Hochschule Fur Musik Research Articles

World of sound – and access to one´s own self: a technique in receptive music therapy with depressed patients

Background: The shown receptive music therapy treatment is part of the Ph.D. project “Design of a manual-structured music-therapy treatment for depressed patients in a clinical setting” at the Hochschule fur Musik und Theater Hamburg, tutored by Prof. Dr Eckhard Weymann, Hamburg (2nd tutor Prof. Dr Thomas Stegemann, Vienna).Objective: The clinical treatment is more and more influenced by economic needs. The given project focuses on the challenge to develop ideal conditions for the unfolding of music therapy effective factors concerning the treatment of depression.Methods: The point of reference is the hypothesis that depression and suicidality are culturally socialized mental behaviors. Therefore, special conditions for the self-experience during music perception are sought, by means of which culturally destructive attitudes and self-destructive learned opinions about oneself are neutralized.Discussion: This kind of treatment of depression assumes that the patient participates in an active way from the cl...

Postmoderne hinter dem Eisernen Vorhang: Werk und Rezeption Alfred Schnittkes im Kontext ost- und mitteleuropäischer Musikdiskurse Edited by Amrei Flechsig and Stefan Weiss (review)

Postmoderne hinter dem Eisernen Vorhang: Werk und Rezeption Alfred Schnittkes im Kontext ost- und mitteleuropaischer Musikdiskurse. Edited by Amrei Flechsig and Stefan Weiss. (Ligaturen: Musikwissenschaftliches Jahrbuch der Hochschule fur Musik, Theater und Medien Hannover, bd. 6.) Hildesheim: Georg Olms Verlag, 2013. [280 p. ISBN 9783487150154. 48 [euro].] Music examples, illustrations. scholarship is booming, especially in Germany and Russia. Schnittke's star has undeniably waned from its early-1990s peak, when he was the most-recorded contemporary composer, surpassing even Philip Glass. Yet several of his solo instrumental compositions-Cello Sonata no. 1, Stille Naclit, A Paganini, and Suite in the Old Style--have become standard repertoire for violinists, cellists, and pianists. Chamber and orchestral works have also fared well: the Concerto Grosso no. 1 is a staple of the orchestral literature, and the Piano Quintet and String Quartets nos. 2 and 3 are often heard on chamber concerts. Schnittke's historical significance still arouses debate, but it seems fair to say that his concept of polystylism both foreshadowed and still aptly describes our current information-saturated age of sampling and remixing. Since the early 2000s, publications about have been appearing at a rapid clip. A scholarly yearbook called Dedicated to Alfred Schnittke (Alfredu Shnitke posvyashchaetsya), begun in 1999, has recently seen its eighth volume (published by Kompozitor in Moscow). This publication includes reminiscences from former colleagues, articles from established and younger scholars on works by and his contemporaries, and valuable primary source documents, among them selections from Schnittke's correspondence. A complete critical edition of his compositions is also well underway, published by Kompozitor in Saint Petersburg, and set in motion by the late Alexander Ivashkin. But arguably the biggest news in scholarship recently has been the unveiling of sketches and other documents by the composer, now at the Juilliard School in New York. This treasure trove includes materials related to several pivotal works, among them the Symphonies nos. 2 and 3, Passacaglia, Piano Quintet, Dialogue for cello and seven instruments, Lebenslauf, and Faust Cantata (Seid niichtern und wachet). (Ivana Medic gives a useful preliminary digest of these materials in Alfredn Shnitke posvyashchaetsya, no. 8 [Moscow: Kompozitor, 2011], 109-57.) Unfortunately, a number of other scores, among them the manuscript of Peer Gynt, are either in the process of being, or have recently been, sold at auction, destined for whereabouts unknown. This, as always, represents a very real loss to scholarship. The collection of essays called Postmodernism behind the bon Curtain and edited by Amrei Flechsig and Stefan Weiss, both prime movers and shakers in the active Russian musicological scene in Germany, must be evaluated against this backdrop. studies sits on the cusp of a new period. Scholars fluent in both Russian and German (as well as English)--all crucial for researching the composer--have begun approaching the music and digging into historical sources. That Russian music scholarship is going strong in Germany has been demonstrated by a number of important conferences held there over the past several years; the present volume arose from a conference held in Hannover in 2009 on the occasion of the 75th anniversary of Schnittke's birth. In May 2013, I attended a conference in Hannover organized by Weiss on the theme Soviet Music Abroad (Sowjetische Musik im Ausland), and can attest to its crucial value in bringing together scholars from Russia, Europe, the U.K., and North America. Unfortunately, the present collection includes no representatives from the former U.S.S.R.; their contributions might have greatly balanced its perspective. The collection includes 16 essays, three in English, the remaining in German. …

