Solo Vocal Works on Jewish Themes: a bibliography of Jewish composers

2013 ◽  
Vol 12 (3) ◽  
pp. 572-573
Author(s):  
Jonathan L. Friedmann
Keyword(s):  
Vocal Works ◽  
Jewish Composers

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.

scholarly journals Texts of the Vocal Works of Robert Schumann in English Translation

Notes ◽  
1947 ◽  
Vol 5 (1) ◽  
pp. 110
Author(s):  
Richard V. Lindabury ◽  
Henry S. Drinker ◽  
Robert Schumann
Keyword(s):  
English Translation ◽  
Robert Schumann ◽  
Vocal Works

scholarly journals Heartfelt Love: Singing Maiden Characters in Romantic Vocal Music, 1800-1850

2021 ◽  
Author(s):  
◽  
Haiman Liu
Keyword(s):  
Nineteenth Century ◽  
Vocal Music ◽  
First Century ◽  
Italian Opera ◽  
German Lieder ◽  
Twenty First Century ◽  
Vocal Works ◽  
Female Singers ◽  
And Performance ◽  
The Relationship

<p>The images of maidens in Italian opera and German lieder from the period 1800-1850 are vivid. In the plots of the operas and the scenes and stories of the lieder almost invariably these characters focus enthusiastically on heartfelt love. This exegesis explores the relationship between the expression of love by unmarried women in selected lieder and opera of the first half of the nineteenth century and performance of these works by the young soprano in the twenty-first century. In the period when these songs and operas were written, performers of lieder would often have been of a similar age to the maiden characters portrayed in the songs, and in the case of Italian opera at the time, the singers who created such roles were usually in their twenties or early thirties. As a young soprano myself, in my study I consider some questions which are relevant for twenty-first century female singers who choose to perform these nineteenth-century portrayals of virgin characters. The figures in the works I have selected to study display a wide variety of personalities, moods and emotions, from the tenacious wild rose in Schubert’s ‘Heidenröslein’, to his passionate Gretchen and the melancholic Amina in Bellini’s La Sonnambula. I consider how the soprano may express the different emotions involved and approach performing young maiden characters such as these, whose experiences of life and status in society may be substantially removed from twenty-first century experiences.   In order to address these questions, I examine the selected song and aria texts in terms of the relationship between the content of the stories and the characters, as well as analyzing the vocal skills that can be used and vocal effects that may be applied when shaping these roles according to the music as written. In addition, I combine the background to the story and the plot with the musical markings in selected phrases to explore the emotional variety of the characters so as to interpret the deeper significance in the compositions. Through learning and performing these particular pieces I have explored the vocal techniques which are required in singing them from a practical perspective and this enables me to contribute insights I have gained to the general understanding of the skills required for this particular area of the repertoire. Having chosen repertoire for this study which combines Italian opera arias and lieder, and I also consider how the differences I have found in the vocal works may reflect their respective genres and distinguish the skills required for each. Through writing about my own research into the performance of these works, I provide new insights and ideas about these maiden characters which may be applicable to any young sopranos who sing repertoire from this period, and useful for their own vocal perfo</p>

Haydn vocal works, canonic and obscure

Early Music ◽  
2011 ◽  
Vol 39 (3) ◽  
pp. 466-469
Author(s):  
S. Groves
Keyword(s):  
Vocal Works

‘Jewish Musicians are the Crowning Achievements of Foreign Nations’

2020 ◽  
pp. 309-320
Author(s):  
Julia Riegel
Keyword(s):  
Nineteenth Century ◽  
Jewish Identity ◽  
The Other ◽  
Singing Voice ◽  
Interwar Poland ◽  
The One ◽  
Jewish Composers

This chapter discusses the treatment of the Jewish identity of various composers by the Yiddish folklorist and music critic, Menachem Kipnis. It describes Kipnis as a small, energetic man with a soft but beautiful singing voice and considered one of the most popular Jewish folklorists of interwar Poland. It also looks into Kipnis' book World-Famous Jewish Musicians, a collection of biographies of nineteenth-century composers with a Jewish background. The chapter examines the contradictions and idiosyncrasies of World-Famous Jewish Musicians compared with Kipnis's other works. It seeks to understand the balance Kipnis struck between praise for Jewish composers and quasi-nationalist emphasis on their Jewishness on the one hand, and his work as a folklorist in Poland, collecting songs from traditional, Yiddish-speaking Jews on the other.

Bach the Capellmeister

Bach ◽  
2020 ◽  
pp. 149-193
Author(s):  
David Schulenberg
Keyword(s):  
Religious Faith ◽  
Instrumental Ensemble ◽  
Keyboard Music ◽  
Vocal Works ◽  
Brandenburg Concertos

As Capellmeister, Bach was in charge of all musical matters at the court of Cöthen. Although the prince’s Reformed religious faith ruled out the performance of church cantatas, Bach did compose occasional vocal works for special occasions. His chief works of this period, however, were suites, sonatas, and concertos for the court instrumental ensemble, as well as keyboard music for his family and pupils. Among the famous compositions composed or completed at Cöthen and discussed in this chapter are the inventions, Well-Tempered Clavier, organ sonatas, cello suites, sonatas and partitas for violin and flute, and Brandenburg Concertos.

Bach the Concertmaster

Bach ◽  
2020 ◽  
pp. 92-129
Author(s):  
David Schulenberg
Keyword(s):  
Eighteenth Century ◽  
Music Ensemble ◽  
Early Eighteenth Century ◽  
Vocal Works ◽  
Court Music

Bach’s title as concertmaster was new in the early eighteenth century; at Weimar it implied direction of the court music ensemble, at least in the new vocal works that Bach was now expected to produce every four weeks. Beginning in 1714 he composed several dozen church cantatas on a regular basis, including BWV 182, 12, and 31. These were preceded by a handful of significant vocal works, among them the “Hunt Cantata” (BWV 208). But the greatest number of compositions from this period are for organ and keyboard, including the “Great Eighteen” chorales, the “Dorian” toccata and fugue, transcriptions of concertos, and the Chromatic Fantasia, all discussed in this chapter. Also considered is the influence of Telemann on Bach and his compositions.

Sign in / Sign up

Export Citation Format

Share Document