Eva Badura-Skoda

Eva Badura-Skoda (née Halfar, born January 15, 1929) is a German/Austrian musicologist.[1]

Eva Halfar studied at the Vienna Conservatory and took courses in musicology, philosophy, and art history at the universities of Heidelberg, Vienna (Erich Schenk), and Innsbruck (Ph.D., 1953, with the thesis Studien zur Geschichte des Musikunterrichtes in Österreich im 16., 17. und 18. Jahrhundert).

In 1951 she married Paul Badura-Skoda, with whom she collaborated on the volumes Mozart-Interpretation (Vienna, 1957; English transl., 1961; 2nd edition, rev., 1996) and Bach-Interpretation (Laaber, 1990; English transl., 1992).

In 1962 and 1963 she led summer seminars at the Salzburg Mozarteum. In 1964 she was the Brittingham visiting professor at the University of Wisconsin, where she served as professor of musicology from 1966 to 1974. She was a visiting professor at Boston University (1976), Queen's University in Kingston, Ontario (1979), McGill University in Montreal (1981–82), and the University of Göttingen (1982–83). In 1986 she was awarded the Austrian Cross of Honour for Science and Art[2] by the Austrian government.

Badura-Skoda contributed many articles to books, reference works, and journals, and also edited scores by Haydn, Dittersdorf, Mozart, and Schubert.

With Peter Branscombe, she edited the volume Schubert Studies: Problems of Style and Chronology (Cambridge, 1982). She also edited the report of the international Haydn congress held in Vienna in 1982 (Munich, 1986) and was an editor of a volume on Schubert and his friends (Cologne and Vienna, 1999).

The book Interpreting Mozart, written with co-author Paul Badura-Skoda, is a detailed study of textual and performance issues which are of importance to the serious pianist, but also to any listener desiring insight into the significant issues that a pianist must deal with when presenting Mozart piano works. In 1974 she accompanied Paul Badura-Skoda on his Southern Africa musical tour where she assessed the value of the Hans Adler keyboard collection and museum.[3]

Eva Badura-Skoda
BornJanuary 15, 1929 (age 90)
Munich, Germany
OccupationMusicologist
EducationPhD University of Innsbruck
SubjectMusic
Notable worksMozart-Interpretation,
Bach-Interpretation
SpousePaul Badura-Skoda

Selected bibliography

  • Schubert studies: problems of style and chronology; edited by Eva Badura-Skoda and Peter Branscombe. Cambridge University Press, 1982. xiv, 369 p. ISBN 0-521-22606-6
  • Proceedings of the International Joseph Haydn Congress Joseph Haydn (Bericht über den Internationalen Joseph Haydn Kongress) Vienna Hofburg, 5–12 September 1982. Munich: Henle, 1986.
  • Interpreting Mozart: the performance of his piano pieces and other compositions by Eva and Paul Badura-Skoda. 2nd edition, New York/London. Routledge 2008, xvii, 474 p. 1 CD-ROM.

See also

Notes

  1. ^ Eva Badura-Skoda, "Badura-Skoda, Eva", Musik in Geschichte und Gegenwart, Personenteil, vol. 1, ed. Ludwig Finscher, Kassel 1999, pp. 1610–1612.
  2. ^ "Reply to a parliamentary question" (pdf) (in German). p. 2038. Retrieved 29 November 2012.
  3. ^ [1]see article "South African Digest, August 15 1975"

External links

Carlo Grante

Carlo Grante (born 1960 in L'Aquila) is an Italian classical pianist. He graduated at the National Academy of St Cecilia in Rome with Sergio Perticaroli. Later he also studied with Ivan Davis, Rudolf Firkušný, and Aliza Kezeradze. He is known as a performer of mainstream classical composers such as Franz Liszt, Wolfgang Amadeus Mozart, and Domenico Scarlatti, as well as highly demanding late romantic and 20th-century composers such as Leopold Godowsky, Ferruccio Busoni, George Flynn, Roman Vlad, Paolo Troncon, Michael Finnissy, Alistair Hinton and Kaikhosru Shapurji Sorabji. His discography consists of more than 50 albums.

Hans G. Adler

Hans Georg Adler (1904–1979) was a musicologist, collector, and classical music promoter in South Africa.

January 23

January 23 is the 23rd day of the year in the Gregorian calendar. There are 342 days remaining until the end of the year (343 in leap years).

Le diable à quatre (opera)

Le diable à quatre (The Devil to Pay) is an opéra comique in three acts by Christoph Willibald Gluck. The French-language libretto is by Michel-Jean Sedaine and Pierre Baurans, after a translation by Claude-Pierre Patu of the 1731 ballad opera by Charles Coffey entitled The Devil to Pay, or The Wives Metamorphos’d. It was first performed at Laxenburg on May 28, 1759. The work was a popular success. Joseph Haydn used a melody from it, "Je n’aimais pas le tabac beaucoup (I didn’t like tobacco much)" in the first movement of his symphony Le soir.Klaus Hortschansky has noted that Le diable à quatre is one of Gluck's few stageworks where the composer neither used musical material from prior works nor recycled material from it into future works. Bruce Brown has discussed Gluck's authorship of the music in detail, and has also edited the work for the Gluck Sämtliche Werke.(The same libretto was set to music arranged by Andre Danican Philidor and Jean-Louis Laruette and first staged with the above title on 19 August 1756 in Paris.)

