Laura  Seddon, British Women Composers and Instrumental Chamber Music in the Earliest Twentieth Century (Farnham: Ashgate, 2013), pp. 248. ISBN 978-1-409-43945-5 (hb).

Juan Carlos Paz (1897–1972) was an Argentine composer, critic, writer, and self-described "compositional guide" who played a key role in twentieth-century Argentine contemporary music. Known for his rebellious attitude towards traditional institutions and academia, and as an advocate of avant-garde music throughout his life, Paz was a pioneer in the use of the twelve-tone technique in Latin America. Paz founded such groups as Grupo Renovación [Renovation Group] and Asociación Nueva Música [New Music Association], both devoted to promoting and performing new music. Paz wrote music for solo instruments, chamber music, orchestra, and theatre, as well as film scores. He published three important books dedicated to new music and three volumes containing his memoirs, and collaborated intensively with the press and magazines (Crítica, Reconquista, Acción de Arte, La Protesta, La Campana de Palo, Argentina Libre, among others).

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CHAMBER MUSIC IN THE TWENTIETH CENTURY: CULTURAL AND COMPOSITIONAL CRISIS OF A GENRE

The British Journal of Aesthetics ◽

10.1093/bjaesthetics/22.2.115 ◽

1982 ◽

Vol 22 (2) ◽

pp. 115-125

Author(s):

Bojan Bujic

Keyword(s):

Twentieth Century ◽

Chamber Music

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Twentieth-Century Chamber Music

10.4324/9780203493076 ◽

2004 ◽

Author(s):

James McCalla

Keyword(s):

Twentieth Century ◽

Chamber Music

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Women of American Chamber Music

The Boller Review ◽

10.18776/tcu/br/4/98 ◽

2019 ◽

Vol 4 ◽

Author(s):

Laena Batchelder ◽

Class of 2019

Keyword(s):

Chamber Music ◽

String Quartet ◽

Women Composers ◽

Classical Music ◽

String Quartets ◽

Death Valley ◽

Current Status ◽

Violin Sonata ◽

Program Notes ◽

History Of

On February 20, 2019, Laena Grace Batchelder, with her colleagues, performed a recital of three chamber pieces by American women composers. The first was Amy Beach’s Violin Sonata played with Mr. Edward Newman. The other two pieces were string quartets performed by the Uproar String Quartet, which included Batchelder’s fellow TCU students: Manuel Ordóñez, Ashley Santore, and Manuel Papale. They played Missy Mazzoli’s Death Valley Junction and Jennifer Higdon’s An Exaltation of Larks. In addition to the performance, Batchelder researched the current status of women in classical music, the history of American female composers, and the three composers she programmed and their pieces. From this research, she wrote detailed program notes for the audience to read.

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The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene

Studia Musicologica ◽

10.1556/6.2020.00011 ◽

2021 ◽

Vol 61 (1-2) ◽

pp. 149-159

Author(s):

Georgia Petroudi

Keyword(s):

Twentieth Century ◽

Chamber Music ◽

Cultural Context ◽

Symphony Orchestra ◽

Cultural Institutions ◽

Symphony Orchestras ◽

Music Festivals ◽

Music Scene ◽

Concert Programming ◽

Concert Programs

The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to demonstrate how Beethoven’s compositions became part of the concert programming. The rapid but simultaneously abrupt growth of the cultural scene in the twentieth century, was interweaved with what kind of compositions and what composers could be included in concert programs, taking into consideration the restrictions that governed large performances such as performers’ numbers and the diversity of instrumental players, who would support the staging of certain works. The reception of Beethoven’s works is studied in the changing local political, historical, social and cultural context.

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