Timeline of World History TIMELINE OF WORLD HISTORY



1800 - 1899
1800-09 1810-19 1820-29 1830-39 1840-49 1850-59 1860-69 1870-79 1880-89 1890-99
1800 1810 1820 1830 1840 1850 1860 1870 1880 1890
1801 1811 1821 1831 1841 1851 1861 1871 1881 1891
1802 1812 1822 1832 1842 1852 1862 1872 1882 1892
1803 1813 1823 1833 1843 1853 1863 1873 1883 1893
1804 1814 1824 1834 1844 1854 1864 1874 1884 1894
1805 1815 1825 1835 1845 1855 1865 1875 1885 1895
1806 1816 1826 1836 1846 1856 1866 1876 1886 1896
1807 1817 1827 1837 1847 1857 1867 1877 1887 1897
1808 1818 1828 1838 1848 1858 1868 1878 1888 1898
1809 1819 1829 1839 1849 1859 1869 1879 1889 1899
  BACK-1857 Part II NEXT-1857 Part IV    
1850 - 1859
History at a Glance
1850 Part I
Compromise of 1850
Constitution of Prussia
The eight Kaffir War, 1850-1853
Masaryk Tomas
Kitchener Horatio Herbert
Erfurt Union
Fillmore Millard
Taiping Rebellion
Hong Xiuquan
Feng Yunshan
Yang Xiuqing
Shi Dakai
1850 Part II
Protestant churches in Prussia
Public Libraries Act 1850
Schopenhauer: "Parerga und Paralipomena"
Herbert Spencer: "Social Statics"
E. B. Browning: "Sonnets from the Portuguese"
Emerson: "Representative Men"
Hawthorne: "The Scarlet Letter"
Herzen Aleksandr
Ibsen: "Catiline"
Loti Pierre
Maupassant Guy
Guy de Maupassant
Stevenson Robert Louis
Robert Louis Stevenson  
"Treasure Island
Turgenev: "A Month in the Country"
1850 Part III
Corot: "Une Matinee"
Courbet: "The Stone Breakers"
Menzel: "Round Table at Sansouci"
Millais: "Christ in the House of His Parents"
Millet: "The Sower"
Bristow George Frederick
George Frederick Bristow - Dream Land
George Frederick Bristow
Schumann: "Genoveva"
Wagner: "Lohengrin"
1850 Part IV
Bernard Claude
Clausius Rudolf
Stephenson Robert
Chebyshev Pafnuty Lvovich
Barth Heinrich
Galton Francis
Anderson Karl John
McClure Robert
McClure Arctic Expedition
Royal Meteorological Society
University of Sydney
1851 Part I
Victoria, state of Australia
Murdock Joseph Ballard
Machado Bernardino
Bourgeois Leon Victor Auguste
Foch Ferdinand
Bombardment of Sale
French coup d'état
Danilo II
Hawthorne: "The House of Seven Gables"
Gottfried Keller: "Der grune Heinrich"
Ward Humphry
Ruskin: "The Stones of Venice"
1851 Part II
Herman Melville: "Moby Dick"
Corot: "La Danse des Nymphes"
Walter Thomas Ustick
Ward Leslie
Crystal Palace
Falero Luis Ricardo
Luis Ricardo Falero
Kroyer Peder
Peder Kroyer
Hughes Edward Robert
Edward Robert Hughes
1851 Part III
Gounod: "Sappho"
D’Indy Vincent
Vincent D'Indy - Medee
Vincent d'Indy
Verdi: "Rigoletto"
Bogardus James
Cast-iron architecture
Kapteyn Jacobus Cornelius
Helmholtz's ophthalmoscope
Neumann Franz Ernst
Ruhmkorff Heinrich Daniel
Singer Isaac Merrit
Cubitt William
Thomson William
Royal School of Mines
Carpenter Mary
"The New York Times"
1852 Part I
Joffre Joseph
Second French Empire
Second Anglo-Burmese War
New Zealand Constitution Act
Asquith Herbert Henry
Pierce Franklin
Delisle Leopold Victor
Fischer Kuno
First Plenary Council of Baltimore
Vaihinger Hans
Gioberti Vincenzo
1852 Part II
Bourget Paul
Creasy Edward
Creasy: "The Fifteen Decisive Battles of the World: from Marathon to Waterloo"
Charles Dickens: "Bleak House"
Theophile Gautier: "Emaux et Camees"
Moore George
Reade Charles
Harriet Beecher Stowe: "Uncle Tom's Cabin"
Thackeray: "History of Henry Esmond"
Turgenev: "A Sportsman's Sketches"
Zhukovsky Vasily
1852 Part III
Fopd Madox Brown: "Christ Washing Peter's Feet"
William Holman Hunt: "The Light of the World"
John Everett Millais: "Ophelia"
Bryullov Karl
Karl Bryullov
Stanford Charles
Charles Villiers Stanford - Piano Concerto No.2
Charles Stanford
Becquerel Henri
Gerhardt Charles Frederic
Van’t Hoff Jacobus Henricus
Mathijsen Antonius
Michelson Albert
Ramsay William
Sylvester James Joseph
United All-England Eleven
Wells Fargo & Company
1853 Part I
Eugenie de Montijo
Crimean War
Battle of Sinop
Rhodes Cecil
Peter V
Nagpur Province
1853 Part II
Mommsen: "History of Rome"
Matthew Arnold: "The Scholar-Gipsy"
Charlotte Bronte: "Villette"
Caine Hall
Elizabeth Gaskell: "Ruth"
Nathaniel Hawthorne: "Tanglewood Tales"
Charles Kingsley: "Hypatia"
Tree Herbert Beerbohm
Charlotte M. Yonge: "The Heir of Redclyffe"
1853 Part III
Haussmann Georges-Eugene
Larsson Carl
Carl Larsson
Hodler Ferdinand
Ferdinand Hodler
Van Gogh Vincent
Vincent van Gogh
Steinway Henry Engelhard
Verdi: "Il Trovatore"
Verdi: "La Traviata"
Wood Alexander
"Die Gartenlaube"
International Statistical Congress
1854 Part I
Bloemfontein Convention
Orange Free State
Battle of the Alma
Menshikov Alexander Sergeyevich
Siege of Sevastopol (1854-1855)
Kornilov Vladimir Alexeyevich
Battle of Balaclava
Battle of Inkerman
Perry Matthew Calbraith
Gadsden Purchase
Bleeding Kansas (1854–59)
Kansas-Nebraska Act
Elgin-Marcy Treaty
Republican Party
Said of Egypt
Ostend Manifesto
1854 Part II
Herzog Johann
Jewish Theological Seminary of Breslau
Youthful Offenders Act 1854
Immaculate Conception
Patmore Coventry
Patmore: "The Angel in the House"
Sandeau Leonard
Guerrazzi Francesco Domenico
Rimbaud Arthur
Arthur Rimbaud "Poems"
Tennyson: "The Charge of the Light Brigade"
Thackeray: "The Rose and the Ring"
Thoreau: "Walden, or Life in the Woods"
1854 Part III
Courbet: "Bonjour, Monsieur Courbet"
Frith William Powell
William Frith
Millet: "The Reaper"
Angrand Charles
Charles Angrand
Gotch Thomas Cooper
Thomas Cooper Gotch
Berlioz: "The Infant Christ"
Humperdinck Engelbert
Humperdinck - Hansel und Gretel
Liszt: "Les Preludes"
1854 Part IV
Poincare Henri
Eastman George
Ehrenberg Christian Gottfried
