The Viennese: ‘MOB art & tone ART’ Group

Tempo ◽  
1978 ◽  
pp. 10-12
Author(s):  
Josef Heinzelmann
Keyword(s):  
Symphony Orchestra ◽  
Double Bass ◽  
Musical Life

The ‘MOB art & tone ART’ Ensemble made its debut in 1967 and played a lively role in Austrian musical life during the five years of its existence. All three of the composers who directed the Ensemble were also professional instrumentalists—Zykan as pianist, Gruber as double-bass in the Austrian Radio Symphony Orchestra, and Schwertsik as hornist in the Vienna Symphony Orchestra. Zykan and Gruber both appeared regularly with the Ensemble, whose other performing members were Volkcr Altmann (horn), Leonhard Wallisch (cello), Roland Altmann and Kurt Prihoda (percussion). The violinist Ernst Kovacic and the cellist Heinrich Schiff appeared with the Ensemble from time to time as guests.

Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century

2019 ◽  
pp. 500-515
Author(s):  
Nataliia Kosaniak
Keyword(s):  
Choral Music ◽  
Instrumental Music ◽  
Symphony Orchestra ◽  
Vocal Music ◽  
The United States ◽  
Musical Life ◽  
Western European ◽  
Vocal Works ◽  
Post War ◽  
Talented Artist

Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.

Chávez (y Ramírez), Carlos (Antonio de Padua) (1899–1978)

2018 ◽  
Author(s):  
Christina Taylor Gibson
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Symphony Orchestra ◽  
Musical Life ◽  
Avant Garde ◽  
Carlos Chavez

Composer and conductor Carlos Chávez was a dominant force in Mexican musical life during the middle of the twentieth century. His most influential post was as director of the Symphony Orchestra of Mexico [OrquestaSinfónica, OSM], which he led from 1928 to 1948. While leading the OSM, Chávez successfully broadened concepts of classical music to include symphonic, contemporary works by Mexican composers. At the same time, he began an international guest-conducting career that continued into the final years of his life. Although best known for a handful of nationalist works composed in the 1920s and 1930s, Chávez’s compositions demonstrate a diversity of esthetic interests, from avant-garde abstraction to popular genres; regardless of the approach used in a given work, Chávez’s intellectualism and care are evident.

scholarly journals SOUTH KOREAN TV SERIES IN THE SERVICE OF MUSIC EDUCATION

2020 ◽  
Vol 16 (3) ◽  
pp. 133-156
Author(s):  
SERGEI A. AIZENSHTADT ◽  
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Symphony Orchestra ◽  
Working Environment ◽  
The South ◽  
Musical Culture ◽  
Musical Life ◽  
Modern Culture ◽  
South Korean ◽  
Serial Films

In this article we study forms and methods used to popularize western classical music in a South Korean TV series. The main subject of analysis is the TV series Beethoven Virus (2008) devoted to a symphony orchestra in a fictional South Korean city. The main purpose of this TV series is the promotion of classical music, and the author of the article comes to the conclusion that its popularity among Korean audience is explained by its engaging, convincing artistic methods with respect to national cultural specificities, which were used to show the working environment of professional musicians. The series reveals real problems of modern Korean musical culture: “crisis of overproduction” of academic musicians; discrimination of graduates of South Korean musical educational institutions; prejudice that classical music is only for the rich. The author emphasizes that immersion into the atmosphere of professional musical life allows the viewers to apprehend the educational value of the TV series more clearly. Beethoven Virus demonstrates traditional Korean attitude towards European classical music determined by the Confucian roots; and at the same time, it depicts changes in the modern culture conditioned by gradual departure from traditional values. The two main characters — the young and the old conductors — symbolize the old and the new in the Korean musical culture. They interact in a traditional eastern way: the new spirit does not openly conflict with the established convention, but sprouts from it. The author suggests that the music is explained in the film through emotional associations which let the viewers fully perceive the musical idea. The author believes that this method, compared to other ways widespread in the West, corresponds to the nature of the specific sensation of European classical music associated with Confucian cultural roots. An opinion is expressed that methods of music education used in Beethoven Virus were chosen in accordance to the South Korean serial genre traditions: leitmotivs in the soundtrack and gesture clichés are of particular significance here. The author suggests that the South Korean experience of promoting musical classics by means of serial films can be used abroad — given that the differences in mentality and realities of musical life are taken into account.

