since this has not yet been discussed. If a composer models his piece on another, he borrows the structure or reworks musical material to build the framework of the composition. The use of models is the most important factor to consider in tracing the compositional process.

Motivic borrowings are only the most visible part of a deeper dependence on the sources, allusions that lead us to the pieces on which Ives modeled his compositions. Princeton University Press, Geoffrey Block and J. Yale University Press, All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. The Ideas Behind the Music.

The Essence of Music. Translated by Rosamond Ley. Busoni's "young classicism" views music as a simultaneous mixture of old and new styles, "the mastery, the sifting and the turning to account of all the gains of previous experiments and their inclusion in strong and beautiful forms. Zitate in Max Regers Kompositionen. Bach's Partita was not published until twenty years after Beethoven's death, thus it was impossible for Beethoven to have known Bach's work.

Brahms, on the other hand, having transcribed the Bach chaconne for piano left hand and practiced Beethoven's Thirty-two Variations, borrowed the themes from both Bach and Beethoven and incorporated them in the finale of his Symphony No. A comparison of the treatment of meter, accents, harmonic structure, rhythmic movements, paired variations, ostinato, tetrachord, rondo form, contrapuntal devices, and sequences well illustrates the differences and similarities among the three composers in applying the old Baroque chaconne form, and the various degree of departure they made from the tradition.

Although Ives's writings discuss concepts of sardonic wit in composition, his songs reveal a wide range of expression of humor, which became more complex over the course of his career. His humorous compositions can be categorized into at least four categories: Ives's techniques of humor often do not rely on musical borrowing, but rather from outlandish performance directions, general stylistic allusions, or incongruous juxtapositions of styles. Nonetheless, musical borrowing can contribute to the humor. The exclusive right of the artist to the benefits that accrue from his or her intellectual property is a characteristic of modern culture.

Borrowing is a common phenomenon, and exists in three types: Modern sensitivities consider this latter type of borrowing to be outright theft. The eighteenth century acknowledged but did not condemn this type of borrowing. The work contains original folk-inspired themes that borrow characteristics from the Mazur, Krakowiak, and Oberek Polish folk dances, which can be identified throughout the work.

The rhythmic pattern of the Mazur can also be found in other works by Paderewski, such as the third piece of his from Dances Polonaises, Op. The musical continuity in Rachmaninoff's Rhapsody on a Theme of Paganini represents the culmination of his approach to writing a set of variations explored in his earlier pieces as well as in those of his predecessors. Through such continuity he resolves the stop-and-start method that composers such as Mozart, Beethoven, and Brahms employed in variation writing: Musical continuity in the variation process was not new but was revitalized by Rachmaninoff, who focuses more on the variations as a whole rather than on their individuality.

Within such continuity, his variation sets are connected to his models. For example, in the Corelli Variations, the majority of the variations retain the regular phrase structure, similar length, and simplicity of the Folia melody. In the Paganini Rhapsody, Rachmaninoff's use of chromaticism, particularly in the introduction, is a direct reference to the chromatic contrary motion that resolves the augmented-sixth harmony in the penultimate measure of the original Paganini theme.

Variations on a Theme of Chopin, Op. Violin Sonata, Op 5, No. Caprice in A Minor, Op. The following findings reinforce the assumption of a close connection: Although the French quadrille of the s and s has often received censure for its limited expressive qualities and aesthetically detrimental arrangements, the dance was a critical nexus in Parisian musical life, connecting the worlds of "high" and "low" culture and often serving as the public's first point of contact with operas.

With the standardization of the form of the quadrille around , it began to receive criticism for the mechanical quality of the dancing it supported. Although some attacked the genre's poor arrangements, the quadrille both directly and indirectly could benefit the operas from which it drew tunes.

Alfred Cortot- Schumann Davidsbündlertänze, Op. 6

Quadrilles did not always destroy the music they borrowed; French composers typically did not use irregular phrases or rhythms, and melodies such as Auber's often are readily suited to dance arrangement. Furthermore, although quadrilles could break up the narrative of the opera from which melodies were drawn, often the sheet music covers or performances might allude to or seek to recreate the narrative of the original.


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La Muette de portici , Les Huguenots Humor and programmatic effect are the two primary reasons for Debussy's musical borrowings. Debussy draws his borrowed material from classical music, popular songs, and national anthems. These points are illustrated through detailed analyses of pieces in which Debussy incorporates national anthems. Souvenirs de Munich 20 ; Debussy: Fantasie en forme de quadrille sur des motifs du Ring 20 ; Tchaikovsky: Tristan und Isolde 20 ; Mendelssohn: La Marseillaise , 24, 26 ; Luther: Ein feste Burg ; Haydn: Symphony in G Major, Hob.

Reprinted in The Creative World of Beethoven , ed. Paul Henry Lang, Schubert's last three piano sonatas, composed during the summer of , borrow from or are modeled on works by Beethoven. Schubert may have been insecure about this particular musical form and subsequently turned to Beethoven's works for help. Detailed examples of Schubert rondos that may have been modeled on Beethoven rondos support this hypothesis.