Paul Ehrlich
Goebel Henry
George Boole: "The Laws of Thought"
Riemann Bernhard
Wallace Alfred Russel
Southeast Asia
"Le Figaro"
Litfass Ernst
Northcote–Trevelyan Report
Maurice Frederick Denison
1855 Part I
Alexander II
Istomin Vladimir Ivanovich
Somerset FitzRoy
Nakhimov Pavel Stepanovich
Treaty of Peshawar
Bain Alexander
Droysen Johann
Gratry Auguste
Milman Henry
Le Play Pierre
1855 Part II
Charles Kingsley: "Westward Ho!"
Nerval Gerard
Charles Dickens "Little Dorrit"
Ganghofer Ludwig
Longfellow: "The Song of Hiawatha"
Corelli Marie
Pinero Arthur Wing
Tennyson: "Maud"
Anthony Trollope: "The Warden"
Turgenev: "Rudin"
Walt Whitman: "Leaves of Grass"
Berlioz: "Те Deum"
Verdi: "Les Vepres Siciliennes"
Chansson Ernest
Chausson - Poeme
Ernest Chausson
1855 Part III
Hughes David Edward
Lowell Percival
Cunard Line
"The Daily Telegraph"
Niagara Falls suspension bridge
Paris World Fair
1856 Part I
Victoria Cross
Doctrine of Lapse
Oudh State
Ottoman Reform Edict of 1856
Congress of Paris
Treaty of Paris (1856)
Napoleon, Prince Imperial
Sacking of Lawrence
Pottawatomie massacre
Second Opium War (1856-1860)
Anglo–Persian War (1856-1857)
Buchanan James
1856 Part II
Froude: "History of England"
Goldstucker Theodor
Lotze Rudolf Hermann
Motley: "Rise of the Dutch Republic"
Flaubert: "Madame Bovary"
Haggard Henry Rider
Victor Hugo: "Les Contemplations"
Charles Reade: "It Is Never Too Late to Mend"
Shaw George Bernard
Wilde Oscar
1856 Part III
Berlage Hendrik Petrus
Ferstel Heinrich
Sargent John
John Singer Sargent
Vrubel Mikhail
Mikhail Vrubel
Cross Henri Edmond
Henri-Edmond Cross
Bechstein Carl
Dargomyzhsky Alexander
Alexander Dargomyzhsky: "Rusalka"
Alexander Dargomyzhsky
Maillart Aime
Aime Maillart - Les Dragons de Villars
Sinding Christian
Sinding - Suite in A minor
Christian Sinding
1856 Part IV
Bessemer Henry
Bessemer process
Freud Sigmund
Sigmund Freud
Peary Robert Edwin
Pringsheim Nathanael
Siemens Charles William
Hardie James Keir
Taylor Frederick Winslow
"Big Ben"
1857 Part I
Treaty of Paris
Indian Rebellion of 1857
Italian National Society
Manin Daniele
Taft William Howard
1857 Part II
Buckle Henry Thomas
Buckle: "History of Civilization in England"
Charles Baudelaire: "Les Fleurs du mal"
Conrad Joseph
Joseph Conrad 
"Lord Jim"
George Eliot: "Scenes from Clerical Life"
Hughes Thomas
Thomas Hughes: "Tom Brown's Schooldays"
Mulock Dinah
 Pontoppidan Henrik
Adalbert Stifter: "Nachsommer"
Sudermann Hermann
Thackeray: "The Virginians"
Anthony Trollope: "Barchester Towers"
1857 Part III
Klinger Max
Max Klinger
Millet: "The Gleaners"
Dahl Johan Christian
Johan Christian Dahl
Leoncavallo Ruggero
Ruggero Leoncavallo - Pagliacci
Ruggero Leoncavallo 
Elgar Edward
Edward Elgar - The Light of Life
Edward Elgar
Kienzl Wilhelm
Wilhelm Kienzl - Symphonic Variations
Wilhelm Kienzl
Liszt: "Eine Faust-Symphonie"
1857 Part IV
Coue Emile
Hertz Heinrich
Wagner-Jauregg Julius
Ross Ronald
Newton Charles Thomas
Mausoleum of Halicarnassus
Burton Richard
Speke John Hanning
The Nile Quest
McClintock Francis
Alpine Club
"The Atlantic Monthly"
Baden-Powell Robert
Matrimonial Causes Act
North German Lloyd
1858 Part I
Orsini Felice
Stanley Edward
Treaty of Tientsin
Government of India Act 1858
Law Bonar
William I
Karageorgevich Alexander
Roosevelt Theodore
1858 Part II
Bernadette Soubirous
Carey Henry Charles
Thomas Carlyle: "History of Friedrich II of Prussia"
Hecker Isaac
Missionary Society of St. Paul the Apostle
Rothschild Lionel Nathan
Schaff Philip
Benson Frank
Feuillet Octave
Oliver Wendell Holmes: "The Autocrat of the Breakfast Table"
Kainz Joseph
Lagerlof Selma
1858 Part III
Corinth Lovis
Lovis Corinth
William Powell Frith: "The Derby Day"
Menzel: "Bon soir, Messieurs"
Segantini Giovanni
Giovanni Segantini
Khnopff Fernand
Fernand Khnopff
Toorop Jan
Cornelius Peter
Cornelius: "Der Barbier von Bagdad"
Jaques Offenbach: "Orpheus in der Unterwelt"
Puccini Giacomo
Giacomo Puccini: Donna non vidi mai
Giacomo Puccini
1858 Part IV
Diesel Rudolf
Huxley Thomas Henry
Planck Max
Mirror galvanometer
General Medical Council
Suez Canal Company
S.S. "Great Eastern"
Webb Beatrice
Webb Sidney
Transatlantic telegraph cable
1859 Part I
Second Italian War of Independence
Battle of Varese
Battle of Palestro
Battle of Magenta
Battle of Solferino
Ferdinand II of the Two Sicilies
Francis II of the Two Sicilies
Charles XV of Sweden
German National Association
Jaures Jean
Roon Albrecht
William II
1859 Part II
Bergson Henri
Henri Bergson
Bergson Henri "Creative Evolution"
Charles Darwin: "On the Origin of Species"
Dewey John
Husserl Edmund
Karl Marx: "Critique of Political Economy"
John Stuart Mill: "Essay on Liberty"
Tischendorf Konstantin
Codex Sinaiticus
Villari Pasquale
1859 Part III
Dickens: "A Tale of Two Cities"
Doyle Arthur Conan
Arthur Conan Doyle  
Duse Eleonora
George Eliot: "Adam Bede"
Edward Fitzgerald: "Rubaiyat of Omar Khayyam"
Ivan Goncharov: "Oblomov"
Hamsun Knut
Heidenstam Verner
Housman Alfred Edward
A.E. Housman 
"A Shropshire Lad", "Last Poems"
Victor Hugo: "La Legende des siecles"
Jerome K. Jerome
Tennyson: "Idylls of the King"
1859 Part IV
Corot: "Macbeth"
Gilbert Cass
Millet: "The Angelus"
Hassam Childe
Childe Hassam 
Seurat Georges
Georges Seurat
Whistler: "At the Piano"
Daniel Decatur Emmett: "Dixie"
Gounod: "Faust"
Verdi: "Un Ballo in Maschera"
1859 Part V
Arrhenius Svante
Kirchhoff Gustav
Curie Pierre
Drake Edwin
Drake Well
Plante Gaston
Lead–acid battery
Smith Henry John Stephen
Brunel Isambard Kingdom
Blondin Charles
Lansbury George
Samuel Smiles: "Self-Help"

