著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 = Bulletin of Saitama Gakuen University. Faculty of Humanities (ISSN:13470515)

巻号頁・発行日

vol.14, pp.75-87, 2014-12-01

---

The Austrian National Library possesses a piano score of potpourri based on Ch. Gounod’s opera “Romeo and Juliet” that was arranged by Josef Strauss. The socre was published as No.107 of the series named ‘Anthologie Musicale’ by the publisher Spina. The background of this potpourri is not known. The French Opera “Romeo and Juliet” by Gounod was premiered in Paris on April 27, 1867 during the Expo in Paris, and was performed in German in Vienna on February 5, 1868. The author found the advertisement of the Strauss’s Concert in Volksgarten dated July 24, 1867 in which the “Groses Potpourri aus der Oper Romeo und Julie” by Josef Strauss was announced as a new work. It became clear that this potpourri was actually performed by the Strauss Orchestra.

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 = Bulletin of Saitama Gakuen University. Faculty of Humanities (ISSN:13470515)

巻号頁・発行日

vol.13, pp.167-179, 2013-12-01

---

“Aus der Musikstadt” is the piano collection by ten composers who lived in the 19th century in Vienna, and it was published by Viennese Gustav Lewy in 1892. The composers were Josef Bayer, Alfons Czibulka, Johann Nepomuk Fuchs, Robert Fuchs, Joseph Hellmesberger jun., Karel Komzák jun., Carl Millöcker, Adolpf Müller jun., Johann Strauss jun. and Franz von Suppé. The title of each short piece was designed beautifully and the composer's portrait was also drawn on the side of the title. The score puts prominent composers in order seems to be an musical exihibition. “The International Exhibition of Music and the Theatre” was just held in Vienna in 1892. With the Exibition the concept which treats music as goods was born. In that sense, a score was not only for a performance but also a souvenir. It seems that the collection was related to the Exhibition, because it was not so expensive and good-looking, and it looks like a famous composers' exihibition.

著者

若宮 由美

出版者

帝京大学文学部教育学科

雑誌

帝京大学文学部教育学科紀要 (ISSN:13498207)

巻号頁・発行日

no.37, pp.53-67, 2012-03

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 (ISSN:13470515)

巻号頁・発行日

no.14, pp.75-87, 2014-12

---

The Austrian National Library possesses a piano score of potpourri based on Ch. Gounod's opera "Romeo and Juliet" that was arranged by Josef Strauss. The socre was published as No.107 of the series named 'Anthologie Musicale' by the publisher Spina. The background of this potpourri is not known. The French Opera "Romeo and Juliet" by Gounod was premiered in Paris on April 27, 1867 during the Expo in Paris, and was performed in German in Vienna on February 5, 1868. The author found the advertisement of the Strauss's Concert in Volksgarten dated July 24, 1867 in which the "Groses Potpourri aus der Oper Romeo und Julie" by Josef Strauss was announced as a new work. It became clear that this potpourri was actually performed by the Strauss Orchestra.

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 (ISSN:13470515)

巻号頁・発行日

no.13, pp.167-179, 2013-12

---

"Aus der Musikstadt" is the piano collection by ten composers who lived in the 19th century in Vienna, and it was published by Viennese Gustav Lewy in 1892. The composers were Josef Bayer, Alfons Czibulka, Johann Nepomuk Fuchs, Robert Fuchs, Joseph Hellmesberger jun., Karel Komzák jun., Carl Millöcker, Adolpf Müller jun., Johann Strauss jun. and Franz von Suppé. The title of each short piece was designed beautifully and the composer's portrait was also drawn on the side of the title. The score puts prominent composers in order seems to be an musical exihibition. "The International Exhibition of Music and the Theatre" was just held in Vienna in 1892. With the Exibition the concept which treats music as goods was born. In that sense, a score was not only for a performance but also a souvenir. It seems that the collection was related to the Exhibition, because it was not so expensive and good-looking, and it looks like a famous composers' exihibition.

著者

若宮 由美

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要 人間学部篇 (ISSN:13470515)

巻号頁・発行日

no.10, pp.231-243, 2010-12

---

In 1892 Austrian Princess Pauline von Metternich organized "the Internaional Exhibition of Music and Theatre" in Prater(Vienna). For this exhibition she asked Johann Strauss junior a waltz. He promised her to offer the waltz "Seid umschlungen Millionen", op.443. Later the Princess asked Strauss to compose a ballet for the Exhibition too. Strauss, however,refused her request. The ballet was the "Donaunixe", which first performed on 13th July. It is not clear why the director of the Austrian Court Ballet, Josef Bayer composed this exihibition ballet. As the result of analysis Bayer used the motifs of 40 works by Johann Strauss jonior and "Radetzky March" by Johann Strauss senior in the ballet "Donaunixe".