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University of California Press, In examining the composition and performance of musical works, the question of persona is raised: With respect to musical borrowing, the relevant question is: In the case of self-borrowing by a vocal composer, it is the composer's own voice, rather than that of the poet whose text he or she originally set, that speaks through the borrowed material p.

In an instrumental transcription of a vocal work, the vocal melody retains its original textual associations, thereby preserving the original composer's voice despite the removal of the text pp.

When the situation is reversed, as in a popular vocal arrangement of an instrumental classic, the original composer's persona is still felt, as is the case with arrangements of Chopin and Tchaikovsky melodies p. Concerning the transcription of an existing instrumental work for a new instrumental combination, the integrity of the transcription its preservation of the original composer's voice rests on its use of a restricted choice of instrumentation p.

Lastly, folk-tune or anthem borrowings can seem ridiculous if they are too obvious, where the original composer's voice completely overpowers the borrower's persona, disrupting the new piece. Chaconne in D Minor by J. Bach arranged for piano left hand ; Busoni: Bach arranged for piano ; Liszt: Madama Butterfly ; Webern: Ricercar a 6 voci by J.

Beethoven and the Creative Process. Oxford University Press, Within a wider survey of Beethoven's compositional methods, the author discusses the composer's reworkings of his own previous material chapter 5, Beethoven's distinctive style can be said to derive to a large extent from a stock of musical ideas that recur throughout his work; these may be rhythmic motives and harmonic progressions, or larger-scale tonal patterns and formal devices.

Consideration of sketch material is particularly helpful in understanding this, as it shows how many ideas that were initially rejected in one piece would be "salvaged" for the purposes of another. Beethoven tended to borrow in a more detailed fashion from unpublished material, whereas reference to previously published works was usually considerably more general.

Piano Sonata in E Major, Op. Arthur Sullivan, had he been free of the repressive Victorian mood, would have been one of Europe's greatest composers. However, the philistine repugnance of the English towards expressed emotion forced him to treat his serious opera aspirations in a farcical manner. Instead of developing his own operatic talents, he relied upon burlesquing or copying other masters including Schubert, Donizetti, and Bellini.

This imitation was extended to his serious works, including melodic derivations from Mendelssohn. This very general article on Tchaikovsky's symphonies makes note of several instances of borrowing or modeling, especially in terms of quoted folk songs first and last movement of the Second Symphony and operatic influences. The latter concern mainly the last three symphonies, including distinctively operatic phrases, repeated climaxes mounting almost to hysteria, sudden brutal interruptions, and others.

The finale of the Sixth Symphony may possibly be modeled on the last act of Verdi's Otello, emulating the atmosphere and orchestration of Otello's appearance. Down by Mother Volga 32 ; Tchaikovsky: Varying definitions and expectations about the fantasy as a genre have resulted in a devaluation of both Tchaikovsky and his music, but a survey of nineteenth-century fantasies and an examination of definitions of the term show that the techniques for which Tchaikovsky is often criticized in his symphonic works were consistent with a contemporary understanding of the fantasy.

There are four main processes that are important to the fantasy: Marx also considered the musical potpourri as a type of fantasy.

Davidsbündlertänze, Op. 6, No. 08 (1st Edition, 1937) Sheet Music by Robert Schumann

Charles Ives and His Music. Oxford University Press, ; 2nd ed. Franz Liszt's variations on the theme from J. Bach's cantata Weinen, Klagen, Sorgen, Zagen, BWV 12 effectively transforms Bach's structurally and tonally restrictive passacaglia theme into a large-scale, goal-oriented work.

The theme is short and harmonically closed and thus has the potential to be repetitive and static. To create forward momentum, Liszt incorporates the suspensions of the theme into many of the variations and dovetails many phrases, a technique used by Bach, to drive the piece forward and conceal the regularity of the repeating passacaglia theme.

Additionally, he creates large-scale form and goal direction by ending the set of variations with a statement of the chorale from Bach's cantata, providing a focal point for the developmental process. Liszt turns the genre of the Baroque passacaglia into a more Romantic theme and variations genre by incorporating a more pianistic texture, chromatic harmony, and freer use of the theme as the variations progress. While this work is four times longer than Bach's set of variations in the cantata, the overall structure of the new work reflects the narrative of the original, which can be construed as Lizst's method of paying homage to Bach.

I , II In letters written between and , Georges Sand traced the developments of Romanticism and provided a narrative for its artistic, religious, and social aspects. Even though Meyerbeer turned to an older German chorale form in his opera, he updated it to become Romantic by using the tune as "local color" for crowd scenes on the stage and in particular for Huguenots. Meyerbeer effectively truncated the tune in a culminating scene in Act V, in which Catholic assassins enter, and the Huguenots stop singing it.