Liszt. "Eine Faust-Symphonie" 1857
YEAR BY YEAR:  1800 - 1899
1857 Part III
Klinger Max

Max Klinger, (born February 18, 1857, Leipzig, Germany—died July 5, 1920, near Naumburg), German painter, sculptor, and engraver, whose art of symbol, fantasy, and dreamlike situations belonged to the growing late 19th-century awareness of the subtleties of the mind. Klinger’s visionary art has been linked with that of Arnold Böcklin; the expression of his vivid, frequently morbid imaginings, however, was not noted for technical excellence. His work had a deep influence on Giorgio de Chirico.


Max Klinger
  Klinger, who had received some training at the Karlsruhe art school, created a sensation at the Berlin Academy exhibition in 1878 with two series of pen-and-ink drawings—Series upon the Theme of Christ and Fantasies upon the Finding of a Glove.

Their daring originality caused an outburst of indignation; nonetheless, the Glove series, on which Klinger’s contemporary reputation is based, was bought by the Berlin National Gallery.

These 10 drawings (engraved in three editions from 1881) tell a strange parable of a hapless young man and his obsessive involvement with a woman’s elbow-length glove.

In 1887 The Judgment of Paris caused another storm of protest because of its rejection of all conventional attributes and its naively direct conception.

In his painting Klinger aimed at neither classic beauty nor modern truth but at an impressive grimness with overtones of mysticism. His Pietà (1890) and Christ in Olympus (1896) are also characteristic examples of his work.

Klinger’s leanings toward the gruesome and grotesque found further expression in his series of etchings inspired by the work of Francisco de Goya, including Deliverances of Sacrificial Victims Told in Ovid (1879), Fantasy on Brahms (1894), Eve and the Future (1880), A Life (1884), and Of Death (part 1, 1889; part 2, 1898–1909). In his use of the etching needle he achieved a unique form of expressiveness.


Klinger’s late work was primarily sculpture. Interested in materials and colour, he executed polychromed nudes possessing a distinctly eerie quality, as well as statues made of varicoloured materials in the manner of Greek chryselephantine sculpture (e.g., Beethoven [1902], Salome [1893], and Cassandra [1895]). His last project, a colossal monument to the German composer Richard Wagner, remained unfinished at his death.

Encyclopædia Britannica


Max Klinger. Psique descansando


Max Klinger. Elsa Asenijeff
Max Klinger
  Neoclassicism and Romanticism
Realism, Impressionism and
Millet: "The Gleaners"

The Gleaners (Des glaneuses) is an oil painting by Millet Jean Francois completed in 1857. It depicts three peasant women gleaning a field of stray grains of wheat after the harvest. The painting is famous for featuring in a sympathetic way what were then the lowest ranks of rural society; this was received poorly by the French upper classes.

Jean Francois Millet was born October 4, 1814. He was born into poverty and believed “a peasant he was born and a peasant he would stay” , but his father believed differently. His father told him he was going to be a painter. Millet differed from other artist in that he was easier for individuals to relate to because his works and letters allowed for the viewer to know the intimate thoughts of Millet. Millet affirmed his belief in the “human side” of art. He “would paint nothing that was not the result of an impression directly received from Nature, whether in landscape or in figures.” While his work was heavily criticized for the focus on real things he had experienced and not on portraits or art of the time, Millet did not falter in his beliefs. Millet's The Gleaners was preceded by a vertical painting of the image in 1854 and an etching in 1855. Millet first unveiled The Gleaners at the Salon in 1857. It immediately drew negative criticism from the middle and upper classes, who viewed the topic with suspicion: one art critic, speaking for other Parisians, perceived in it an alarming intimation of "the scaffolds of 1793." Having recently come out of the French Revolution of 1848, these prosperous classes saw the painting as glorifying the lower-class worker. To them, it was a reminder that French society was built upon the labor of the working masses, and landowners linked this working class with the growing movement of Socialism. The depiction of the working class in The Gleaners made the upper classes feel uneasy about their status. The masses of workers drastically outnumbered the members of the upper class. The drastic differences in numbers meant that if the lower class was to revolt the upper class would be overturned.
  With the French Revolution still fresh on the upper class' minds, this painting was not perceived well at all.

Millet's The Gleaners was also not perceived well due to its enormous size. The size of the painting is 33 inches by 44 inches or 2.75 feet by 3.7 feet. This is huge for a painting depicting labor. Normally this size of a canvas was reserved for religious or mythological style paintings. Millet's work did not depict anything religiously affiliated, nor was there any reference to any mythological beliefs. The painting illustrated a realistic view of poverty and the working class. One critic commented that "his three gleaners have gigantic pretensions, they pose as the Three Fates of Poverty…their ugliness and their grossness unrelieved." While the act of gleaning was not a new topic—representations of Ruth had existed in art—this new work was a statement on rural poverty and not Biblical piety:[3] there is no touch of the Biblical sense of community and compassion in the contrasting embodiments of grinding poverty in the foreground and the rich harvest in the sunlit distance beyond. The implicit irony was unsettling. After the Salon, Millet, short on money, sold his piece for 3,000 francs—below his asking price of 4,000—after haggling with an Englishman named Binder who would not budge for his meagre counter-offer; Millet tried to keep the miserable price a secret. While The Gleaners garnered little but notoriety during his life, after his death in 1875, public appreciation of his work steadily broadened. In 1889, the painting, then owned by banker Ferdinand Bischoffsheim, sold for 300,000 francs at auction. The following year its owner, Champagne heiress Jeanne-Alexandrine Pommery, died, and following the conditions of her will, the painting was donated to the Louvre. It now resides in the Musée d'Orsay in Paris.

Millet. "The Gleaners"

What does The Gleaners show? [The women] embody an animal force deeply absorbed by a painstaking task. The contrast between wealth and poverty, power and helplessness, male and female spheres is forcefully rendered.

— Liana Vardi

The Gleaners is an example of Realism. Millet worked to capture the true essence of what these women’s jobs were. He did not try to idealize the image, but instead he captured the “ugliness” of poverty and manual labor. It features three peasant women prominently in the foreground, stooping to glean the last scraps of a wheat harvest. Their gaze does not meet the viewer, and their faces are obscured. In the background, bountiful amounts of wheat are being stacked while a landlord overseer stands watch on the right. The landlord only oversees the workers in the background, implying that the women in the foreground are so low in class that they are not worth watching. Millet has chosen to center the women and paint them with a greater contrast. The women are bent below the horizon and do not break it. This aligns with the social structure that what you are born into is what you stay. The women are shown as being equal to the land. The colors of their clothing flow into the landscape making them seem like they belong in this field. The horizon illustrates a visual class division and the sky represents the unattainable upper class. Ironically while these women are in poverty they are not dressed in rags, they are dressed in decent clothing. The softness of the women and the untattered look of the clothing softens the image. The image is only softened towards the women but still portrays the ugliness and grittiness of the labor that Millet intended to capture. Through the misalignment of vanishing points among the three women (as drawn along the backs of the women), and in particular never aligning with the central focus of the background, Millet conveys the message that while the lowest-class women occupy the same canvas as the abundance depicted in the background, they will never be a part of that actual physical abundance—they occupy their own space layered on top of another space, in both the painting and in real life. This is a commentary on the lower classes' inaccessibility to upward mobility.
The Gleaners is one of Millet's best known works. Its imagery of bending peasant women gleaning was paraphrased frequently in works by younger artists such as Pissarro, Renoir, Seurat, and van Gogh. Art historian Robert Rosenblum says Millet's painting introduced "imposing new presences in the repertory of mid-century art, with endless progeny in city and country. Daumier's and Degas's laundresses, and even more so Caillebotte's floor-scrapers, are almost unthinkable without Millet's epic hymn to labor."

The Gleaners provides evidence of Millet's role as a contemporary social critic. His brutal depiction of three hunched, female paupers segregated from the laborers and the abundant crop in the distance demonstrates his attention to, if not necessarily sympathy for, the plight of the poorest members of the community around Barbizon and its larger neighbor, Chailly, as the area experienced the growing pains of French modernization. Only about thirty-five miles from the French capital (whose population doubled between 1831 and 1851), the rich, broad plain bordering the forest of Fontainebleau was among the earliest with a rail link to Paris, readily lending itself to feeding the burgeoning city.