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 = Bulletin of Saitama Gakuen University. Faculty of Humanities (ISSN:13470515)

巻号頁・発行日

vol.10, pp.231-243, 2010-12-01

---

In 1892 Austrian Princess Pauline von Metternich organized "the Internaional Exhibition of Music and Theatre" in Prater(Vienna). For this exhibition she asked Johann Strauss junior a waltz. He promised her to offer the waltz "Seid umschlungen Millionen", op.443. Later the Princess asked Strauss to compose a ballet for the Exhibition too. Strauss, however,refused her request. The ballet was the "Donaunixe", which first performed on 13th July. It is not clear why the director of the Austrian Court Ballet, Josef Bayer composed this exihibition ballet. As the result of analysis Bayer used the motifs of 40 works by Johann Strauss jonior and "Radetzky March" by Johann Strauss senior in the ballet "Donaunixe".

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 = Bulletin of Saitama Gakuen University. Faculty of Humanities (ISSN:13470515)

巻号頁・発行日

vol.11, pp.157-169, 2011-12-01

---

In 1894 the ballet "Rund um Wien" was composed by Josef Bayer in order to celebrate the 50th anniversary of the musician life of Johann Strauss junior, and performed in the Viennese Court Opera. The 3rd scene of this ballet consists of the motifs of Strauss. On October 13 of the premiere the applause to Johann Strauss did not die down after the end of the 3rd scene. The music of the 3rd scene is contained in melodies of Johann Strauss's "Sinngedichte" op.1 and the other early works. These quotations praised the starting point of Johann Strauss. Also after that, this work continued being performed at the Viennese Court Opera over ten years. The ballet may have been revised after the premiere.

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 = Bulletin of Saitama Gakuen University. Faculty of Humanities (ISSN:13470515)

巻号頁・発行日

vol.12, pp.181-194, 2012-12-01

---

On October 13, 1894 the ballet "Rund um Wien" by Josef Bayer was performed in the Vienna Court Opera in order to celebrate the 50th anniversary of the musician life of Johann Strauss junior. After that, this work continued being performed at the Vienna Court Opera over 64 times till 1906. But the ballet may have been revised after the premiere, because of the vulnerability of the story. In fact, the Austrian National Library posesses the three handwriting scores of the ballet. By solving the genealogy of sources, the author got the proofs that the ballet was revised after the premiere. It is concluded that "Rund um Wien" was revised several times. By revisions, the whole work became shorter and the scene where Strauss's motifs were quoted was especially reduced 30 percent.

著者

若宮 由美

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 (ISSN:13470515)

巻号頁・発行日

no.12, pp.181-194, 2012-12

---

On October 13, 1894 the ballet "Rund um Wien" by Josef Bayer was performed in the Vienna Court Opera in order to celebrate the 50th anniversary of the musician life of Johann Strauss junior. After that, this work continued being performed at the Vienna Court Opera over 64 times till 1906. But the ballet may have been revised after the premiere, because of the vulnerability of the story. In fact, the Austrian National Library posesses the three handwriting scores of the ballet. By solving the genealogy of sources, the author got the proofs that the ballet was revised after the premiere. It is concluded that "Rund um Wien" was revised several times. By revisions, the whole work became shorter and the scene where Strauss's motifs were quoted was especially reduced 30 percent.

著者

若宮 由美

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 (ISSN:13470515)

巻号頁・発行日

no.11, pp.157-169, 2011-12

---

In 1894 the ballet "Rund um Wien" was composed by Josef Bayer in order to celebrate the 50th anniversary of the musician life of Johann Strauss junior, and performed in the Viennese Court Opera. The 3rd scene of this ballet consists of the motifs of Strauss. On October 13 of the premiere the applause to Johann Strauss did not die down after the end of the 3rd scene. The music of the 3rd scene is contained in melodies of Johann Strauss's "Sinngedichte" op.1 and the other early works. These quotations praised the starting point of Johann Strauss. Also after that, this work continued being performed at the Viennese Court Opera over ten years. The ballet may have been revised after the premiere.