Throughout the opera, Ein feste Burg signifies perseverance in the face of religious persecution. Dale lists works from Beethoven till present that include quotations. They can be grouped into pieces 1 quoting Dies Irae, 2 quoting Beethoven, 3 by Wagner quoting other works, 4 by Borodin, Elgar, and Ives quoting other works, 5 in which Schumann was quoting, and 6 by other composers.


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  • The principle of quoting is clearly separate from parody, the stylistic imitation of an other composer, which is not included in this essay. The Valiant Knights ; Elgar: The Music Makers ; Ives: An Elegy for Stephen Foster Zu Brahms' Schumann-Variationen op. Referate der Kieler Tagung , ed. Friedhelm Krummacher and Wolfram Steinbeck, Symphonie von Gustav Mahler. The quotation fulfills several functions.

    First, it provides one of the thematic connections between the slow inserted section called "Im Legendenton" and the surrounding movement in sonata form. Second, the literal quotation in the coda can be seen as the climax toward which the whole movement develops. This view is supported not only by the increasing clarity of the quotation from allusion in the exposition to clearer allusion in the section called "Im Legendenton" to literal quotation in the coda but also by the fact that the Fantasy opens quasi in medias res on a dominant ninth chord. Rather than analyzing the Fantasy as developing from a theme, there is the option to analyze it as developing toward a theme.

    Other quotations in the Fantasy are mentioned only briefly. Wo die Berge so blau , Op. Inleidung, Ives' Gebruik van Muzikall Materiaal. Bernlef and Reinbert de Leeuw, De Bezige Bij, Self-borrowing occurs for many reasons, such as creative impotence, haste, or desire to reuse an especially felicitous phrase. For Bizet, it was an effort to make use of cast-aside or unfinished materials that otherwise might not have been completed. His self-borrowings were always from unpublished works and those which had never been performed; thus, his borrowing could go undetected during his lifetime.

    Reworkings include reuse of an entire movement or aria, or adaptation of an older theme to a new context. This book is divided into three sections: The discussion of stylistic borrowings is located in the second section along with discussions of how he relates to church music, how he relates to other people and their opinions and music, and how he relates to his own music. Specific borrowings are considered in the last section, where Decsey discusses each of Bruckner's major works with an eye to the sociological implications associated with each.

    Biographical reasons for compositional style are proposed and substantiated with sketches, writings, or conjecture. Decsey attempts to lay to rest critics of Bruckner, especially those who decry "formlessness," and "massiveness" in his music. Barrie and Rockliff, , , and Throughout this thorough examination of Strauss's life and works, musical borrowings are cited in music of every genre in which Strauss composed.

    There is a separate list of self quotations for Ein Heldenleben in vol. Chabrier's excursion to Spain proved to be highly influential on his style. Ravel himself acknowledged his great debt to the music of Chabrier. There are few works by Ravel which do not to some extent echo one or another work by Chabrier. Some specific allusions are noted. Ravel's harmonic procedures are also influenced by Chabrier. Bach's Rondo in E flat, W.

    Beethoven considered his Op. Bach's Rondo in E flat. Beethoven came in contact with Bach's keyboard works in his years at Bonn. The theme of Op. In the dynamics of long-term memory, several specific items are remembered in the context of a more general memory and reproduction of the memory involves elaboration and revision.

    Both of these aspects in the workings of long-term memory are evident in Beethoven's unconscious recollection of the work by Bach. Variations in E-flat, Op. Luther's chorale Ein feste Burg represents not only a religious message but also a symbol of the identity of all Protestants. Its many settings reflect both its religious and its cultural impact. Many composers identified with the revolutionary spirit the Reformation and saw the potential of the tune as a symbol of the time and its historical significance. Depending on the political context in which composers used the tune, the meaning of it changed.

    For example, Meyerbeer used it in Les Huguenots as a gesture to Protestantism, even though the tune was not necessarily a historical emblem for Huguenots. Mendelssohn's symphonic setting added a programmatic element to the tune. Debussy, on the other hand, used the tune in wartime by evoking it as a symbol of German aggression. He juxtaposed the tune with French anthem, La Marseillaise, which musically triumphs over Ein feste Burg in the end.

    The various settings of the tune also allow it to assume a multifarious spectrum in that it can be meaningful in an ecumenical sense. Essentially, it became a "banner Lied" for faithful believers and critics across centuries of use. Les Huguenots 36 ; Mendelssohn: En blanc et noir Irony in Schumann is explained by comparing his compositional techniques with those found in Heinrich Heine and Jean Paul Richter. In Romantic literature, irony resulted from the principle that the author should hold a position above the work and himself; he should not unconsciously get lost in the creative process but control it by introducing a stage of consciousness, which is achieved by irony.

    Irony breaks up coherent units, as does quotation in a musical piece; it creates dialectical tension. For Schumann, quotation irony solved another problem: Carnaval , , Intermezzo, Op. Gretchen am Spinnrade ; Schumann: Carnaval , , Papillons , ; Beethoven: An die ferne Geliebte , ; Grossvatertanz ; Rouget de Lisle: Liszts Konzeption der Klavierparaphrase.