Studies tracing the transformation of rural France in the nineteenth century note that little change in peasant life occurred beyond northern France and the Paris basin until the last quarter of the century. Millet's representation of class strife on a large-scale farm was thus uniquely modern in the 1850s.

The painting inspired the name of the Gleaner Manufacturing Company.[citation needed] The painting inspired, and is discussed in, the film by Agnes Varda, The Gleaners and I.

From Wikipedia, the free encyclopedia

Jean Francois Millet
  Neoclassicism and Romanticism
Realism, Impressionism and
Rauch Christian Daniel, German sculptor, d. (b. 1777)

Christian Daniel Rauch

Christian Daniel Rauch. Victoriastatue auf der Orangerie Schwerin
Christian Daniel Rauch
  Neoclassicism and Romanticism
Realism, Impressionism and
Dahl Johan Christian
Johan Christian Claussen Dahl (February 24, 1788 – October 14, 1857), often known as J. C. Dahl or I. C. Dahl, was a Norwegian artist who is considered the first great romantic painter in Norway, the founder of the "golden age" of Norwegian painting, and one of the greatest European artists of all time. He is often described as "the father of Norwegian landscape painting" and is regarded as the first Norwegian Painter ever to reach a level of artistic accomplishment comparable to that attained by the greatest European artists of his day. He was also the first acquire genuine fame and cultural renown abroad. As one critic has put it, "J.C. Dahl occupies a central position in Norwegian artistic life of the first half of the 19th century.
Although Dahl spent much of his life outside of Norway, his love for his country is clear in the motifs he chose for his paintings and in his extraordinary efforts on behalf of Norwegian culture generally. Indeed, if one sets aside his own monumental artistic creations, his other activities on behalf of art, history, and culture would still have guaranteed him a place at the very heart of the artistic and cultural history of Norway. He was, for example, a key figure in the founding of the Norwegian National Gallery and of several other major art institutions in Norway, as well as in the preservation of Norwegian stave churches and the restoration of the Nidaros Cathedral in Trondheim and Håkonshallen in Bergen.

Portrait of Johan Christian Dahl
Carl Christian Vogel von Vogelstein
Early life
Dahl came from a very simple background – his father was a modest fisherman in Bergen, Norway – and he would later look back at his youth with bitterness. He regretted that he never had a "real teacher" in his childhood and, despite all his spectacular success, he believed that if he had been more fortunate in his birth, he would have achieved even more than he had.

Time at Bergen
As a boy, Dahl was educated by a sympathetic mentor at the Bergen Cathedral who at first thought that this bright student would make a good priest, but then, recognizing his remarkably precocious artistic ability, arranged for him to be trained as an artist. From 1803-1809 Dahl studied with the painter Johan Georg Müller (no), whose workshop was the most important one in Bergen at the time. Still, Dahl looked back on his teacher as having kept him in ignorance in order to exploit him, putting him to work painting theatrical sets, portraits, and views of Bergen and its surroundings. Another mentor, Lyder Sagen, showed the aspiring artist books about art and awakened his interest in historical and patriotic subjects. It was also Sagen who took up a collection that made it possible for Dahl to go to Copenhagen in 1811 to complete his education at the academy there.

As important as Dahl's studies at the academy in Copenhagen were his experiences in the surrounding countryside and in the city's art collections.


In 1812 he wrote to Sagen that the landscape artists he most wished to emulate were Ruisdahl and Everdingen, and for that reason he was studying “nature above all,” Dahl's artistic program was, then, already in place: he would become a part of the great landscape tradition, but he would also be as faithful as possible to nature itself.

Dahl held that a landscape painting should not just depict a specific view, but should also say something about the land's nature and character – the greatness of its past and the life and work of its current inhabitants. The mood was often idyllic, often melancholy. When he added snow to a landscape he painted in the summer, it was not to show the light and colors of snow; it was to use snow as a symbol of death. As one critic has put it, “Unlike the radically Romantic works also appearing at the time, Dahl softens his landscape, introducing elements of genre painting by imbuing it with anecdotal materials: In the background a wisp of smoke rises from a cabin, perhaps the home of the hunter on the snow-covered field.” Thanks to Sagen's recommendations and to his own personal charm, Dahl soon gained access to the leading social circles in Copenhagen.

Dahl took part in annual art exhibitions in Copenhagen beginning in 1812, but his real breakthrough came in 1815, when he exhibited no fewer than 13 paintings.


Portrait of J.C. Dahl
Christian Albrecht Jensen
(c 1815)
  Prince Christian Frederik of Denmark, who developed an early interest in Dahl's artistic genius and saw to it that his works were purchased for the royal collection, became a lifelong friend and patron of the artist.

In 1816 C. W. Eckersberg returned from abroad with his paintings of Roman settings; Dahl was impressed at once, and they became good friends and exchanged pictures. Dahl's 1817 painting “Den Store Kro i Fredensborg” marked the real beginning of his lifelong production of oil paintings depicting natural subjects.

After his success in Copenhagen, Dahl realized that he wanted to live as an independent, self-supporting artist. One challenge facing him was that the academic preference of the day was for historical paintings with moral messages. Landscapes were considered the lowest kind of art, and perhaps even not as art at all, but as a purely mechanical imitation of nature.

The only landscapes that could be considered art, according to the academy, were ideal, imaginary landscapes in pastoral or heroic styles. In accordance with this reigning taste, Dahl attempted to give his Danish themes a certain atmospheric character in order to lift them up above what was considered a merely commercial level. But at the same time it was his deepest wish to provide a more faithful picture of Norwegian nature than were offered by the old-fashioned, dry paintings of Haas and Lorentzen. This desire was partly motivated by homesickness and patriotism, but it was also suited to the public taste of the day for “picturesque” works.

Abroad in Dresden
Dahl traveled to Dresden in September 1818. He arrived with introductions to the city's leading citizens and to major artists such as Caspar David Friedrich, who helped him establish himself there and became his close friend. One critic has written: “Friedrich's still, meticulously executed landscapes - products of an art informed by his strict Protestant upbringing and a seeking for the divine in nature - were justifiably famous by the time he and Dahl became acquainted. We are able to see his Two Men Contemplating the Moon (1819), which ranks among his greatest works, and features two "Rückfiguren," or figures seen from behind, solemnly and companionably gazing at a young sickle moon from the edge of an old forest. 'Greifswald in Moonlight' (1816–17) depicts the artist's birthplace in Pomerania, on the Baltic coast: bathed in an even, gauzy moonlight, the ancient university town assumes an almost ethereal appearance.”

Friedrich was fourteen years Dahl's elder and an established artist, but the two found in each other a shared love for nature and a shared enthusiasm for a way of depicting nature that was based on the study of nature itself rather than on the academic cliches that they both profoundly despised. One writer has put it this way:“A warm and sociable character, he soon met and became friendly with the more introverted and reclusive Friedrich, recording how they once walked together in the park of the Grösser Garten among 'many lovely trees of different kinds, and the moon looked beautiful behind the dark fir trees.'”

Together with Friedrich and Carl Gustav Carus, Dahl would become one of the Dresden painters of the period who exerted a decisive influence on German Romantic painting.

In Dresden, as in Copenhagen, Dahl traveled around the area to draw subjects that could be of use to him in larger works that would be painted later in his atelier. He wrote to Prince Christian Frederik in 1818 that “most of all I am representing nature in all its freedom and wildness.” Dahl found enough material in the Dresden area to supply motifs for his paintings, but he continued to paint imaginary landscapes with forests, mountains, and waterfalls.