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 (ISSN:13470515)

巻号頁・発行日

no.18, pp.145-157, 2018-12

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 (ISSN:13470515)

巻号頁・発行日

no.15, pp.151-163, 2015-12

---

The piano socre of a potpourri based on Abert's opera "Astorga" that was arranged by Josef Strauss was published as No.105 of the series named 'Anthologie Musicale' by the Viennese publisher C.A. Spina. The original German opera "Astorga" by J.J. Abert was premiered in Stuttgart on May 27, 1866, and was performed in Vienna on July 30, 1870. This opera was praised in Germany, but wasn't accepted in Vienna. Although Josef Strauss with the Strauss-Orchestre performed fragments from "Astorga" on June 18 and 21, 1867 in Viennese Volksgarten, there is no evidence that Josef's potpourri based on "Astorga" was played. The potpourri was constructed by motifs of six numbers in the first and second acts of the opera, and the motifs from third act were not citied. It is unclear why did Josef Strauss arrange this potpourri, and the publication process of this potpourri was very peculiar in the series of 'Anthologie Musicale' which handled popular and famous works.

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 = Bulletin of Saitama Gakuen University. Faculty of Humanities (ISSN:13470515)

巻号頁・発行日

vol.15, pp.151-163, 2015-12-01

---

The piano socre of a potpourri based on Abert’s opera “Astorga” that was arranged by Josef Strauss was published as No.105 of the series named ‘Anthologie Musicale’ by the Viennese publisher C.A. Spina. The original German opera “Astorga” by J.J. Abert was premiered in Stuttgart on May 27, 1866, and was performed in Vienna on July 30, 1870. This opera was praised in Germany, but wasn't accepted in Vienna. Although Josef Strauss with the Strauss-Orchestre performed fragments from “Astorga” on June 18 and 21, 1867 in Viennese Volksgarten, there is no evidence that Josef’s potpourri based on “Astorga” was played. The potpourri was constructed by motifs of six numbers in the first and second acts of the opera, and the motifs from third act were not citied. It is unclear why did Josef Strauss arrange this potpourri, and the publication process of this potpourri was very peculiar in the series of ‘Anthologie Musicale’ which handled popular and famous works.

著者

若宮 由美

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要 人間学部篇 (ISSN:13470515)

巻号頁・発行日

no.6, pp.121-133, 2006-12

---

Johann Strauss Vater und Sohn komponierten 1847 jede eine eigene Quadrille nach den Motiven aus der Aubers Oper "Des Teufels Antheil". Auf diesen Quadrillen machten sie sich einander ihre zweite Quadrillen-Konkurrenz. Am 16. September gab der Sohn zuerst eine Anzeige der Uraufführung seiner "Teufels-Quadrille"in der Zeitung "Wanderer" auf. Allerdings führte der Vater am 25. September, an dem die Oper auf die Bühne im Josef-stadttheater gebracht wurde, früher als sein Sohn seine Quadrille urauf. Nur 4 Tage später bot der Vater die Musikalian der Quadrille zum Kauf an. Am 3. Oktober spielte der Sohn mit knapper Not seine "Teufels-Quadrille" im Dommayers Casino, zudem dürfte er mit Mühe einen Verlag für seine Quadrille gefunden haben. Die Quadrille des Sohns wurde nur als die Klavierauszug vom kleinen Witzendorf Verlag ohne Opuszahl herausgegeben. Bei der zweiten Konkurrenz gewann der Vater gegen seinen Sohn haushoch, obwohl ihre Musikstile ganz ähnlich sind, besonders die 3 von 4 Phrasen in den Sätzen, 'Poule' und 'Pastourelle', die gleichen Melodien haben. Damals begeisterten Wiener Publikum und Kritiker sich für die Quadrille des Vaters, und sie zeinem Sohn die kalte Schulter. Der Vater verstand gut, wie er sie handeln sollte. Bei der zweiten war das Spiel ihrer "Quadrillen-Konkurrenzen" entschiden.

著者

若宮 由美

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要 人間学部篇 (ISSN:13470515)

巻号頁・発行日

no.5, pp.145-157, 2005-12

---

Flotows Oper "Martha" wurde den 25. November 1847 im k.k. Kärntnertortheater in Wien uraufgeführt. Dannach führten Johann Strauss Vater (am 18. Dezember) und Sohn (in nächsten Januar) jeder eine "Martha-Quadrille" auf. Die Tanzmusik wurden aus den Motiven der Oper "Martha" komponiert. Damals zeigte Philipp Fahrbach Senior auch seine "Martha-Quadrille" öffentlich. Wenn man einen Vergleich zwischen drei "Martha-Quadrillen" zieht, ist es klar, dass die Quadrillen von beiden Strauss besser als Fahrbach in Bezug auf die aktive, lebhafte Motivwahl, die Thematik und Tonalität der Sätze sind. Die Sätze von den Strauss haben verschiedene Tonalität und es folgt nicht derselbe Tonalität, obwohl die 4 von 6 Sätzen von Fahrbach B-Dur sind. Der Sohn ist dem Vater an der Motivwahl ebenbürtig, jedoch ist die Vatershandlung dieses Werks von den Motiven hervorragend. Außerdem forschte die Autorin die Quellen der Zitate in der Beziehungen von der Musik und dem Drama und die Nachfolgen nach. In der Meiji-Zeit in Japan wurde ein Volkslied von der Oper "Martha" als Kinderlied "Niwa-no-Chigusa" in den Grundschulen unterrichtet. Dazu ist eine Chormusik, die Johann Strauss Sohn am Anfang des ersten Satzes stellte, in 1920er in Japan sehr populär geworden. Dafür ist die Zitatkette ein wichtiger Hinwies, die Kultur im 19. Jahrhundert zu erklären.