    In evaluations of Liszt's works his keyboard transcriptions and paraphrases are often ignored or considered only for their advances in pianistic techique. The analyses of three paraphrases, all composed in and called Reminiscences, reveal Liszt's unique formal approach to each. His results superseded mere objective recounting of popular themes; instead, Liszt produced condensed, subjective interpretations of the original operatic works, expressed in pure keyboard style. Several features of Berlioz's music create an effect of discontinuity, among which is quotation.

    Michael Saffle and Rossana Dalmonte, Although Liszt's Missa solemnis is indebted to Beethoven's Missa solemnis , Liszt did not "appropriate" Beethoven's techniques but differentiated his work. Liszt's admiration for Beethoven's music is well illustrated in the fact that he frequently performed, conducted, and taught Beethoven's works. Liszt would have used Beethoven's Missa solemnis as a model for his first large-scale choral piece, written for the consecration of a new basilica.

    There are several musical parallels, movement by movement, between Beethoven's and Liszt's masses. As an example of the structural parallels, the two composers distinguished the Credo from other movements tonally. In scoring, the similar opening in the two Kyries goes beyond mere coincidence, yet after that Liszt deploys a distant key while Beethoven uses a home key. In thematic relationships, Liszt distinguished himself from Beethoven? Liszt's references to Beethoven? Le parcours d'un Air. In addition, Ein feste Burg begins with four memorable notes, comparable not only to the four notes of B-A-C-H but also to the striking four-note opening of Beethoven's Fifth Symphony.

    Insofar as Ein feste Burg has a broader function outside of its musical characteristics, it epitomizes the powerful and energetic voice of evangelical Christianity, in a tradition began by Luther. Bach felt deeply moved by the religious sentiments of the tune and set it in a cantata with eight movements. Meyerbeer altered the tune more than Bach did and subjected it to various musical treatments, including theme and variations as well as parody, in Les Huguenots. The Romantic generation in particular responded to the tune in various compositional manners, especially by means of reinstrumentation and paraphrase technique, including settings by Mendelssohn, Nicolai, and many others.

    Wagner set the tune in his Kaisermarsch in order to evoke the sense of driving away the enemy. All of these settings discussed seek to maintain the spirit of the tune. The prolific uses of the tune reinforce the religious connotations that Luther intended. Although the B-A-C-H motive is not specifically associated with a source, many composers, including Schumann, Rimsky-Korsakov, Liszt, and others incorporate it in various ways into their works.

    Gott ist eine feste Burg, WoO 7 ; Meyerbeer: Les Huguenots 8 ; Mendelssohn: Kaisermarsch 11 ; Raff: Ein feste Burg ist unser Gott, Op. Zur Reformationsfeier 12 ; Heinrich Schulz-Beuthen: Reformationssinfonie 12 ; Richard Bartmuss: Chorale fantasia "Ein feste Burg ist unser Gott" 14 , Schumann: Orgelsonata in B moll, Op. Die Musik Gustav Mahlers. Many of Mahler's motives and themes remind us of preexisting musical phrases. They sound familiar already at their first appearance. The musicologist makes it his task to locate these allusions. It is, however, impossible or at least misleading to attempt this.

    The use of military fanfares and posthorns should not be interpreted as quotation, even if Mahler consciously quoted one. What is important is the meaning of the fanfare or the posthorn according to the context in which it is found, not as a quotation but as an event. Eggebrecht, however, also discusses the obvious reuses of material such as "Des Antonius von Padua Fischpredigt" from the Wunderhorn-Lieder in the Second Symphony and "Oft denk' ich, sie sind nur ausgegangen" from the Kindertotenlieder in the Ninth. All three aspects are of importance for the interpretation and understanding of Mahler's works and enable the author to explain their meaning.

    In a full-length discussion of Schubert's life and music, the author mentions numerous examples of the composer's borrowing, both from works of other composers and from his own previous works. As might be expected, Schubert's early years of compositional development contain the most instances of formal and thematic modeling of the music of others; perhaps surprisingly, Mozart seems to have been a more pervasive source than Schubert's immediate predecessor Beethoven. In his mature works, Schubert borrows less from others, while placing greater emphasis on the reuse of his own material, particularly the songs.

    Yet borrowing formal procedures from other composers particularly Beethoven continues to be an important practice of Schubert until the end of his life and can be seen even in such late works as the last three piano sonatas. Fantasia for Four Hands, 29 , Symphony No. University of Miami at Coral Gables, The myth that the black spiritual was completely derived from white folk hymns is one of the most pervasive in the literature about black folk music. Early studies of black folk music such as Richard Wallaschek's Primitive Music and George Pullen Jackson's White Spirituals in the Southern Uplands relied solely on transcriptions, a process which does not account for performative and aural contexts of folk music.

    In effect, these studies mistakenly equated transcriptions with the music as it was performed and thus tacitly assumed that any deviation from the diatonic scale was due to a performer's misinterpretation of music of white origins. These analyses do not account for the process of syncretism which had to have taken place between African- and European-derived musical elements in the development of the black spiritual. Sinful Tunes and Spirituals: Black Folk Music to the Civil War.