Metamorphosen. Beat Furrer an der Hochschule für Musik Basel. Schriften, Gespräche, Dokumente (review)

Metamorphosen. Beat Furrer an der Hochschule fur Musik Basel. Schriften, Gesprache, Dokumente. Edited by Michael Kunkel. Saar - brucken: Pfau, 2011. [298 p. ISBN 9783897274563. i30.] Music examples, facsimiles, photographs, works list, chronology, discography. From October 2007 to June 2008, the composer and conductor Beat Furrer was resident in Basel as a visiting professor at the Hochschule fur Musik Basel and the Musicological Institute at the University of Basel. The volume under review was prepared as a commemoration of the activities surrounding this year in residence (editor Michael Kunkel is the director of the research department at the Hochschule fur Musik). One example of the book's direct relationship to the events of Furrer's year in Basel is the text printed here of a roundtable discussion by a group of musicologists at the Basel Music Academy on the subject Does New Music Need Mediation? (pp. 199-211; translations throughout this review are my own). The book, however, aspires to be more than a simple catalog of the events of Furrer's residence, a goal that is realized by the incorporation of useful reference information, essays and interviews from a range of years, and assorted documentary material. In addition, scholarly investigations by leading musicologists offer insight into specific topics relating to Furrer's music. An excerpt from Ovid's Metamorphoses (the house of rumor passage that inspired Furrer's opera Fama) serves as a kind of extended epigraph for the volume (pp. 10-11). The passage's evocations of noises, echoes, voices, openness, and space provide a vivid introduction to Furrer's philosophical ideas and compositional materials. These ideas are explored in detail in the essay by Kunkel later in the book, both in reference to Fama and to other Furrer works such as the First String Quartet, the opera Narcissus, and the Aria for voice and ensemble (pp. 81-116). Kunkel's essay is the most comprehensive survey of Furrer's style in the book, and provides welcome concrete music examples for the abstract concepts that are so liberally dispensed in discussions of Furrer's music elsewhere in the book, including in the composer's own essays. Kunkel also emphasizes the influence of Furrer's teacher, Roman Haubenstock-Ramati, who was renowned for his innovations in graphic notation; the unconventional visual aspects of Haubenstock-Ramati's scores opened the conceptual gaps necessary to reconceive the relationship between music and space as Furrer has done. A similar desire to trace Furrer's influences surfaces in Simon Obert's essay on the resonances of Schubert and Feldman in Furrer's works (pp. 126-45) and Ulrich Mosch's analysis of how Furrer's organizational strategies for his musical material are a kind of post-serial procedure governing such param eters as rhythm, pitch, and register (pp. 146-68). The extensive tables of pitch patterns presented in Mosch's article tip the essay more toward analysis than explanation, and the paper thus occupies a relatively higher plane of musicological specialization than the book as a whole, with the potential to intimidate the uninitiated. One of the most useful historical aspects of this book is how Kunkel has chosen key essays and interviews to reproduce in one place. Ten different primary sources are included, ranging from 1989 to 2009. The almost purposeful inconsequentiality of reprinting Furrer's recipe for pumpkin soup (likely delicious, but this reviewer did not attempt to make it, p. 49) and his surprisingly simple sketch in answer to the question, Can you draw your music? (p. 43) add a charming sense of the composer's everyday humanity. Particularly valuable for their conceptual breadth, on the other hand, are lectures by Furrer at Darmstadt in 2006 about the spatial aspects of music theater (pp. 55-60) and in 2009 about composition with language and spaces (pp. 73-78). In the latter he treats both the practical aspects of his works (my problem over the years has been the integration of the singing voice with the ensemble, p. …