One such painting, completed in 1819, entitled “Norsk fjellandskap med elv” (Mountainous Norwegian landscape with river”), garnered great attention among younger artists who considered the striking natural quality of the painting a breath of fresh air on Dresden's stagnant art scene. Another monumental waterfall painting, completed the next year, was lavished with praised by the critic for Kunstblatt who said that Dahl was greater than Jacob van Ruisdael. Dahl was accepted into the Dresden academy in 1820.

  Abroad in Italy
Prince Christian Frederik wrote to Dahl in 1820 from Italy and invited him to join him at the Gulf of Naples. Dahl was at the time courting a young woman named Emilie von Bloch, but felt he should take the prince up on his offer, so he married Emilie quickly and traveled to Italy the next day. He ended up spending 10 months in Italy. Though he missed his bride, the sojourn was a decisive factor in his artistic development. It was in Italy, with its strong southern light, that Dahl's art truly flowered. It forced him to see nature plain, without the mediation of the old masters' renderings of light and color.

Dahl went to Rome in February 1821. He spent a great deal of time visiting museums, meeting other artists, and painting pictures to sell. In addition to painting sights in Rome and pictures of the Gulf of Naples, he painted landscapes inspired by the mountains of Norway. Dahl said that not until he was in Rome did he truly appreciate Norwegian nature. In June 1821 Dahl returned north to Emilie and a quiet life of family and painting.

Dahl quickly became a member of Dresden's leading circles of poets, artists, and scientists, among them the archeologist C. A. Böttiger, publisher of Artistisches Notizenblatt, who ran a major article on Dahl in 1822.

As a member of the academy, Dahl always dedicated his time to young artists who sought him out. In 1824 he and Friedrich were named “extraordinary professors” who had no chair but who received a regular salary. In 1823 Dahl moved in with Friedrich, so that many of his students, such as Knud Baade, Peder Balke, and Thomas Fearnley, were equally influenced by both artists. “Well before their meeting,” writes one critic, “Dahl had also painted a number of 'moonlights' and, travelling in Europe, he was in the Bay of Naples in 1821 when Mount Vesuvius was active. Here he painted 'Boats on the Beach Near Naples', where fishing crafts lie at anchor in the calm, shimmering waters with the twin peaks of the mountain smoking and flaming behind. Predictably, after his close association with Friedrich began - the two families shared a house in Dresden from 1823 - he was considerably influenced by him, but his own more spontaneous and painterly style soon prevailed. Clients sometimes commissioned pictures from them both, a tranquil coastal scene by Friedrich to pair with a more stormy subject from Dahl.”

Dahl never formed a “school” around himself, but rather preferred for his students to cultivate their own styles; it was against his principles and his respect for artistic freedom to try to inhibit his students' individuality. It was this impulse toward individuality that later caused him to turn down an offer of a permanent chair at the academy – he didn't want to feel compelled to show up for class when he was busy working on a painting.

Dahl continued his studies of nature in the area around Dresden when he had the time, or on longer trips which provided him with themes for his paintings. But most often he painted the view of the Elbe outside his windows in various kinds of light. Like John Constable, Dahl felt that the sky was an important part of a landscape painting, and he never grew tired of watching the clouds move over the flat plain. One critic has compared two paintings of Friedrich and Dahl: “In...Dahl's 'Mother and Child by the Sea', there are echoes of Friedrich's 'Woman by the Sea' (1818). Whereas in Friedrich's work a woman dressed for the windy weather sits idly watching five fishing boats sailing past, in Dahl's picture, there seems to be a more personal note, with echoes of his own upbringing in a seafaring community, as the mother and small child eagerly await the return of the little ship from the sea.” The same critic has written about one of his paintings of Dresden: “Dahl also commemorated the magnificent Baroque buildings of his adopted city, and a version of his View of Dresden by Moonlight (1838) has travelled from the National Museum of Art, Architecture and Design in Oslo. This small picture, measuring only 18.5 x 34.5 cm, shows the dome of the Frauenkirche and the tower of the Hofkirche dominating the skyline; silvers and deep blue combine to give it a wonderful jewel-like effect, together with a certain elegiac quality, perhaps indicative of the artist's awareness that his long friendship with Friedrich was nearing an end.”

Johan Christian Dahl. Two men contemplating the Moon, circa 1825–30
Return home
As Dahl wrote in 1828 to the director of the Dresden academy, he found the area around Dresden useful for nature studies, but the “real thing” was always missing; that was something he could only find in his mountainous homeland. He viewed himself as a “more Nordic painter” with a “love for seacoasts, mountains, waterfalls, sailboats, and pictures of the sea in daylight and moonlight.” He longed to return to Norway, but not until 1826 was he able to make a journey home.

He made subsequent trips to Norway in 1834, 1839, 1844, and 1850, mostly exploring and painting the mountains, leading to the monumental works Fortundalen (1836) and Stalheim (1842). During his visits to Norway he received “an enthusiastic welcome as a painter of renown.”

A critic notes Dahl's late stylistic changes: “In his late 'Fjord at Sunset' (1850), based on studies made earlier, free and adventurous brush strokes represent the cloud-swept sky and broken surface of the water. Here he has moved far away from the purity and intensity of Friedrich's oeuvre.”

  Later life
In 1827 Emilie Dahl died in childbirth while having their fourth child, and two years later two of the older children died of scarlet fever. In January 1830 Dahl married his student Amalie von Bassewitz, but she, too, died in childbirth in December of that same year. Dahl was crushed, and many months passed before he was able to paint again. Some years later this youngest child also died, leaving Dahl with two surviving children, Caroline and Siegwald.

Dahl's trip to Norway in 1850 would be his last. He was aging and weak, but continued to paint landscapes in the mountains. This last journey to his homeland resulted in several magnificent works, including Måbødalen, Fra Stugunøset, and Hjelle i Valdres.

Dahl was also among the founding fathers of the National Gallery of Norway (Norwegian: Nasjonalgalleriet), now the National Museum of Art, Architecture and Design, and donated his own art collection to the institution. Together with Johan Sebastian Welhaven, Frederik Stang and Henrik Heftye, he also founded the Art Society in Oslo (Oslo Kunstforening).


Johan Christian Dahl. Eruption of Vesuvius, 1826

Dahl died lonely and bitter after a brief illness and was buried on October 17, 1857, in Dresden. In 1902, a statue of Dahl by Norwegian sculptor Ambrosia Tønnesen (no) (1859-1948), was erected on the facade of the Vestlandske kunstindustrimuseum (no) in Bergen. In 1934, his remains brought back to Norway and buried in the cemetery of St. Jacob's Church (Sankt Jakob kirke) in Bergen.

J.C. Dahl occupies a central position in Norwegian artistic life of the first half of the 19th century. His Romantic yet naturalistic interpretations of Norwegian scenery were greatly admired in Norway as well as on the European continent, particularly in Denmark and Germany. His place in the pantheon of European artists is secure and his influence on the course of art history is indelible.

Dahl had both the Orders of Vasa and St. Olav bestowed on him by the King of Norway and Sweden. He also received the Order of Dannebrog from Denmark. The three honors testify to his extraordinary cultural impact throughout Scandinavia.

From Wikipedia, the free encyclopedia

Johan Christian Dahl
  Neoclassicism and Romanticism
Realism, Impressionism and
Leoncavallo Ruggero
Ruggero (or Ruggiero) Giacomo Maria Giuseppe Emmanuele Raffaele Domenico Vincenzo Francesco Donato Leoncavallo (23 April 1857 – 9 August 1919) was an Italian opera composer. His two-act work Pagliacci remains one of the most popular works in the repertory, appearing as number 19 on the Operabase list of the most-performed operas worldwide in the 2012/13 season.