    University of Illinois Press, Presse Universitaires de France, After Tchaikovsky's death the famous choreographer Marius Petipa rearranged the numbers of the composer's ballet Swan Lake for a revival performance. He felt that some additional numbers were necessary and borrowed them from Tchaikovsky's Piano Pieces, Op. These pieces were probably orchestrated by Riccardo Drigo, the conductor of the performances at the Marynsky Theater in Act II only and Das himmlische Leben, a Wunderhorn text-setting from Mahler's Fourth Symphony, provides much of the material for that work, and portions of it were incorporated into the first and third movements of the Third Symphony.

    It was originally to be included in the Third Symphony as its final movement, and, later, as its second movement, though Mahler ultimately changed his mind about both ideas. The fifth, choral movement of the Third Symphony was originally to be part of the Fourth. These changes of mind and heart show the composer's inspiration coming from a single source that resulted in two very different symphonies.

    Ursula von Rauchhaupt, Thames and Hudson, This article was written to accompany a Deutsche Grammophon set of records on the symphony. It discusses Brahms's symphonies in the style of liner notes for a general audience. The reception during Mahler's lifetime of his songs based on the Wunderhorn texts was unusually varied.

    As explanation for this, Mahler's use of the texts may be linked with a debate, which began with the publication of the texts of Des Knaben Wunderhorn in and spanned the nineteenth century, between those who wished to preserve the German folk heritage in its purest form and those who saw it as a malleable commodity for a politico-cultural end. Art, too, exhibited this tension between "folk" and "folk-like" material, and Mahler's Wunderhorn songs, which manipulate pre-existing folk material in a "high-art" setting, fall on the latter side of the debate.

    It was sensitivity to his place within that tension that informed the reception of the songs by contemporary critics. These disruptive passages seem to suggest a musical memory, recalling numerous earlier works by Schubert including several allusions to songs from his song cycle Winterreise. The theme of death in the songs might be one reason for the allusion to Beethoven, who had died the previous year. Ghostly echoes of Winterreise themes from "Erstarrung" and "Der Lindenbaum" might suggest the ghost of Beethoven haunting Schubert.

    Yet the theme of exile in Winterreise resonates more with Schubert's personal life at the time he wrote this sonata. The chromatically distant B section, which echoes many previous works of Schubert including his Moment Musical in A-flat, supports this reading by equating harmonic distance and emotional or physical exile. Winterreise , , , Moment Musical No. Akademische Druck- und Verlagsanstalt, Quotation in Bruckner's music allows a deep view into his compositional method, psyche, and spiritual state.

    Bruckner cited his own masses in his symphonies along with quotations from Haydn, Liszt, and Wagner. Long thought to be "absolute" music, Bruckner's compositions carry significant semantic meaning when the composer desired. Das Adagio der Neunten Symphonie. Druck- und Verlagsanstalt Gutenberg, The final movement of Bruckner's Ninth Symphony is not "absolute music," since it contains religious symbols and allusions to the composer's approaching death. This conclusion is supported by taking into account not only sketches, structural analysis, and Bruckner's own hermeneutic statements, but also interpretations of borrowed material.

    Several other self-quotations from the Benedictus of the Mass in F Minor and the Seventh and Eighth Symphonies reinforce the impression of the look back suggested by Bruckner himself for the passage at letter B "Abschied vom Leben," mm. Studien zur musikalischen Exegetik. This book is the result of Floros's intensive study of Mahler, during which he found hitherto undiscovered clues to the interpretation of Brahms's and Bruckner's works.

    Most of the borrowings discussed confirm differences between the two composers in both ideologies and musical heritage. A comparison of the German Requiem by Brahms and the F Minor Mass by Bruckner shows that the corresponding excerpts from the Credo use different models. The indebtedness of Brahms to Mendelssohn 64f.

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    Movements or whole symphonies by Bruckner can beinterpreted by a comparison with Wagner's operas. Thematic concordances with the monologue of The Flying Dutchman Act I, Scene II lead to a psycho-programmatic interpretation of the Eighth Symphony, an interpretation that extends Bruckner's own vague explanations. Even if the two composers borrow from the same piece, they emphasize different aspects.

    Both of them emulated aspects of Beethoven's Ninth Symphony. Brahms's interest First Symphony, last movement lies in the Freudenmelodie and the recitative character of the introduction to the last movement, whereas Bruckner imitates the flash-backs, the rondo-like adagio and the original opening of the first movement Mahler und die Symphonik des Jahrhunderts in neuer Deutung.

    Floros discusses three main elements of Mahler's music with the aim of a philosophical or programmatic interpretation: All the elements are interpreted in the context of other composers, especially Berlioz, Liszt, and Bruckner. In interpreting the first two categories, Floros focuses on Mahler's position in the history of music. But in the third category, by locating the same musical symbols e. Die Symphonien, in works of other composers where the meaning is clear, Floros can offer interpretations that would otherwise be impossible.