Maxim Vengerov: Violin Masterclass at the Royal Academy of Music, London, Benjamin Britten, Violin concerto opus 15: Violin masterclass , and: Ana Chumachenko at the Verbier Festival Academy, Violin masterclass , and: Gábor Takács-Nagy at the Verbier Festival Academy, Johannes Brahms, Piano quartet no. 3 in C minor: Chamber music masterclass , and: Aaron Rosand: Celebrating a Life in Music

Maxim Vengerov: Violin Masterclass at the Royal Academy of Music, London, Benjamin Britten, Violin concerto opus 15: Violin masterclass. DVD. Directed by Mischa Scorer. Bristol, England: Masterclass Media Foundation, 2008. MMF 2-022. £11.99 individual/£19.98 institution. Ana Chumachenko at the Verbier Festival Academy, Violin masterclass. DVD. Directed by Mischa Scorer. Bristol, England: Masterclass Media Foundation, 2009. MMF 2-027. £23.99 individual/£39.98 institution. Gabor Takacs-Nagy at the Verbier Festival Academy, Johannes Brahms, Piano quartet no. 3 in C minor: Chamber music masterclass. DVD. Directed by Mischa Scorer. Bristol, England: Masterclass Media Foundation, 2008. MMF 014. £17.99 individual/£29.98 institution. Aaron Rosand: Celebrating a Life in Music. DVD. Produced and directed by Sheila Halpern and Steve Halpern. [Pleasantville, New York]: SMH Music, 2007. SMH7878. $29.95. Aaron Rosand: The Teacher. DVD. Produced and directed by Sheila Halpern and Steve Halpern. [Pleasantville, New York]: SMH Music, 2010. $29.95. Since 2006, The Masterclass Media Foundation has been systematically filming classes conducted by some of the world's greatest classical performers and teachers. Founded as a non-profit by documentary director and producer Mischa Scorer, the foundation has produced 35 DVDs that include lessons by such well known instrumentalists as Maxim Vengerov on violin, Steven Isserlis on cello, and Andras Schiff at the piano. The five-year goal is to create a library of over 100 DVDs that will cover a wide range of genres including instrumental solos, chamber music, conducting, and even early music. These films are wonderful. Top-notch performers and teachers give thoughtful and articulate advice on how to play and interpret some of the greatest musical works of all times. The classes are beautifully filmed in an artistic yet unobtrusive way and the overall sound is very good. Maxim Vengerov is included in ten of the twelve violin DVDs. At age 32, he is Professor of Violin at the Royal Academy of Music in London. In 2004 Vengerov was awarded both a Grammy and an Edison Award for his recording of the Britten Violin Concerto and after watching this video it is obvious why he is featured so prominently. His class begins with Giovanni Guzzi, accompanied by piano, performing the first movement of the Britten concerto after which Vengerov launches into a lengthy discourse on his artistic conception of the overall piece. Next Vengerov works through the first movement of the concerto with the student. His relaxed nature and ability to generate a positive interpersonal dynamic is communicated on camera. Both student and teacher are engaged in the lesson, and under the direction of the master, this initially intellectual and sterile work is enlivened with drama and emotion. The class was filmed at the Royal Academy before a live audience. The overall tone quality of the instruments was somewhat diminished in this setting but for the most part the class translated well onto video. Ana Chumachenko, now a Professor at Die Hochschule fur Musik und Theater Munchen, studied violin first with her own father, a disciple of Leopold Auer's, and later with Yehudi Menuhin and Joseph Szigeti. This class, devoted to Mozart's Concerti 3, 4, and 5, was filmed at the Verbier Festival Academy and was arranged especially for this series. As such, there was no audience and the Verbier set offered superb sound and more artistic videography than that shot at the Royal Academy. The first performer, Eldbjorg Hemsing, gives a beautiful performance of the first movement of Concerto No. 3, however, the videography in this lesson is extremely distracting. The camera focuses so closely on her face that her hands and instrument are constantly moving in and out of the screen. Also, Chumachenko is sometimes difficult to understand because she was positioned to face the student and was slightly turned away from the camera. …