scholarly journals Genre and style specifics of Sonata for Double Bass and Piano by Paul Hindemith

2021 ◽  
Vol 24 (24) ◽  
pp. 127-147
Author(s):  
Dikarev Serhiі
Keyword(s):  
Symphony Orchestra ◽  
Deep Understanding ◽  
Compositional Analysis ◽  
Double Bass ◽  
Paul Hindemith ◽  
Important Place ◽  
Scientific Methods ◽  
Sound Image ◽  
Mature Period ◽  
Solo Instrument

Statement of the problem. The works of Paul Hindemith, one of the most outstanding composers of the twentieth century, is distinguished by its universality. P. Hindemith is known as the author of a large number of sonatas for various instruments, among which is Sonata for Double Bass and Piano. The genre and style specificity of P. Hindemith’s chamber sonatas cannot be considered in isolation from the peculiarities of the instruments chosen by the composer, the sound image of which contributed to the formation of certain specific genre features. Sonata for Double Bass and Piano, which became the culmination of the development of double bass music in the composer’s work, can be considered indicative in this respect. Analysis of recent research and publications. There is a great deal of research works devoted to P. Hindemit’s compositions, particularly chamber sonatas, as well as to the peculiarities of his style. One of the most fundamental works is the monograph by T. Levaya and O. Leontieva (1974), which deals with the works of the composer. Among other researchers who turned to the work of Hindemith, we should mention B. Asafev (1975), V. Polyakov (1987), T. Morgunova (2000), V. Batanov (2016). Despite the fact that the stylistic and genre principles of P. Hindemith’s work are outlined in detail in the works of domestic musicologists, most researchers have overlooked the Sonata for Double Bass and Piano by P. Hindemith, which certainly deserves a detailed analytical understanding both in the context of the genre and in terms of the development of double bass performance. Main objective of the study. Today, Sonata for Double Bass and Piano by Paul Hindemith, the performance of which requires significant technical and artistic skill from double bass players, occupies an important place in the double bass repertoire, which is why this article is relevant. The purpose of the article is to determine the genre and style specifics of Sonata for Double Bass and Piano by P. Hindemith in order to further understand the development of solo and orchestral double bass means of expression and rapidly increase the repertoire for double bass in modern art. The scientific novelty of the article lies in the insufficient study of P.Hindemith’s double bass work in the context of Ukrainian double bass school. As a result of the structural-compositional and genre analysis it was possible to conclude about the uniqueness of Sonata for Double Bass and Piano by P. Hindemith as a vivid example of the composer’s search for non-standard means of expression, which lies in choosing the timbre of the solo instrument and the specifics of formative factors. The research methodology includes the following scientific methods: ● historiographic approach (in the aspect of clarifying the data on the double bass compositions by P. Hindemith); ● stylistic approach (in connection with the study of the composer’s work); ● genre approach (which is necessary for referring to certain genres of P. Hindemith’s work); ек ● structural and functional approach (which is used in analytical descriptions); ● comparative, which is applied in connection with the study of different editions of Sonata for Double Bass and Piano by P. Hindemith. Results. In the course of the study, a detailed structural and compositional analysis of P. Hindemith’s Sonata for Double Bass and Piano was carried out, as well as a comparative analysis of two editions of this sonata. The filling of the classical sonata form with modern musical language, the appeal to the means of polyphonic music, the introduction of the genre features of the instrumental concerto, the traditional German song Lied and operatic intonations make this work a vivid example of neoclassicism in the repertoire of double bass players around the world. The varied palette of lines and the flexibility of the imaginative sphere of the Sonata generalize the long-term composer’s search for individual means of expression in contrabass music. Conclusions. The result of the evolutionary path traversed by the double bass from a modest instrument of a symphony orchestra to a brilliant solo instrument was Sonata for Double Bass and Piano – a vivid example of P. Hindemith’s chamber work, which embodied the features of the composer’s mature period. Sonata for Double Bass and Piano by P. Hindemith poses difficult technical and artistic tasks for the performers, the solution of which must be associated not only with the use of all the skills and abilities of the musician, but also with a deep understanding of the internal structure and specifics of the compositional and dramatic solution of the author’s intention.