    Without the interpretation of symbols, no real progress in musicology is possible. Floros's study of Mahler's music is an attempt to interpret it comprehensively, taking into account especially Mahler's intellectual background. In these semantic analyses, the author discusses borrowings and quotations of all sorts: Bruder Martin in the First Symphony , 2 borrowings of complete sections e. Urlicht in the Second Symphony , and 4 quotation of short motives such as the beginning of Dies irae or Liszt's tonisches Symbol des Kreuzes ["sounding" symbol of the cross] to symbolize titles or programs.

    Decoding these borrowings is one of the most important steps in finding the program that is the basis even of the purely instrumental symphonies.


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    Above all, some passages can be interpreted by comparison to similar passages from works by Richard Strauss where their meaning is clear. These comparisons may throw light on composition dates, for instance that of the Scherzo of the Sixth Symphony. Among several devices mentioned in this article which have been used for humorous effect in music is quotation.

    Various means of achieving humor through quotation are by paradox, pun, parody, and exploiting the historical significance of the music quoted, all of which assume previous knowledge on the part of the listeners of the music being referred to. Souvenirs de Munich ; Debussy: Le Carnaval des Animaux ; Satie: Aspekte zum Werk und Wirken Gustav Mahlers, ed. Although the analysis of this composition and its rhythmic elements is not Schenkerian, the terminology derives from Schenker's system.

    The discussion of the background, middleground, and foreground demonstrates at three levels how the melody provides inherent patterns through individual note groupings, tonal values, and recurring pitch accents. The interrelation of these areas can be described as either subdivisions or shifting of rhythmic units, and all of the rhythmic constructions stem from these techniques. The exact tempi derive from correlations between the variations; in order to maintain the perception of proper stress and accent as dictated by the analysis , it becomes necessary to stay within the confines of a narrow range of tempo.

    Istituto di studi verdiani, On Tracing Brahmsian Influences. Brahms's influence on the composers of the succeeding generation has often been slighted or eclipsed by the "white heat" of Wagner's effect on the same artists. Traces of Brahms are apparent in many late-nineteenth-century composers ranging from Herzogenberg, who plagiarized his oeuvre, to Reger and Schoenberg, who were both indebted to him for pianistic models. Continental Operas Transformed for the London Theater, La Dame Blanche Crosses the Channel.

    Romantic Circles Praxis Series, series ed. Accessed 30 January Liszt's Salve Polonia, published in , has long languished in obscurity, overshadowed by the composer's Hungarian rhapsodies. This Polish rhapsody, however, deserves more attention, especially for its incorporation of two Polish national themes. First, Liszt placed the Polish national hymn, Boze, cos Polske in the opening Andante pietoso section. In the second and final section, the Polish national anthem Jeszce Polska nie zgiela appears.

    Liszt had already composed much of the music from Salve Polonia in his unsuccessful efforts to complete an oratorio, Die Legende vom heiligen Stanislaus. Boze, cos Polske ; Oginsky: Jeszce Polska nie zgiela Berlioz probably derived the title to his Symphonie fantastique from a scene in Act IV of Ossian ou Les Bardes, by LeSueur, in which the words simphonie fantastique were printed in the full score.

    Similarities, both orchestral and programmatic, between the two works strengthen the connection. Surface thematic resemblances between Richard Wagner's Wesendonck-Lieder and his opera Tristan und Isolde indicate that the songs were borrowed from in the composition of the later opera. Deeper and more subtle relationships between the two, however, indicate that the songs were studies for the opera, and were parodied in more profound ways, as well.

    In the second sections, Wagner uses bVI as a pivot, retains the same basic harmonic scheme, and employs the octave ascent Eb to Eb once again. All of these relationships combine to indicate that Wagner employed a kind of parody technique in Tristan. The structure of Beethoven's Diabelli Variations, Op.

    Many previous composers have ended their variation sets with a return to the opening theme; the thirty-third and final variation, a minuet, can be thought of as Beethoven's transformation of this theme to a higher sphere, acting as a crowning epilogue or coda. This leaves thirty-two variations, corresponding to the thirty-two measures of the theme.

    The waltz theme is symmetrically organized into eight four-measure groups. Likewise, the thirty-two variations can be described as a set of eight groups of four successive variations, related by sequences of tempi, meter, texture, and character. The solo baritone's recitative intervention in the fourth movement of Beethoven's Ninth Symphony has often been interpreted as a commentary on the instrumental discourse of the symphony, but a newer interpretation of the recitative hears the baritone's words as a call to song in both a literal and idealized sense.

    In addition to investigating the song-like aspects of the Finale, the effects of silences are also explored as folk elements and compared with Beethoven's settings of Johann Gottfried Herder's poetry. In a survey of Chabrier's works for piano, features of his style that foreshadow the styles of later French composers are noted. The use of unresolved seventh and ninth chords is a technique later incorporated by Debussy and Ravel.