Vox sana in corpore sano?

Am Anfang steht die Frage „Wie können sich Menschen in stimmintensiven Berufen berufsbegleitend fit halten, um den ständig steigenden Anforderungen gerecht zu werden?” Der Autor geht von seinen Erfahrungen in der Körperarbeit mit Musikern im Fach „Physioprophylaxe”- einem Pflichtfach an der Hochschule für Musik „Hanns Eisler” Berlin - aus und stellt am Beispiel von Sängern (aller Genres) die Möglichkeiten und Grenzen des Trainings im Fitnessstudio dar. Dabei gibt er Hintergrundinformationen zu relevanten Themen wie das Training von Muskelschlingen, das Problem der muskulären Dysbalancen und das Training der tiefen Muskulatur.

Die Opera seria bei Joseph Haydn: Studien zu Form und Struktur musikalischer Affektdramaturgie und Figurentypologisierung in Armida und L'anima del filosofo ossia Orfeo ed Euridice (review)

Die Opera seria bei Joseph Haydn: Studien zu Form und Struktur musikalischer Affektdramaturgie und Figurentypologisierung in Armida und L'anima del filosofo ossia Orfeo ed Euridice. By Bernhard Waritschlager. (Musikwissenschaftliche Schriften der Hochschule fur Musik und Theater Munchen, Bd. 2.) Tutzing: Hans Schneider, 2005. [226 p. ISBN 3-7952-1192-1. euro52.] Music examples, indexes, bibliography. Based on the author's 2005 dissertation from the University of Munich, this book concentrates on Haydn's last two operas-the dramma eroico Armida from 1783-84, his final work for the Esterhazy stage, and the dramma per musica L'anima del filosofo, ossia Oifeo ed Euridice written for London in 1791 but never performed in the composer's lifetime. (Discussed only briefly is L'isola disabitata, the two-act azione teatrale from 1779 on a libretto by Pietro Metastasio, which is not yet available in the Joseph Werke, and the fragmentary Acide from 1763 (revised 1774) written before the composer's musical and dramatic potential was hilly realized.) As such, this book fills in an analytical hole left by other detailed studies of the composer's operas, although its outdated methodology gives one pause. Simply put, each of the four earlier dissertations briefly cited by the author adopts a slightly different configuration for the study of the operas: Mary Hunter analyzes the sonata form structure of Haydn's buffa and seria arias in her 1982 dissertation (Haydn's Aria Forms: A Study of the Arias in the Italian Written at Esterhaza, 1766-1783 [Ph.D. diss., Cornell University, 1982]) but stops short of considering L'anima del filosofo since it was conceived in a different time and place for a paying public audience far from Eszterhaza; my own dissertation from 1991 (The opera buffa finales of Joseph Haydn [Ph.D. diss., Cornell University, 1991]) concentrates on the buffo finales, with no reference to works in the seria tradition that eschew this musico-dramatic construct; Patricia Debly's 1993 dissertation (Joseph and the dramma [Ph.D. diss., University of Victoria, 1993]) examines Haydn's works in the dramma giocoso tradition only; and Rebecca's Green's 1995 dissertation (Power and Patriarchy in Haydn's Goldoni Operas [Ph.D. diss., University of Toronto, 1995]) provides a close socio-contextual reading of three works on librettos by the mid-eighteenth-century Venetian social satirist Carlo Goldoni. To summarize, Haydn's operas in the seria tradition have been under-represented in previous studies, preparing the way for Waritschlager's debut as an interpreter of the composer's late seria style. Waritschlager's thesis is a simple one: basically. Haydn's musical dramaturgy sprang from the principles of his instrumental music (p. 12). Anyone familiar with traditional opera analysis of an earlier generadon, inextricably rooted in formalism, will recognize that this is hardly an original idea. How Haydn, that masterful manipulator of motivic material, structural innovator, musical jokester, employer of Empfindsam expressiveness, and transgressor of the normative managed to place his personal stamp on almost every instrumental genre of his day is only part of the story; still little understood and under appreciated is the extent to which these same features permeate his music for the theater. Indeed, the mentors in whose footsteps Waritschlager finds himself treading-most notably Thrasybulos Georgiades and Charles Rosen, whom he quotes at length -built their legendary musicological careers on exploring the fundamental relationship between form, language, and style, especially in the music of the Viennese classical tradition. For Georgiadis, who was formulating his ideas about text and music during the mid-twentieth century when he held a professorship at Waritschlager's alma mater, the demands of a dramatic text led to the creation of new kinds of flexible phrasing in opera buffa, especially Mozartean comic opera, and became the model for other comparisons. …