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 = Bulletin of Saitama Gakuen University. Faculty of Humanities (ISSN:13470515)

巻号頁・発行日

vol.6, pp.121-133, 2006-12-01

---

Johann Strauss Vater und Sohn komponierten 1847 jede eine eigene Quadrille nach den Motiven aus der Aubers Oper "Des Teufels Antheil". Auf diesen Quadrillen machten sie sich einander ihre zweite Quadrillen-Konkurrenz. Am 16. September gab der Sohn zuerst eine Anzeige der Uraufführung seiner "Teufels-Quadrille"in der Zeitung "Wanderer" auf. Allerdings führte der Vater am 25. September, an dem die Oper auf die Bühne im Josef-stadttheater gebracht wurde, früher als sein Sohn seine Quadrille urauf. Nur 4 Tage später bot der Vater die Musikalian der Quadrille zum Kauf an. Am 3. Oktober spielte der Sohn mit knapper Not seine "Teufels-Quadrille" im Dommayers Casino, zudem dürfte er mit Mühe einen Verlag für seine Quadrille gefunden haben. Die Quadrille des Sohns wurde nur als die Klavierauszug vom kleinen Witzendorf Verlag ohne Opuszahl herausgegeben. Bei der zweiten Konkurrenz gewann der Vater gegen seinen Sohn haushoch, obwohl ihre Musikstile ganz ähnlich sind, besonders die 3 von 4 Phrasen in den Sätzen, 'Poule' und 'Pastourelle', die gleichen Melodien haben. Damals begeisterten Wiener Publikum und Kritiker sich für die Quadrille des Vaters, und sie zeinem Sohn die kalte Schulter. Der Vater verstand gut, wie er sie handeln sollte. Bei der zweiten war das Spiel ihrer "Quadrillen-Konkurrenzen" entschiden.

著者

若宮 由美 Yumi WAKAMIYA

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要. 人間学部篇 = Bulletin of Saitama Gakuen University. Faculty of Humanities (ISSN:13470515)

巻号頁・発行日

vol.5, pp.145-157, 2005-12-01

---

Flotows Oper "Martha" wurde den 25. November 1847 im k.k. Kärntnertortheater in Wien uraufgeführt. Dannach führten Johann Strauss Vater (am 18. Dezember) und Sohn (in nächsten Januar) jeder eine "Martha-Quadrille" auf. Die Tanzmusik wurden aus den Motiven der Oper "Martha" komponiert. Damals zeigte Philipp Fahrbach Senior auch seine "Martha-Quadrille" öffentlich. Wenn man einen Vergleich zwischen drei "Martha-Quadrillen" zieht, ist es klar, dass die Quadrillen von beiden Strauss besser als Fahrbach in Bezug auf die aktive, lebhafte Motivwahl, die Thematik und Tonalität der Sätze sind. Die Sätze von den Strauss haben verschiedene Tonalität und es folgt nicht derselbe Tonalität, obwohl die 4 von 6 Sätzen von Fahrbach B-Dur sind. Der Sohn ist dem Vater an der Motivwahl ebenbürtig, jedoch ist die Vatershandlung dieses Werks von den Motiven hervorragend. Außerdem forschte die Autorin die Quellen der Zitate in der Beziehungen von der Musik und dem Drama und die Nachfolgen nach. In der Meiji-Zeit in Japan wurde ein Volkslied von der Oper "Martha" als Kinderlied "Niwa-no-Chigusa" in den Grundschulen unterrichtet. Dazu ist eine Chormusik, die Johann Strauss Sohn am Anfang des ersten Satzes stellte, in 1920er in Japan sehr populär geworden. Dafür ist die Zitatkette ein wichtiger Hinwies, die Kultur im 19. Jahrhundert zu erklären.

著者

若宮 由美

出版者

埼玉学園大学

雑誌

埼玉学園大学紀要 人間学部篇 (ISSN:13470515)

巻号頁・発行日

no.8, pp.139-150, 2008-12