List of musicologists

A musicologist is someone who studies music (see musicology). A historical musicologist studies music from a historical perspective. An ethnomusicologist studies music in its cultural and social contexts (see ethnomusicology). A systematic musicologist asks general questions about music from the perspective of relevant disciplines (psychology, sociology, acoustics, philosophy, physiology, computer science) (see systematic musicology). Systematic musicologists often identify more strongly with their non-musical discipline than with musicology.

Otto Erich Deutsch

Otto Erich Deutsch (5 September 1883 – 23 November 1967) was an Austrian musicologist. He is known for compiling the first comprehensive catalogue of Franz Schubert's compositions, first published in 1951 in English, with a revised edition published in 1978 in German. It is from this catalogue that the D numbers used to identify Schubert's works derive.

Paul Badura-Skoda

Paul Badura-Skoda (born 6 October 1927, Vienna) is an Austrian pianist.

Peter Branscombe

Peter John Branscombe (7 December 1929 in Sittingbourne, Kent – 31 December 2008 in St Andrews, Scotland) was an English academic in German studies, a musicologist, and a writer on Austrian cultural history.

Piano Sonata in A minor, D 784 (Schubert)

Franz Schubert's Piano Sonata in A minor, D 784 (posthumously published as Op. 143), is one of Schubert's major compositions for the piano. Schubert composed the work in February 1823, perhaps as a response to his illness the year before. It was however not published until 1839, eleven years after his death. It was given the opus number 143 and a dedication to Felix Mendelssohn by its publishers. The D 784 sonata, Schubert's last to be in three movements, is seen by many to herald a new era in Schubert's output for the piano, and to be a profound and sometimes almost obsessively tragic work.

Rita Steblin

Rita Katherine Steblin (born April 22, 1951, Chilliwack, British Columbia, Canada) is a musicologist, specializing in archival work combining music history, iconography and genealogical research.

After obtaining degrees in Vancouver, Toronto and Urbana, Illinois, and studying at the University of Music and Performing Arts Vienna, Steblin worked in Canada (mainly in Vancouver) and since 1991 in Vienna first at the Internationales Franz-Schubert-Institut and then as an independent researcher on Ludwig van Beethoven, Franz Schubert and social life in late eighteenth and early nineteenth-century in Austria (including Hungary and Bohemia).

Schubert's last sonatas

Franz Schubert's last three piano sonatas, D 958, 959 and 960, are the composer's last major compositions for solo piano. They were written during the last months of his life, between the spring and autumn of 1828, but were not published until about ten years after his death, in 1838–39. Like the rest of Schubert's piano sonatas, they were mostly neglected in the 19th century. By the late 20th century, however, public and critical opinion had changed, and these sonatas are now considered among the most important of the composer's mature masterpieces. They are part of the core piano repertoire, appearing regularly on concert programs and recordings.One of the reasons for the long period of neglect of Schubert's piano sonatas seems to be their dismissal as structurally and dramatically inferior to the sonatas of Beethoven. In fact, the last sonatas contain distinct allusions and similarities to works by Beethoven, a composer Schubert venerated. However, musicological analysis has shown that they maintain a mature, individual style. Schubert's last sonatas are now praised for that mature style, manifested in unique features such as a cyclical formal and tonal design, chamber music textures, and a rare depth of emotional expression.The three sonatas are cyclically interconnected by diverse structural, harmonic and melodic elements tying together all movements in each sonata, as well as all three sonatas together; consequently, they are often regarded as a trilogy. They also contain specific allusions and similarities to other Schubert compositions, such as his Winterreise song cycle; these connections point to turbulent emotions expressed in the sonatas, often understood as highly personal and autobiographical. Indeed, some researchers have suggested specific psychological narratives for the sonatas, based on historical evidence concerning the composer's life.

Schubert's song cycles

Franz Schubert's best known song cycles, like Die schöne Müllerin and Winterreise are based on separate poems with a common theme and narrative. Other song cycles are based on consecutive excerpts of the same literary work: Schubert's "Ave Maria" is part of such a song cycle based on excerpts of the same poem, in this case by Walter Scott.

When the poems of a group of songs have a common link, and are for this reason grouped under a single Deutsch number, but there is no common narrative, the collection is rather qualified as a song set than a song cycle. Some of Schubert's song cycles contain both Lieder for solo voice as part songs. There is, however, always a piano accompaniment.