Some South African connections among students at the Hochschule f&#252r Musik in Berlin, 1914-1933

There were no South African born students at the Hochschule fur Musik in Berlin during the course of World War I. However between 1919 and 1933, five students enrolled, and research on them and on the musical milieu in which they studied can improve our understanding both of Berlin during the time they studied and of the students' later contributions to music. The five students were the singer Constance Hoesch (Oudtshoorn), Margarete Schoen, a piano student born in Johannesburg, the Pretoria-born cellist Lucia de Kock, the singer Reinhard Behr (Swakopmund) and Joachim Speiser (Cape Town), who studied piano and composition. Three other students later came to South Africa, contributing greatly to its cultural life. The Jewish-German Heinz Hirschland studied piano and composition, and arrived in 1934. He wrote some compositions with South African titles, also setting Afrikaans poems. Maria Neuss (from Bohemia) studied the violin and came to South Africa with her husband Frits Schuurman. She taught in Cape Town and Durban. The pianist Helga Bassel (Berlin) settled in South Africa in 1939 and became a very active performer and mother of Pieter-Dirk and Tessa Uys.

Andrzej Panufnik and the Pressures of Stalinism in Post-War Poland

Like many other composers, Andrzej Panufnik lost his entire musical oeuvre as a result of the Warsaw Uprising. By then he was already the composer of two symphonies, a piano trio, the Five Polish Peasant Songs and Tragic Overture. This last piece, which he had conducted himself in occupied Warsaw in 1944, had brought him considerable success. Listeners felt its terrifying resonance inaddition to appreciating its masterful construction, and the event remained in many people's memory for years, establishing Panufnik's musical position as a composer as well as a conductor. (Before the war, he had graduated from the Warsaw Conservatory with degrees in both fields, and later studiedconducting at Vienna's Hochschule fur Musik with one of the greatest conductors of the time, FelixWeingartner.) His pre-war compositions, premiered in the late 1930s, had already been very well received by the critics. There was no doubt that Panufnik would play a significant role in post-war Polish musical life.

