Nature: Dune of Footprints for String Orchestra (2017); Nature (2012); What Did We See? (2018); Re-greening for Large Singing Orchestra (2015), Tansy Davies

Mick Gowar

doi:10.1386/btwo_00053_5

Nature: Dune of Footprints for String Orchestra (2017); Nature (2012); What Did We See? (2018); Re-greening for Large Singing Orchestra (2015), Tansy Davies

Book 2 0 ◽

10.1386/btwo_00053_5 ◽

2021 ◽

Vol 11 (1) ◽

pp. 170-173

Author(s):

Mick Gowar

Keyword(s):

String Orchestra

Review of: Nature: Dune of Footprints for String Orchestra (2017); Nature (2012); What Did We See? (2018); Re-greening for Large Singing Orchestra (2015), Tansy Davies London: NMC, D260, Audio CD, £12.99.

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Saâ€™Unine String Orchestra, Orkes Geseknya Indonesia

Panggung ◽

10.26742/panggung.v22i2.61 ◽

2012 ◽

Vol 22 (2) ◽

Author(s):

Ranti - Rachmawanti

Keyword(s):

Popular Culture ◽

Qualitative Method ◽

Music Industry ◽

Main Idea ◽

String Orchestra ◽

Characteristic Func ◽

Orchestra Music ◽

Research Show ◽

Func Tion

ABSTRACTÂ This article explains the result of Saâ€™Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Saâ€™Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Saâ€™Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Saâ€™Unine String Or- chestra to be an Indonesian String Orchestra.Â Keywords: String Orchestra, Music, Popular Culture.Â

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String Orchestra

The Musical Times ◽

10.2307/951457 ◽

1968 ◽

Vol 109 (1499) ◽

pp. 65

Author(s):

Robert Anderson ◽

Corelli ◽

Manfredini ◽

Mendelssohn ◽

Istvan Szelenyi ◽

...

Keyword(s):

String Orchestra

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Via Crucis, for String Orchestra (with Solo Cello Obbligato)

Notes ◽

10.2307/894473 ◽

1965 ◽

Vol 22 (1) ◽

pp. 823

Author(s):

John R. White ◽

Reginald Smith Brindle

Keyword(s):

String Orchestra

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Concerto for Oboe and String Orchestra

Notes ◽

10.2307/890053 ◽

1951 ◽

Vol 8 (2) ◽

pp. 400

Author(s):

Wendell Margrave ◽

Alan Rawsthorne

Keyword(s):

String Orchestra

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Grażyna Bacewicz – The Polish Sappho

Musicology Today ◽

10.2478/muso-2019-0003 ◽

2019 ◽

Vol 16 (1) ◽

pp. 65-102

Author(s):

Małgorzata Gąsiorowska

Keyword(s):

String Quartet ◽

Women Composers ◽

The Political ◽

String Orchestra ◽

Limited Extent ◽

Avant Garde ◽

Political Transformations ◽

New Type ◽

Nadia Boulanger ◽

Artistic Career

Abstract The paper is an attempt at a synthetic presentation of the Polish composer Grażyna Bacewicz’s (1909–1969) musical output and artistic career, presented against the background of events in her personal life, and of major events in Polish and European history in the first seven decades of the 20th century. Bacewicz was called ‘the Polish Sappho’ already in the years between World Wars I and II, when there were very few women-composers capable of creating works comparable to the most eminent achievements of male composers. Her path to success in composition and as a concert soloist leads from lessons with her father, the Lithuanian Vincas Bacevičius, to studies at the Łódź and Warsaw Conservatories (violin with Józef Jarzębski, composition with Kazimierz Sikorski), and later with Nadia Boulanger at the École Normale de la Musique, as well as violin lessons with André Tourret. Her oeuvre has for many years been linked with neoclassicism, and folkloric inspirations are evident in many of her works. Her crowning achievement in the neoclassical style is the Concerto for String Orchestra of 1948, while influences from folklore can distinctly be heard in many concert pieces and small forms. The breakthrough came around 1958, under the influence of avant-garde trends present in West European music, which came to be adapted in Poland thanks to the political transformations and the rejection of socialist realism. In such pieces as Music for Strings, Trumpets and Percussion of 1958, Bacewicz transforms her previously fundamental musical components (melody, rhythm, harmony) into a qualitatively new type of sound structures, mainly focused on the coloristic aspects. Grażyna Bacewicz also applied the twelve-note technique, albeit to a limited extent, as in String Quartet No. 6 (1960). Her last work was the unfinished ballet Desire to a libretto by Mieczysław Bibrowski after Pablo Picasso’s play Le désir attrapé par la queue.

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Two Pieces for String Orchestra

10.4324/9781003061724-49 ◽

2021 ◽

pp. 235-235

Author(s):

Richard Kostelanetz ◽

Steve Silverstein

Keyword(s):

String Orchestra

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Apollon Musagète

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem708-1 ◽

2018 ◽

Author(s):

Nancy Reynolds

Keyword(s):

Twentieth Century ◽

Turning Point ◽

Igor Stravinsky ◽

String Orchestra ◽

George Balanchine ◽

Clear Cut ◽

Ballets Russes ◽

Look Back ◽

The One ◽

New Phase

Apollon Musagète, premiered by Serge Diaghilev’s Ballets Russes in 1928, and most widely known since the 1950s as Apollo, is the oldest work by choreographer George Balanchine still in active repertoire. For its age alone the ballet is significant, but it also marked a new phase in the development of Balanchine’s artistic philosophy. In 1945 he wrote, "Apollo I look back on as a turning point. In its discipline and restraint … the score was a revelation. It seemed to tell me that I could dare not to use everything, that I too could eliminate. I began to see how I could clarify … by reducing what seemed to be multiple possibilities to the one which is inevitable" (Balanchine qtd in Lederman 1975: 81). Such was Balanchine’s influence that what was a turning point for him was also a turning point for ballet in the twentieth century. The score that so influenced Balanchine was composed, by Igor Stravinsky, for a small string orchestra. Diaghilev described it as "an amazing work, extraordinarily calm, and with greater clarity than anything he has so far done, [with] filigree counterpoint [a]round transparent, clear-cut themes, all in the major key; [it is] somehow music not of this world, but from somewhere above" (Diaghilev qtd in White 1979: 342).

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