Ruggero Leoncavallo
The son of a judge, Leoncavallo was born in Naples on 23 April 1857. As child he moved with his father in the town of Montalto Uffugo in Calabria where Leoncavallo lived during his adolescence. He later returned to Naples and was educated at the city's San Pietro a Majella Conservatory. After some years spent teaching and in ineffective attempts to obtain the production of more than one opera, he saw the enormous success of Pietro Mascagni's Cavalleria rusticana in 1890, and he wasted no time in producing his own verismo hit, Pagliacci.

Pagliacci was performed in Milan in 1892 with immediate success; today it is the only work by Leoncavallo in the standard operatic repertory. Its most famous aria "Vesti la giubba" ("Put on the costume" or, in the better-known older translation, "On with the motley") was recorded by Enrico Caruso and laid claim to being the world's first record to sell a million copies (although this is probably a total of Caruso's various versions of it made in 1902, 1904 and 1907).

The next year his I Medici was also produced in Milan, but neither it nor Chatterton (belatedly produced in 1896)—both early works—obtained much lasting favour. Much of Chatterton, however, was recorded by the Gramophone Company (later HMV) as early as 1908, and remastered on CD almost 100 years later by Marston Records. Leoncavallo himself conducts the performance or at very least supervises the production.

It was not until Leoncavallo's La bohème was performed in 1897 in Venice that his talent obtained public confirmation. However, it was outshone by Puccini's opera of the same name and on the same subject, which was premiered in 1896. Two tenor arias from Leoncavallo's version are still occasionally performed, especially in Italy.

Subsequent operas by Leoncavallo were in the 1900s: Zazà (the opera of Geraldine Farrar's famous 1922 farewell performance at the Metropolitan Opera), and 1904's Der Roland von Berlin. In 1906 the composer brought singers and orchestral musicians from La Scala to perform concerts of his music in New York, as well as an extensive tour of the United States. The tour was, all in all, a qualified success. He had a brief success with Zingari which premiered in Italian in London in 1912, with a long run at the Hippodrome Theatre. Zingari also reached the United States but soon disappeared from the repertoire.

After a series of operettas, Leoncavallo appeared to have tried for one last serious effort with Edipo re (it).

It had always been assumed that Leoncavallo had finished the work but had died before he could finish the orchestration, which was completed by Giovanni Pennacchio (it). However with the publication of Konrad Dryden's biography of Leoncavallo it was revealed that Leoncavallo may not have written the work at all (although it certainly contains themes by Leoncavallo). A review of Dryden's study notes: "That fine Edipo re ... was not even composed by [Leoncavallo]. His widow paid another composer to concoct a new opera using the music of Der Roland von Berlin.

Dryden didn't find one reference to the opera in Leoncavallo’s correspondence nor is there a single note by him to be found in the handwritten score."
What is certain is that in Edipo re, a short one act work, the composer (whoever it actually was) uses exactly the same melody for the final scene "Miei poveri fior, per voi non più sole..." (with the blinded Edipo) as in the act 4 soprano aria from Der Roland von Berlin. It has been assumed (see The New Grove Dictionary of Opera) that Leoncavallo left the opera more or less complete (except for the orchestration). Pennacchio may either have concocted the opera or may have had to do more to Leoncavallo's more or less complete work to "fill in the gaps" using Leoncavallo's earlier music. Another clue to demonstrate that Leoncavallo had no or little part in Edipo re is that unusually, in fact exceptionally, Leoncavallo did not write the libretto. The libretto for Edipo re was written by Giovacchino Forzano, who also wrote Il piccolo Marat for Pietro Mascagni and two of the one-act operas for Puccini's Il trittico. Further, the orchestration of Edipor re, consisting all too often of massed strings and a depressingly constant use of the cymbal, does not seem the work of Leoncavallo whose own orchestration, whilst sometimes uninspired, is at very least competent.
From the 1970s Edipo re has had a number of revivals, both as concert performances (including Rome 1972, Concertgebouw (Amsterdam) 1977 and Konzerthaus, Vienna 1998) as well as fully staged productions at the Teatro Regio, Turin, in 2002 and the Thessaloniki Opera 2008. It remains to be seen who will be given the credit for this opera in future revivals.

Little or nothing from Leoncavallo's other operas is heard today, but the baritone arias from Zazà were great concert and recording favourites among baritones and Zazà as a whole is sometimes revived, as is his La bohème. The tenor arias from La bohème remain recording favorites.

Leoncavallo also composed songs, most famously Mattinata, which he wrote for the Gramophone Company (which became HMV) with Caruso's unique voice in mind. On 8 April 1904, Leoncavallo accompanied Caruso at the piano as they recorded the song. On 8 December 1905 he recorded five of his own pieces for the reproducing piano Welte-Mignon.

Leoncavallo was the librettist for most of his own operas. Many considered him the greatest Italian librettist of his time after Boito. Among Leoncavallo's libretti for other composers is his contribution to the libretto for Puccini's Manon Lescaut.

Ruggero Leoncavallo died in Montecatini Terme, Tuscany, on 9 August 1919.

From Wikipedia, the free encyclopedia

Ruggero Leoncavallo - Pagliacci
Pagliacci - Vesti La Giubba - Pavarotti
Ruggero Leoncavallo was an Italian opera composer. His two-act work Pagliacci remains one of the most popular works in the repertory, appearing as number 20 on the Operabase list of the most-performed operas worldwide.

"Vesti la giubba" (Put on the costume) is a famous tenor aria from Ruggero Leoncavallo's 1892 opera Pagliacci. "Vesti la giubba" is the conclusion of the first act, when Canio discovers his wife's infidelity, but must nevertheless prepare for his performance as Pagliaccio the clown because "the show must go on".

The aria is often regarded as one of the most moving in the operatic repertoire of the time. The pain of Canio is portrayed in the aria and exemplifies the entire notion of the "tragic clown": smiling on the outside but crying on the inside. This is still displayed today, as the clown motif often features the painted-on tear running down the cheek of the performer.

English translation

Act! While in delirium,
I no longer know what I say,
or what I do!
And yet it's necessary... make an effort!
Bah! Are you not a man?
You are a clown!

Put on your costume,
powder your face.
the people pay to be here, and they want to laugh.
And if Harlequin shall steal your Columbina,
laugh, clown, so the crowd will cheer!
Turn your distress and tears into jest,
your pain and sobbing into a funny face -- Ah!

Laugh, clown,
at your broken love!
Laugh at the grief that poisons your heart!

Ruggero Leoncavallo 
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Classical Music History - Composers and Masterworks
Elgar Edward

Sir Edward Elgar, in full Sir Edward William Elgar (born June 2, 1857, Broadheath, Worcestershire, Eng.—died Feb. 23, 1934, Worcester, Worcestershire), English composer whose works in the orchestral idiom of late 19th-century Romanticism—characterized by bold tunes, striking colour effects, and mastery of large forms—stimulated a renaissance of English music.


Sir Edward Elgar
  The son of an organist and music dealer, Elgar left school at age 15 and worked briefly in a lawyer’s office. He was an excellent violinist, played the bassoon, and spent periods as a bandmaster and church organist. He had no formal training in composition.

After working in London (1889–91), he went to Malvern, Worcestershire, and began to establish a reputation as a composer. He produced several large choral works, notably the oratorio Lux Christi (1896; The Light of Life), before composing in 1896 the popular Enigma Variations for orchestra. The variations are based on the countermelody to an unheard theme, which Elgar said was a well-known tune he would not identify—hence the enigma. Repeated attempts to discover it have been unsuccessful.