The Ernst von Dohnanyi Collection at the Florida State University

Between the years 1949 and 1960, the pianist, composer, conductor, and pedagogue Ernst yon Dohnanyi (1877-1960) was on the faculty of the Florida State University (FSU). Having already commemorated his contribution to the school in 1987 through the naming of the Ernst yon Dohnanyi Recital Hall, the university has now established the Ernst von Dohnanyi Collection, containing books, scrapbooks, manuscripts, photographs, letters, and recordings, as well as Dohnanyi's personal collection of facsimiles and published music. Dohnanyi was considered one of the great musicians of his time. He appeared as a pianist and conductor in numerous concert venues throughout Europe and the United States between 1897 and 1944, giving fifteen hundred concerts during the first thirty years of his career. While receiving much critical acclaim for his piano-playing, conducting, and composing, Dohnanyi taught at the Hochschule fur Musik in Berlin and the Liszt Ferenc Zenemuveszeti Foiskola (Franz Liszt Academy of Music) in Budapest. He eventually became director of the academy, and served as conductor of the Budapesti Filharmoniai Tarsasag (Budapest Philharmonic Society) and music director of the Magyar Radio (Hungarian Radio) as he continued to tour internationally. When Hungary became aligned with Nazi Germany, Dohnanyi refused to implement anti-Semitic regulations and resigned from all of his positions. He fled his war-torn homeland when the Soviets began to attack in November 1944. Because he had stayed in Hungary throughout the German occupation, Dohnanyi was accused of being sympathetic to the previous regime and became a target for political persecution by the new communist government. Among other things, he was accused of delivering ailing Jewish-Hungarian musicians from a local hospital to the gestapo on his way out of the country. Ironically, these accusations were propagated by a man whom Dohnanyi had anonymously saved from the concentration camps - something he had done for numerous Hungarians. Dohnanyi was eventually able to disprove the allegations that he was a Nazi war criminal. In 1945, the Allied Occupation Authority exonerated him of all charges, and the communist Hungarian government itself rejected the accusations. Although several prominent Jewish-Hungarian musicians testified in Dohnanyi's favor, new rumors arose that Dohnanyi was an anti-Semite. Even after this was also refuted, Dohnanyi was attacked by communist authorities simply because he was not a communist. A barrage of false accusations would follow Dohnanyi for the rest of his life, damaging his reputation and preventing him from reestablishing himself as an international performer. In an attempt to protect his family and rejuvenate his career, Dohnanyi fled Europe in 1948. For this, he drew even more criticism. One Hungarian newspaper asserted that Dohnanyi was to be granted American citizenship as a reward for his treacherous activities against Soviet-dominated Hungary.(1) Shortly after this article appeared, Dohnanyi was officially declared a war criminal by the Soviet-controlled Hungarian government. Even in America, Dohnanyi's performances were frequently canceled because of the lingering rumors. After an exhausting immigration process, Dohnanyi settled in Tallahassee, Florida, to teach at FSU. The attacks on Dohnanyi abated enough for him to make a triumphant re-debut at Carnegie Hall in 1953 at the age of seventy-six. Dohnanyi continued to teach and perform up to the time of his death in 1960; he died in New York City, where he was making recordings for the Everest label. Following the 1945 death of Bela Bartok, who was Dohnanyi's last powerful Hungarian supporter, the Hungarian establishment attempted to deny Dohnanyi had ever lived.(2) Even after his death, Dohnanyi's reputation continued to be assaulted. In 1968, however, Hungarian Prime Minister Janos Kadar amended national policy to allow for noncommunist thought. …

‘Unerringly tasteful’?: harpsichord continuo in Corelli's op.5 sonatas

Journal Article ‘Unerringly tasteful’?: harpsichord continuo in Corelli's op.5 sonatas Get access Lars Ulrik Mortensen Lars Ulrik Mortensen Lars Ulrik Mortensen performs extensively as soloist and chamber musician with Trio Veracini and Emma Kirkby. In 1996 he was appointed professor for harpsichord and performance practice at the Hochschule fur Musik in Munich. Search for other works by this author on: Oxford Academic Google Scholar Early Music, Volume XXIV, Issue 4, November 1996, Pages 665–680, https://doi.org/10.1093/earlyj/XXIV.4.665 Published: 01 November 1996