Jewish Music Organizations in Interwar Galicia

2020 ◽  
pp. 343-370
Author(s):  
Sylwia Jakubczyk-ŚlĘczka
Keyword(s):  
Jewish Community ◽  
Chamber Orchestra ◽  
Symphony Orchestra ◽  
Musical Life ◽  
Jewish Communities ◽  
Cultural Policies ◽  
South Eastern ◽  
Comprehensive Account ◽  
Jewish Music ◽  
Musical Interests

This chapter provides a comprehensive account of Jewish musical organizations in interwar Galicia. It investigates the various types of Jewish musical organizations and how they implemented their cultural policies. It also shows the wealth and variety of the musical life of the Jewish communities from the four south-eastern provinces of the Second Polish Republic: Lwów, Kraków, Stanisławów, and Tarnopol. The chapter looks into the goal of the Jewish Music Society in Lwów in order to unite the local Jewish musical community and represent the Jewish community in the city's musical life. It analyzes different musical interests and visions of society's cultural role that explain the different activities of symphony orchestra, choir, mandolin orchestra, and chamber orchestra.

London, Cadogan Hall and King's Place: Second London Festival of Bulgarian Culture

Tempo ◽  
2013 ◽  
Vol 67 (265) ◽  
pp. 81-83
Author(s):  
Martin Anderson
Keyword(s):  
Symphony Orchestra ◽  
Folk Songs ◽  
Musical Life ◽  
Art Film ◽  
Girls School ◽  
The Town

One of the most enjoyable characteristics of London musical life is that it is peopled by a generous number of foreigners who, every so often, take it upon themselves to enlighten the rest of us as to the music we are missing from back home. These can, of course, be hit-and-miss occasions, but it's in the nature of exploring unknown music of any age that you will happily put up with a handful of duds if you come away with a real discovery ringing in your ears. The Second London Festival of Bulgarian Culture (I seem to have missed the First) ran in various venues over the course of November 2012 and also accommodated art, film, literature, theatre and other forms of music (folk, pop and jazz). It opened its classical batting with a concert of ‘Bulgarian and British Symphonic Folk Songs’ in Cadogan Hall on 3 November, with the Varna Symphony Orchestra, Paulina Voices (the choir of St Paul's Girls' School) and the Holst Choir (from James Allen's Girls' School) conducted by Martin Georgiev. Pancho Vladigerov (1899–1978) being the only Bulgarian composer generally known to the outside world, it made sense to begin with him. His Shumen Miniatures, six attractive piano pieces based on folk-tunes from the town, Shumen, where Vladigerov grew up, were written in 1934 and orchestrated at some later date vouchsafed neither by the concert-programme nor the worklist at www.vladigerov.org. They embrace a variety of lighter moods: the first and fourth pieces offer lazy and lyrical summer-evening hazes and the second and third vigorous dances; the proximity of the fifth to the style of Enescu brought a reminder of the long common border Bulgaria shares with Romania (Shumen is around 100 km away from it).