Schubert Thematic Catalogue

Schubert: Thematic Catalogue of all his Works in Chronological Order, also known as the Deutsch catalogue, is a numbered list of all compositions by Franz Schubert compiled by Otto Erich Deutsch. Since its first publication in 1951, Deutsch (abbreviated as D or D.) numbers are used for the unique identification of Schubert's compositions.

Sonatas, duos and fantasies by Franz Schubert

Sonatas, duos and fantasies by Franz Schubert include all works for solo piano by Franz Schubert, except separate dances. They also include a number of works for two players: piano four hands, or piano and a string instrument (violin, arpeggione).

Sonatensatz, D 28 (Schubert)

The Sonatensatz in B-flat major D. 28, also known as Piano Trio in B-flat major, is a single-movement work for piano trio by Franz Schubert.

This work was written in 1812, immediately after the fifteen-year-old composer lost his place in Vienna's Imperial Chapel Choir due to his voice breaking. Schubert spent most of the August composing this work, his first ever composition for strings and piano, but abandoned it after finishing the first movement. It was also in this year that his mother died. Although relatively little known, the work is important among Schubert's early output, and Schubert's only previous exercise in the genre when he penned his more celebrated piano trios D. 898 and D. 929 15 years later.Like several other of his works from this time, this piano trio movement was heavily inspired by classical models, partly reflective of Schubert's having begun lessons with Antonio Salieri, although Schubert was already giving the cello part a more emancipated role than in Mozart's piano trios. Eva Badura-Skoda writes that it contains "...some charming passages and even traits of genuine Schubert here and there in this movement; but altogether one can still feel Schubert's lack of experience."

Symphony No. 8 (Haydn)

Joseph Haydn wrote his Symphony No. 8 in G major under the employ of Prince Paul II Anton Esterházy in Spring 1761, in the transition between the Baroque and Classical periods. It is the third part of a set of three symphonies that Prince Anton had commisioned him to write – Le matin ("Morning"; No. 6), Le midi ("Noon"; No. 7) and Le soir ("Evening"; No. 8). He had given him as inspiration the three times of Day.

Theater am Kärntnertor

Theater am Kärntnertor or Kärntnertortheater (English: Carinthian Gate Theatre) was a prestigious theatre in Vienna during the eighteenth and nineteenth centuries. Its official title was Kaiserliches und Königliches Hoftheater zu Wien, the "Imperial and Royal Court Theater of Vienna".

Winfried Michel

Winfried Michel (born 1948 in Fulda) is a German recorder player, composer, and editor of music.

Michel studied with Ingetraud Drescher, Nikolaus Delius, and Frans Brüggen. He is lecturer for the recorder at the Staatliche Hochschule Münster and at the Musikakademie Kassel. In addition to compositions published under his own name, he has written numerous pieces in the style of the early 18th century under the pseudonym Giovanni Paolo Simonetti. In 1993 he succeeded in convincing noted Haydn scholar H. C. Robbins Landon and the pianist/scholars Paul and Eva Badura-Skoda that six piano sonatas he had composed were long-lost works by Joseph Haydn (Beckerman 1994; Linskoog 1996).

Based on the opening few bars of six lost Haydn works, found in an old thematic index, these sonatas were published in 1995 as works by Haydn, "supplemented and edited by Winfried Michel." He has similarly completed the Viola Sonata left as a two-movement fragment by Mikhail Glinka with a menuet as third movement, even though Glinka would have—according to his autobiography—put a rondo.

Women in musicology

Women in musicology describes the role of women professors, scholars and researchers in postsecondary education musicology departments at postsecondary education institutions, including universities, colleges and music conservatories. Traditionally, the vast majority of major musicologists and music historians have been men. Nevertheless, some women musicologists have reached the top ranks of the profession. Carolyn Abbate (born 1956) is an American musicologist who did her PhD at Princeton University. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians".Susan McClary (born 1946) is a musicologist associated with the "New Musicology" who incorporates feminist music criticism in her work. McClary holds a PhD from Harvard University. One of her best known works is Feminine Endings (1991), which covers musical constructions of gender and sexuality, gendered aspects of traditional music theory, gendered sexuality in musical narrative, music as a gendered discourse and issues affecting women musicians. In the book, McClary suggests that the sonata form (used in symphonies and string quartets) may be a sexist or misogynistic procedure that constructs of gender and sexual identity. McClary's Conventional Wisdom (2000) argues that the traditional musicological assumption of the existence of "purely musical" elements, divorced from culture and meaning, the social and the body, is a conceit used to veil the social and political imperatives of the worldview that produces the classical canon most prized by supposedly objective musicologists.

American musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers.Other notable women scholars include:

Eva Badura-Skoda

Margaret Bent

Suzanne Cusick

Ursula Günther

Maud Cuney Hare

Liudmila Kovnatskaya

Kendra Preston Leonard

Rosetta Reitz

Elaine Sisman

Hedi Stadlen

Rose Rosengard Subotnik

Anahit Tsitsikian

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