    In a more general sense, a number of pieces by Chabrier seem to be linked to pieces by Ravel. These pieces are listed in a table in the concluding section of the dissertation. Le Bestiaire 85 ; Maurice Ravel: Jeux d'eau 83 , La Valse 15 , Menuet antique 46 , Valses nobles et sentimentales Mendelssohn was the first to incorporate ideas from Beethoven's late works into his own compositions. Yet these pieces of Mendelssohn involve a high degree of novelty. Mendelssohn's borrowing from Beethoven may also be construed as a unique reinterpretation of their less accessible models for the Biedermeier age.

    Piano Sonata in A Major, Op. Quotation in music is often considered without exploring the context of the quoted material. Many of Beethoven's overtures follow the model of the French overture, which requires one or more quotations from the stage music. Material which is recognizably from another piece but is altered in some way is placed in the category of "adaptation," which is defined as the removal of a piece of music from its original context and conforming it to a new environment and function.

    This may require a new context transcription ; transposition and new instrumentation such as placing material from a piano sonata into a chamber music piece ; or new words, this last condition being termed "parody. A more exhaustive investigation is necessary to determine the true extent of Beethoven's creative methods in terms of quotation, adaptation, and parody.

    Overture to Zur Weihe des Hauses, Op. That Stephen Foster's style was indebted to folksong is unquestioned. However, the source of folksong is not the Negro spiritual as has been assumed, but the folk tunes of England. This is proved by an analysis of structural harmonies. Thus, Foster's folksongs demonstrate a strong connection to this popular bass pattern rather than to American folk sources. Don Giovanni ; Rossini: La noce di Benevento ; Paganini: Carnival of Venice , Some Major Works Recovered.

    Gioachino Rossini gained fame and developed his compositional style during his Neapolitan years , yet many of these works were once thought to be lost. The discovery of the manuscripts of several non-operatic Neapolitan works the cantata Le Nozze di Teti e di Peleo, four other cantatas, and the Messa di Gloria reveals much about Rossini's compositional style.

    All of these works, especially Le Nozze di Teti e di Peleo, contain a significant amount of self-borrowed material, most likely because they were made hastily for specific occasions. The self-borrowing comes in several types: Gott erhalte Franz den Kaiser There is rarely a single best version for Rossini's operas, since in the first half of the nineteenth century, Italian opera was treated as a collection of individual units which could be rearranged, substituted, or omitted depending on varying local conditions.

    This dissertation examines all the authentic versions of fourteen operas by Rossini in printed or manuscript sources in order to establish the correct texts for the works. An authentic version is defined as one with which Rossini can be shown to have been directly connected in the capacity of composer, director, or arranger, or one that he personally approved for inclusion in his operas but was composed by somebody else. Although not dealing primarily with borrowing, this dissertation examines Rossini's reuses of his own music in great detail, since he frequently made use of this practice in his operas or in later versions or revivals of the same work.

    Rossini's self-borrowings are viewed as an important characteristic of his compositional style and as a result of his time and milieu. The archetype of Rossini's overture is defined in order to test attributions of dubious pedigree from his first period of compositional practice Rossini's self-borrowings in his overtures are examined indirectly but in great detail since they are a very prominent characteristic of his compositional style and can help to solve matters of authorship. An alternate overture to La scala di seta is shown not to be by Rossini on the basis of its borrowing technique.

    This overture quotes in full two melodies that will appear in later operas by Rossini and Gossett shows that Rossini never uses melodies from an earlier overture in the body of a future opera unless he intends to preface the latter with the same overture. A table with comments about Rossini's self-borrowings is shown on page Grant argues that Bruckner and Mahler are dissimilar in many respects, which he enumerates, and suggests that the linking of Mahler with Richard Strauss might be more meaningful.

    Their influence was reciprocal. Part of the last song in Lieder eines fahrenden Gesellen may be seen as the ancestor of the final duet in Der Rosenkavalier, and the off-stage fanfares in the outer movements of Mahler's First Symphony may have suggested the off-stage fanfares in Ein Heldenleben. Strauss also influenced Mahler, with apparent connections between Ein Heldenleben and the last movement of Mahler's Eighth Symphony; the neuroticism of Salome and parts of Das Lied von der Erde and the Ninth Symphony; and "wandering" solo violin passages in Strauss's Don Juan and Ein Heldenleben and similar solo violin passages in Mahler's Eighth Symphony.

    Background information on the Dies Irae sequence notes no records of the melody's origins and attributes the text to Thomas of Celano. Composers have used the chant in two ways: Berlioz's Symphonie Fantastique was the first in a Romantic trend of using this theme associated with death and the last judgment in its most terrible aspects. The character of the melody's significance has changed significantly from its original connotation. Composers of the Romantic era used the melody for its associations with terror and dread, while ignoring the message of hope that is also explicit in the words.