All but the last of the 14 variations refer cryptically to friends of Elgar, the exception being his own musical self-portrait. This work, highly esteemed by Hans Richter, who conducted the first performance in 1899, brought Elgar recognition as a leading composer and became his most frequently performed composition. In 1900 there followed another major work, the oratorio The Dream of Gerontius, which many consider his masterpiece.
Based on a poem by John Henry Cardinal Newman, it dispensed with the traditional admixture of recitatives, arias, and choruses, using instead a continuous musical texture as in the musical dramas of Wagner.

The work was not well received at its first performance in Birmingham, but after it was acclaimed in Germany, it won British favour.

Elgar, a Roman Catholic, planned to continue with a trilogy of religious oratorios, but he completed only two: The Apostles (1903) and The Kingdom (1906). In these less successful works, representative themes are interwoven in the manner of the leitmotivs of Wagner. Other vocal works include the choral cantata, Caractacus (1898), and the song cycle for contralto, Sea Pictures (1900).


Sir Edward Elgar
  In 1904 Elgar was knighted, and from 1905 to 1908 he was the University of Birmingham’s first professor of music. During World War I he wrote occasional patriotic pieces.

After the death of his wife in 1920, he curtailed his music writing severely, and in 1929 he returned to Worcestershire. Friendship with Bernard Shaw eventually stimulated Elgar to further composition, and at his death he left unfinished a third symphony, a piano concerto, and an opera.

Elgar’s principal works of a programmatic nature are the overture Cockaigne, or In London Town (1901), and the “symphonic study” Falstaff (1913). Of his five Pomp and Circumstance marches (1901–07; 1930), the first became particularly famous. Also highly esteemed are his two symphonies (1908 and 1911), the Introduction and Allegro for strings (1905), and his Violin Concerto (1910) and Cello Concerto (1919).

The first English composer of international stature since Henry Purcell (1659–95), Elgar liberated his country’s music from its insularity. He left to younger composers the rich harmonic resources of late Romanticism and stimulated the subsequent national school of English music.
His own idiom was cosmopolitan, yet his interest in the oratorio is grounded in the English musical tradition. Especially in England, Elgar is esteemed both for his own music and for his role in heralding the 20th-century English musical renascence.

Encyclopædia Britannica
Edward Elgar - The Light of Life
The Light of Life, Op. 29
London Symphony Orchestra - Richard Hickox, London Symphony Chorus - Stephen Westrop, Judith Howarth - soprano, Linda finnie - contralto, Arthur Davies - tenor, John shirley-Quirk - baritone
Edward Elgar
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Glinka Mikhail, Russian composer, d. (b. 1803)

Ilya Repin's portrait of Glinka was painted thirty years after the composer's death
Mikhail Glinka - A Life for the Tsar, "Overture"
Choir/Orchestra: Sofia Nationa Opera Chorus and Orchestra
Conductor: Ivan Maximov
Recorded in: 1986
Mikhail Glinka
  Classical Music Timeline

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Classical Music History - Composers and Masterworks
Kienzl Wilhelm
Wilhelm Kienzl (17 January 1857 – 3 October 1941) was an Austrian composer.

Wilhelm Kienzl
Kienzl was born in the small, picturesque Upper Austrian town of Waizenkirchen. His family moved to the Styrian capital of Graz in 1860, where he studied the violin under Ignaz Uhl, piano under Johann Buwa, and composition from 1872 under the Chopin scholar Louis Stanislaus Mortier de Fontaine. From 1874, he studied composition under Wilhelm Mayer (also known as W.A. Rémy), music aesthetics under Eduard Hanslick and music history under Friedrich von Hausegger. He was subsequently sent to the music conservatorium at Prague University to study under Josef Krejci, the director of the conservatorium. After that he went to Leipzig Conservatory in 1877, then to Weimar to study under Liszt, before completing doctoral studies at the University of Vienna.

While Kienzl was at Prague, Krejci took him to Bayreuth to hear the first performance of Richard Wagner's Ring Cycle. It made a lasting impression on Kienzl, so much so that he founded the "Graz Richard Wagner Association" (now the "Austrian Richard Wagner Company, Graz Office") with Hausegger and with Friedrich Hofmann. Although he subsequently fell out with "The Wagnerites", he never lost his love for Wagner's music.

In 1879 Kienzl departed on a tour of Europe as a pianist and conductor. He became the Director of the Deutsche Oper in Amsterdam during 1883, but he soon returned to Graz, where in 1886, he took over the leadership of the Steiermärkischen Musikvereins und Aufgaben am Konservatorium. He was engaged by the manager Bernhard Pollini as Kapellmeister at the Hamburg Stadttheater for the 1890-91 season, but was dismissed in mid-January 1891 because of the hostile reviews he received (his successor was Gustav Mahler). Later he conducted in Munich.

In 1894, he wrote his third and most famous opera, Der Evangelimann, but was unable to match its success with Don Quixote (1897). Only Der Kuhreigen (1911) reached a similar level of popularity, and that very briefly. In 1917, Kienzl moved to Vienna, where his first wife, the Wagnerian soprano Lili Hoke, died in 1919, and he married Henny Bauer, the librettist of his three most recent operas, in 1921.


Wilhelm Kienzl

After World War I, he composed the melody to a poem written by Karl Renner, Deutschösterreich, du herrliches Land (German Austria, you wonderful country), which became the unofficial national anthem of the first Austrian Republic until 1929. Aware of changes in the dynamics of modern music, he ceased to write large works after 1926, and abandoned composition altogether in 1936 due to bad health. As of 1933, Kienzl openly supported Hitler’s regime.

Kienzl's first love was opera, then vocal music, and it was in these two genres that he made his name. For a while he was considered, along with Hugo Wolf, one of the finest composers of Lieder (art songs) since Schubert. His most famous work, Der Evangelimann, best known for its aria Selig sind, die Verfolgung leiden (Blessed are the persecuted), continues to be revived occasionally. It is a folk opera which has been compared to Humperdinck's Hansel and Gretel, and contains elements of verismo. After Humperdinck and Siegfried Wagner, the composers of fairy-tale operas, Kienzl is the most important opera composer of the romantic post-Wagner era. However, Kienzl's strengths actually lie in the depiction of everyday scenes. In his last years, his ample corpus of songs achieved prominence, though it has largely been neglected since then.

Despite the fact that opera came first in his life, Kienzl by no means ignored instrumental music. He wrote three string quartets and a piano trio.

He died in Vienna and is buried in the main cemetery there.

From Wikipedia, the free encyclopedia
Wilhelm Kienzl - Symphonic Variations
Symphonic Variations on the Strassburglied (1925)
Orchestra: Stuttgart Radio-sinfonieorchester
Conductor: Fritz Mareczek
Wilhelm Kienzl
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Liszt: "Eine Faust-Symphonie"

A Faust Symphony in three character pictures (German: Eine Faust-Symphonie in drei Charakterbildern), S.108, or simply the "Faust Symphony", was written by Hungarian composer Liszt Franz  and was inspired by Johann Wolfgang von Goethe's drama, Faust. The symphony was premiered in Weimar on September 5, 1857, for the inauguration of the Goethe–Schiller Monument there.

The first clue as to the work's structure is in Liszt's title: "A Faust Symphony in Three Character Sketches after Goethe: (1) Faust, (2) Gretchen, (3) Mephistopheles." Liszt does not attempt to tell the story of Goethe's drama. Rather, he creates musical portraits of the three main protagonists. By doing so, though this symphony is a multi-movement work and employs a chorus in its final moments, Liszt adopts the same aesthetic position as in his symphonic poems. The work is approximately seventy-five minutes in duration.
This large-scale movement (usually lasting around 30 minutes) is a very loose sonata-form with a short central development and a protracted recapitulation. One might say that this movement represents the very synthesis of the whole symphony, since many of its themes and motives appear throughout the score in various guises, a process of thematic transformation which Liszt mastered to the highest level during his Weimar years. The basic key of the symphony (C minor) is already rather blurred by the opening theme made up of augmented triads and containing all twelve notes of the chromatic scale.