Beethoven’s Symphonies in the Musical Life of Nineteenth-Century Laibach

2021 ◽  
Vol 61 (1-2) ◽  
pp. 7-31
Author(s):  
Katarina Bogunović Hočevar
Keyword(s):  
Nineteenth Century ◽  
Symphony Orchestra ◽  
Honorary Member ◽  
Chamber Works ◽  
Musical Life ◽  
Program Notes ◽  
History Of ◽  
Military Chapel ◽  
The Military ◽  
Concert Life

Nineteenth-century concert life in Laibach (Ljubljana), capital of the Habsburg Carniola, was shaped and led by the local Philharmonic Society. Until the establishment of the Musical Society in 1872, it was the only musical institution in Carniola. Even after the establishment of the Musical Society, the Philharmonics remained the principal and representative leader of concert life. In the mid-nineteenth century, the main European centers had their own operatic and concert civil orchestras, however, Laibach did not have a concert symphony orchestra. In order to lead and perform regular symphonic concerts, the Philharmonic Society had to hire musicians from the military chapel, which also collaborated with the Opera and, at the end of the nineteenth century, participated in the concerts of the Music Society. The history of the Philharmonics exhibits not only a rich tradition but also illustrates the program endeavors of the artistic leaders, the musical trends of the time and social circumstances, which sometimes encouraged and at other times hindered its work. The first preserved program notes indicate that at that time (1816) challenging symphonic works were already played and in this regard Beethoven’s role was evident. In 1808 the Society already attempted to elect Beethoven as an honorary member of the society, but this happened only in 1819. A year before the local premiere of his Symphony No. 6, and for this opportunity, the composer sent a manuscript with his own corrections. Until then his Symphonies Nos. 1, 2, 7 and probably 4 were already performed there. The program notes of the Society indicate that Beethoven’s works were played at least (but usually more than) once in a season. In the second half of the nineteenth century, the appeal and the interest in the composer’s creative output grew even stronger, alongside the appreciation of the memory of the composer. It is also significant to note that his chamber works became regularly performed in the chamber concerts of the Philharmonics. Even though from the very beginning the composer’s overtures had a stable and regular place within the repertoire, the first full performance of his Symphony No. 9 took place only in 1902 (the first three movements were already performed a decade earlier).

Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER

Tempo ◽  
2004 ◽  
Vol 58 (229) ◽  
pp. 58-60
Author(s):  
Peter Palmer
Keyword(s):  
Symphony Orchestra ◽  
Double Bass ◽  
Comic Opera ◽  
Violin And Piano ◽  
Frank Martin

‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.

Border Traffic

2018 ◽  
Author(s):  
Mark Slobin
Keyword(s):  
Jewish Community ◽  
Classical Music ◽  
Symphony Orchestra ◽  
Musical Life ◽  
Cultural Life

This chapter focuses on Detroit’s Jewish community, first taking up its complex, many-layered internal musical life, from religious to politically radical, across a range of initiatives and institutions. Next comes an analysis of how the group used music as a mode of outreach to mainstream Detroit, impacting the city’s cultural life, especially through intense engagement with classical music. The role of the Jews in the survival of the Detroit Symphony Orchestra is outlined. Profiles of key activists’ careers—Julius Chajes, Mischa Mischakoff, Mischa Kottler, Emma Schaver--and the development of institutional life illustrate these practices of “border traffic.”

Sonatas, Suites, and String Quartets

2017 ◽  
Author(s):  
Amy C. Beal
Keyword(s):  
String Quartet ◽  
Symphony Orchestra ◽  
Double Bass ◽  
String Quartets ◽  
Large Ensemble ◽  
Chamber Works ◽  
Dissonant Counterpoint ◽  
Violin And Piano

This chapter examines Beyer's instrumental chamber works and pieces for symphony orchestra or large ensemble. Beyer's two suites for solo clarinet, composed in 1932, are landmark works of dissonant counterpoint and modernist formalism. These clarinet suites are compositionally intricate and virtuosic in their demands. These are important in their theoretical implications, and they started Beyer down a path of writing a number of pieces for woodwinds. Meanwhile, Beyer composed only two duos for strings and piano: Movement for Double Bass and Piano (1936) and Suite for Violin and Piano (January 1937). She also composed four works for string quartet: String Quartet (1933–34), String Quartet No. 2 (July 1936), Movement for String Quartet (also called Dance for Strings, 1938), and String Quartet IV (undated).

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