    Some manifestations of the Dies Irae melody served as models for other composers to follow. In the twentieth century, the tradition was kept alive by Sergei Rachmaninaov, who used the Dies Irae to represent evil spirits in the Rhapsody on a Theme by Paganini. Requiem , Symphonie Fantastique ; Alfred Bruneau: Requiem ; Liszt: Totentanz , ; Mussorgsky: Danse Macabre ; Tchaikovsky: Fragen zum 'plagiierenden' Schubert. Grosse Meister der Musik, ed. Although a general biography, Haas covers specific borrowing on pages of his study, where he deals with Bruckner's symphonic music.

    Haas, as the first editor of Bruckner's collected works, has drawn together a sketch study with biographical material to give an insightful look into developments of particular borrowings that Bruckner used. A letter written in response to a previous correspondence by Frank Hill on Shostakovich's borrowings Oct. Hall wants to clarify that over composers have used the tune of the British National Anthem in their compositions, in over works of all types.

    No specific works are mentioned, but the list of composers includes J. Eva Badura-Skoda and Peter Branscombe, Cambridge University Press, Both concern the union of loved ones despite separation, and this general similarity of spirit and sentiment is reinforced in specific musical terms. The coda of Schubert's song appears to have been modeled on that of Beethoven's cycle, and the central strophes are an almost literal quotation of the funeral march from the Erioca Symphony.

    This latter allusion is particularly appropriate, as the song was written for, and first performed at, a concert held on the first anniversary of Beethoven's death; this song can therefore be seen as Schubert's musical 'memorial' to his great predecessor.

    Popular Song in America. Examines the controversy between Berlioz and Liszt as to who first orchestrated the Rakoczy march. Through an historical examination of how Berlioz came to orchestrate the tune and a comparison of the two pieces, Haraszti determines that Berlioz's accounts in his Memoirs concerning the piece's history are largely correct, and that Berlioz's version is not based on that of Liszt.

    Haraszti also describes the origins of the tune and its significance to Hungarian society. Collaborations, Imitations, and Inspirations. Clara Schumann also composed works in several of the genres that Chopin frequently composed in, such as the mazurka and polonaise. Her Piano Concerto in A minor, Op. Nocturne in E-flat major, Op. Piano Concerto in A minor, Op. Etude in D minor 31 , Etude No. Mazurka in E minor, Op. Prophet of American Civil Religion. Hugo Wolf's Anakreons Grab. An Introduction to Affrilachian Music.

    He also retains the regularity of four-bar phrasing from the model and at the same time interrupts it by a three-beat pause, adding rhythmic uncertainty. Ives's method of quotation is seen as a reworking of borrowed material by altering melodic segments. Many musical examples illustrating Ives's techniques are cited. The article concludes with a diagram of the architectonic structure of.

    The Charles Ives Tunebook. Bibliographies in American Music, no. Harmonie Park Press, Debussy's early works involve explicit reliance on existing models while in his later works the models become more tacit and personalized. This process can be observed in his formulaic openings to works. There are three main categories of such openings: Numerous examples are cited for each. Such formulas are primarily a mid-to-late nineteenth-century phenomenon. Hepokoski invokes Dahlhaus's concept of originality and the influence of the Symbolists.

    Commemorative Essays on the Reformation of Dr. Martin Luther and Its Blessed Results, ed. Perhaps the quintessential Lutheran hymn, Ein feste Burg embodies Martin Luther's faith and had lasting musical effects, not only on his own generation but also on generations of composers to come. The verse structure of Psalm 46 appealed to Luther most strongly in the last line, which stands on its own in the rhyme scheme and makes the text more powerful, as though one could reduce the psalm to a simple statement of faith. Further, Luther's musical setting, with three repeated notes to begin the tune, made a lasting impression on future composers.

    Some composers, such as J. Bach and Mendelssohn, use the tune in order to let it emerge from a complex texture, reinforcing its victorious and ultimately religious connotations. Others, including Meyerbeer, use the tune for programmatic rather than religious purposes, as the tune accompanies "undressing girls. Les Huguenots ; Reinecke: Huldigungsmarsch ; Nicolai: While this correspondence has nothing to do with Shostakovich's borrowings, it contains several interesting comments on musical borrowings in general.

    Hill states that "Notte e giorno faticar" from Mozart's Don Giovanni is quoted in Offenbach's Tales of Hoffman because Hoffman is waiting for his latest love, Stella, who is appearing in a performance of Don Giovanni in the theater next door. Hill parenthetically adds that "it is very difficult to think of a work of any length without a quote," and states that at least 24 works borrow from God Save the King. Triptichon ; Johann Albrechtsberger: Organ Fugue in G Minor; J. Organ Prelude and Fugue, Op.

    Cadenza to Beethoven's Piano Concerto No. Meditation ; Ferruccio Busoni: Fantasia Contrappuntistica ; Alfredo Casella: Learn more about Amazon Giveaway. Set up a giveaway. Feedback If you need help or have a question for Customer Service, contact us. Would you like to report poor quality or formatting in this book? Click here Would you like to report this content as inappropriate?

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