This theme evokes the gloomy Faust, a dreamer, in everlasting search for truth and knowledge. Next follows the so-called 'Nostalgia' theme introduced by the oboe. At the end of a slow crescendo, there appears a violent Allegro agitato ed appassionato theme, depicting Faust's insatiable appetite for the pleasures of life – this theme establishes a gingery C minor threatened with collapse under the weight of highly chromatic elements.

A melody of the oboe and clarinet represents the hero's 'painful delights'. The last theme is pentatonic and resolute. From all these elements Liszt weaves a musical structure of power and grandeur, in which some critics recognise the composer's self-portrait.
This slow movement is in the mellow and affectionate key of A flat major. Following the introduction on the flutes and clarinets, we are given the pure oboe's melody figurated by the viola's tender decorations, which expresses Gretchen's virginal innocence. A dialogue between clarinet and violins describes her naively plucking the petals of a flower, in a game of 'he loves me, he loves me not'. She is obsessed by Faust, and therefore we may hear Faust's themes being introduced progressively into the music, until his and Gretchen's themes form a passionate love duet. This draws the second movement to a peaceful and short recapitulation.

An alternative interpretation of the Gretchen movement is that, as Lawrence Kramer writes, "What we have been calling Gretchen's music is really Faust's." The entire Gretchen movement could be seen as representing her from the perspective of Faust. Consequently, the listener really learns more about Faust than about Gretchen. In Goethe's drama, she is a complex heroine. In Liszt's symphony, she is innocent and one-dimensional—a simplification that could arguably exist exclusively in Faust's imagination. The listener becomes aware of this masquerade when the "Gretchen" mask Faust is wearing slips with the appearance of the Faustian themes in bars 44 through 51 and bar 111 to the end of the movement.

Some critics suggest that, like Gretchen, Mephistopheles can be seen as an abstraction—in this case, one of the destructive aspects of Faust's character, with Faust mocking his humanity by taking on Mephistopheles' character. Regardless of which interpretation a listener chooses, since Mephistopheles, Satan, the Spirit of Negation, is not capable of creating his own themes, he takes all of Faust's themes from the first movement and mutilates them into ironic and diabolical distortions. Here Liszt's mastery of thematic metamorphosis shows itself in its full power – therefore we may understand this movement as a modified recapitulation of the first one. The music is pushed to the very verge of atonality by use of high chromaticism, rhythmic leaps and fantastic scherzo-like sections. A modified version of Faust's second and third themes then creates an infernal fugue. Mephistopheles is, however, powerless when faced with Gretchen's innocence, so her theme remains intact. It even pushes the Spirit of Negation away towards the end of the work.

It is here that the two versions of the Faust Symphony merit different interpretations. Liszt's original version of 1854 ended with a last fleeting reference to Gretchen and an optimistic peroration in C major, based on the most majestic of themes from the opening movement. Some critics suggest this conclusion remains within the persona of Faust and his imagination. When Liszt rethought the piece three years later, he added a 'Chorus mysticus', tranquil and positive. The male chorus sings the words from Goethe's Faust:

Original German

Alles Vergängliche
ist nur ein Gleichnis;
das Unzulängliche,
hier wird's Ereignis;
das Unbeschreibliche,
hier ist es getan;
das Ewigweibliche
zieht uns hinan.
  English Translation

Everything transitory
is only an allegory;
what could not be achieved
here comes to pass;
what no one could describe,
is here accomplished;
the Eternal Feminine
draws us aloft.
The tenor soloist then rises above the murmur of the chorus and starts to sing the last two lines of the text, emphasizing the power of salvation through the Eternal Feminine. The symphony ends in a glorious blaze of the choir and orchestra, backed up by held chords on the organ. With this direct association to the final scene of Goethe's drama we escape Faust's imaginings and hear another voice commenting on his striving and redemption.
The work is scored for an orchestral complement of piccolo, two flutes, two oboes, two clarinets, two bassoons, four French horns, three trumpets, three trombones, tuba, timpani, cymbals, triangle, organ, harp, and strings. A tenor soloist and male TTB choir are also employed.

Hector Berlioz, who wrote his own version of Faust and became the eventual dedicatee of Liszt's Faust Symphony, introduced Liszt to Goethe's Faust in the 1830s through the French translation of Gérard de Nerval. Although sketches exist from the 1840s, he was hesitant about composing this work. He commented wryly to one correspondent, "The worst Jesuit is dearer to me than the whole of your Goethe." In an 1869 letter, Liszt makes a revealing comparison between Faust and Manfred:

In my youth I passionately admired Manfred and valued him much more than Faust, who, between you and me, in spite of his marvellous prestige in poetry, seemed to me a decidedly bourgeois character. For that reason he becomes more varied, more complete, richer, more communicative ... (than Manfred) ... Faust's personality scatters and dissipates itself; he takes no action, lets himself be driven, hesitates, experiments, loses his way, considers, bargains, and is interested in his own little happiness. Manfred could certainly not have thought of putting up with the bad company of Mephistopheles, and if he had loved Marguerite he would have been able to kill her, but never abandon her in a cowardly manner like Faust.


Despite Liszt's apparent antipathy toward the character of Faust, his residency in Weimar surrounded him with Goethe and the Faust legend at practically every turn. He had barely served out his first year as Kapellmeister when Grand Duke Carl Alexander decreed that the city would celebrate the centennial of Goethe's birth on August 28, 1849. During this celebration Liszt conducted, among other things, excerpts from Robert Schumann's Scenes from Goethe's Faust for orchestra and choir. After the centennial remembrance, he helped in the creation of a Goethe Foundation; this culminated in the publication of Liszt's brochure De la foundation-Goethe à Weimar. In the summer of 1850 Gérard de Nerval himself stayed as Liszt's guest. There was much talk about Faust and the topic would spill over into their subsequent correspondence.

The performance of Berlioz's La Damnation de Faust in 1852, conducted by the composer, encouraged Liszt further, though he still hesitated, writing Princess Carolyne von Sayn-Wittgenstein, "Anything having to do with Goethe is dangerous for me to handle." However, the final catalyst for the symphony came in a two-month period between August and October 1854. This period coincided with a visit to Weimar by English novelist Mary Ann (Marian) Evans, better known by her pen name George Eliot. Her consort George Henry Lewes was gathering information for his biography of Goethe. During visits to Liszt's residence, the Altenburg, Lewes and Eliot had several discussions with both him and Princess Carolyne about Goethe and his place in German literature. Once Liszt began writing, it was all-consuming; the work was produced in a white heat of inspiration.

The symphony was revised three years after it was completed. Additional parts for heavy brass were added, as was a Chorus Mysticus to the finale; in the latter, words from Faust Part II are sung by a male chorus and a tenor soloist to music from the middle movement. Other minor changes were made but much of the original score remained unchanged. In 1880, Liszt added some ten bars to the second movement.

Performance history
After its premiere under Liszt's baton, the symphony was given its second performance under Hans von Bülow in 1861, the year the score was published. Thereafter, apart from one or two sporadic performances, the symphony was neglected for roughly 50 years. Lack of interest was so great that the orchestral parts were not published until 1874. Felix Weingartner became the work's first modern interpreter but he stood practically alone in his advocacy of the score until modern times, when Thomas Beecham and Leonard Bernstein, among others, began championing the piece.

From Wikipedia, the free encyclopedia

Liszt: Faust Symphony - 1857
Chicago Symphony Orchestra and Chorus - tenor S. Jerusalem - conductor Sir Georg Solti
Franz Liszt
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