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Gespräche mit Goethe in den letzten Jahren seines Lebens /Johann Peter Eckermann ; in neuer Auswahl herausgegeben von H. Edda
01 Jan 1936-
About: The article was published on 1936-01-01 and is currently open access. It has received 116 citations till now.
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29 Mar 2010TL;DR: In this article, a tour for a trade, a father's death, a philosopher's birth, a university years, the better consciousness, causes, grounds, and confrontations are described.
Abstract: 1. The affirmation of the will 2. A tour for a trade 3. A father's death, a philosopher's birth 4. The university years 5. The better consciousness, causes, grounds, and confrontations 6. Goethe, colors, and eastern lights 7. The single thought of Dresden 8. Failure in Berlin 9. Ich bin kein Berliner 10. The Frankfurt philosopher 11. The dawn of fame and the end of life.
33 citations
Book•
27 Oct 2011TL;DR: In this paper, the idea of cyclic form was introduced in Mendelssohn's mature music and the cycle of cyclicism in the music of the E major Piano Sonata, Op. 6 was discussed.
Abstract: Introduction 1. The idea of cyclic form 2. Musical history and self-consciousness: the Octet, Op. 20 3. Returning home: the E major Piano Sonata, Op. 6 4. In search of lost time: the A minor Quartet, Op. 13 5. Overcoming the past: the E flat Quartet, Op. 12 6. Cyclicism in Mendelssohn's mature music.
30 citations
Dissertation•
14 Jul 2016
25 citations
TL;DR: Beethoven's Ninth Symphony's last word "T6ne" (ex. 1) can be interpreted in one of two ways: either the player can reproduce the pitches literally, as notated; or he can add an unnotated but implied appoggiatura on the first syllable as discussed by the authors.
Abstract: Beethoven's Ninth Symphony whose ambiguity, although technically unremarkable, has farreaching implications for interpretations of the work, prompted by the music's ironic relationship to the text at that point. The moment, as brief as it is critical, comes at the beginning of the baritone recitative "O Freunde, nicht diese T6ne!," specifically on the last word of that phrase, "T6ne" (ex. 1). The soloist can choose to read the setting of this word in one of two ways: either he can reproduce the pitches literally, as notated; or he can add an unnotated but implied appoggiatura on the first syllable. The numerous available recordings of the Ninth include examples of both solutions.' Embellish-
25 citations