scholarly journals Beethoven “in drei Charakterbildern:” Three Beethoven Images from the Interwar Hungary

2021 ◽  
Vol 61 (1-2) ◽  
pp. 99-112
Author(s):  
Péter Bozó
Keyword(s):  
Piano Sonatas ◽  
Musical Life ◽  
Hungarian Literature ◽  
The Third ◽  
Popular Image

In my study, I show how three different figures of the interwar Hungary saw Beethoven. The first of them, Dénes Bartha (1908–1993), was a musicologist and became an international specialist of Viennese Classicism. In the context of contemporary Hungarian literature, his first Beethoven monograph (1939) represents an emphatically anti-Romantic attitude. In the second part, I examine the popular image of the composer, on the basis of the planned operetta Beethoven (1929–1931) by Zsolt Harsányi, an author of popular biographical novels, and Mihály Nádor (1882–1944), a successful operetta composer. This piece follows the example of Das Dreimäderlhaus, and its music was compiled from Beethoven’s melodies by Nádor. In the third part I examine an essay about Beethoven by an important musician of the period, Ernst von Dohnányi (1877–1960), who was, according to Bartók, a leading Beethoven performer of his age. Although the text of his “Romanticism in Beethoven’s Piano Sonatas” was written during his émigré years (draft: 1948, revision: 1955), it summarizes well what the leading figure of the interwar Budapest musical life might have thought about Beethoven’s music.

‘Tutt' ora vivente’: Petrassi and the concerto principle

Tempo ◽  
1995 ◽  
pp. 2-11
Author(s):  
Calum MacDonald
Keyword(s):  
Old Age ◽  
20Th Century ◽  
Musical Life ◽  
10Th Anniversary ◽  
The Third ◽  
International Reputation ◽  
The 1950S ◽  
Santa Cecilia ◽  
Peter Maxwell Davies

Italian masters seem habitually to survive to a ripe old age. The proverbial example is Verdi, dying at 87, but Gianfrancesco Malipiero had turned 91 by his death in 1973, and his longevity has now been equalled, and seems likely to be surpassed, by Goffredo Petrassi. Long an eminent and respected figure in Italian musical life, and routinely named in the reference books as a significant 20th-century composer, Petrassi has never been well known in this country. His international reputation was at its height in the 1950s and 60s, and probably reached its apogee here with the London premiere, in 1957, of his Sixth Concerto for Orchestra, commissioned by the BBC for the 10th anniversary of the Third Programme. During those decades he travelled, conducted and adjudicated widely; he was closely associated with the ISCM (and was its President in the years 1954–56); as Professor of Composition at the Conservatorio di Santa Cecilia in Rome, he exercised a powerful influence on his country's musical life. He is especially celebrated as a teacher: his Italian pupils have included Aldo Clementi, Riccardo Malipiero, the film composer Enrico Morricone and the conductor Zoltán Pesko, but composers of many nations have studied with him. Among his British pupils, one need only instance Peter Maxwell Davies, Cornelius Cardew, and the late Kenneth Leighton to see that his teaching was never stylistically prescriptive.

Piano Sonatas by Ryszard Bukowski – a search of interpretative keys

2019 ◽  
Vol 2 (12) ◽  
pp. 115-136
Author(s):  
Adam Porębski
Keyword(s):  
Piano Sonatas ◽  
Musical Life ◽  
Final Shape ◽  
Traditional Form ◽  
Performance Traditions ◽  
Music Piece ◽  
Natural Way ◽  
The Way

Performing a forgotten piece or work by a not-well-known composer is always a great challenge for an artist. The fact that there are no recordings, no performance traditions or at least an arranged and published score is not conductive to a decision to include such a piece in one’s repertoire. Which elements should a performer pay attention to while working on unknown contemporary pieces? Aside from the emotions and intuition, which influence the shape of a composition in a natural way, he or she should also refer to the intellectual side of interpretation. The issue to reflect on is the way how the knowledge and awareness of the form of a work, its texture, harmony, rhythm and other elements of a music piece may influence the final shape of its interpretation. Ryszard Bukowski – a composer, music theoretician, journalist and organiser of musical life became a permanent part of the musical cityscape of Wrocław of the afterwar period. His numerous compositions include works for diversified line-ups, from solo pieces to vocal-and-instrumental ones. As a skilful pianist, Bukowski eagerly wrote music featuring the piano, and the works he composed the most frequently were solo sonatas. Writing as many as ten piano sonatas took him only a little more than a decade. Was the title of a piece what made the composer refer to this very traditional form thanks to its genre significance? Or was it just the opposite, i.e., with the title being merely a provocation? Perhaps Bukowski’s characteristic creative feature was combining tradition with modernity and on the basis of traditional formal patterns he proposed original solutions in reference to harmony, rhythm or texture? The article analyses Bukowski’s Piano Sonatas no. 2, 5, 9 and 10 in terms of their performance.

Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 3 – Keyboard instruments in concert halls and in the high society

2019 ◽  
Vol 1 (11) ◽  
pp. 43-64
Author(s):  
Joanna Owczarek-Ciszewska
Keyword(s):  
18Th Century ◽  
Musical Life ◽  
Instrument Making ◽  
The Third ◽  
New Instrument ◽  
History Of ◽  
Concert Halls ◽  
Title Pages ◽  
Present Text ◽  
Keyboard Instrument

The present text is the third and last part of the cycle of articles devoted to keyboard instruments with hammer mechanism in the 18th century published in subsequent issues of the magazine “Notes Muzyczny”. The first two parts primarily touched on the history of keyboard instrument making in the 18th century: first pianos and other original inventions. The third part is in turn devoted to the changing position of the piano in the musical life of that period, namely – concerts, publications and compositions. The crowning of this part is the chronological and topic-related list (in a form of a reference chart) of the most significant phenomena and events discussed in the whole cycle of articles. The first mentions of a wider presence of keyboard instruments with hammer mechanism on the music market and concert life date back to the 1760s. In the 1770s there was a fast growth in the popularity of these instruments in the life of the high society, first of all in England and France (table instruments), as well as in Germany, even though there it took slightly more time because of the domination of the traditional clavichord. Due to the imprecise nomenclature used as long as until the 1780s and 1790s, it is often hard to decide which keyboard instrument was meant in a given case, hence it is impossible to assess how popular a specific instrument was. Some academics suggest that the presence of instruments with hammer mechanism in the musical life of that period was much greater than in might seem. Probably both hammer and tangent pianos and their other variants were not opposed to harpsichords but were treated as a special type within the same group of instruments. In the 1780s musical pieces written for both keyboard instruments, i.e., “for harpsichord or piano”, became the norm. Despite the increase in popularity of pianos (as compared to harpsichords) in the 1790s, such designation would remain on title pages of compositions until the end of that century. The period between the 1780s and 1790s was also the time when the first piano playing textbooks appeared. Expanding expressive capacities of keyboard instruments was the response to the changing needs of the galant and Empfindsamkeit styles. On the other hand, the presence of pianos had a significant influence on the styles of specific compositions. In order to illustrate these processes, the annex presents the analyses of two representative cycles of works from the 1760s written for the new instrument: Sonatas op. 1 by Johann Gottfried Eckard and Sonatas op. 5 by Johann Christian Bach.

Piano Sonatas I–IV

10.31022/a090 ◽  
2021 ◽  
Author(s):  
Allen Sapp
Keyword(s):  
Critical Edition ◽  
Piano Sonata ◽  
Piano Sonatas ◽  
The Third ◽  
Irving Fine ◽  
Walter Piston

This volume presents a critical edition of Allen Sapp's four earliest piano sonatas, the first written at just age nineteen while he was a student of Walter Piston at Harvard in 1941. Piano Sonatas II, III, and IV were completed while Sapp was on sabbatical from Harvard and living in Rome in 1957. The three Roman piano sonatas are remarkable in that they were composed using serial procedures, yet they were intentionally written to have strong tonal centers (especially the third sonata). Irving Fine, who gave the premiere performance of Piano Sonata I, composed an ossia of a passage in the second movement, which is included in the edition.

scholarly journals The Three Piano Sonatas by José de Almeida Penalva

2021 ◽  
Author(s):  
◽  
Heron Moreira ◽  
Keyword(s):  
Performance Edition ◽  
Bela Bartok ◽  
Anton Webern ◽  
Piano Sonatas ◽  
Research Project ◽  
Twelve Tone ◽  
George Gershwin ◽  
The Third ◽  
The Many ◽  
The City

This research project discusses the three piano sonatas by José de Almeida Penalva (1924-2002), a priest and composer from the southern region of Brazil, who lived most of his life in the city of Curitiba, in Paraná state. Along with overall information about the composer’s life and general output, the reader will find brief discussions of Penalva’s keyboard works, along with comprehensive formal analyses of his three piano sonatas. Sonata no. 1 (1970, chronologically the second to be written) appears in one large movement that reveals two distinct sections. Its language is atonal and its first section displays sonata-allegro form. The work employs twelve-tone technique along with folklore elements from the Brazilian genres seresta and desafio. Sonata no. 2 (1960, chronologically the first to be written) employs free modal language in each of its three contrasting movements. According to Penalva’s own indications, the first movement draws on the styles of George Gershwin and Béla Bartók, the second movement refers to Camargo Guarnieri (Brazilian composer who lived from 1907-1993), and the third evokes Anton Webern. Although no material from these composers is directly quoted, it is possible to recognize their stylistic traits within the respective movements. Sonata no. 3 (1991) is the most complex and technically demanding among the three sonatas. It employs free atonal language and displays three highly contrasting movements. Some folk elements also appear, as for example the third movement's energetic rhythm, which clearly suggests the Brazilian popular genre baião. This research project is the first part of a larger undertaking that the author hopes will eventually include a commercial recording of all three sonatas, along with preparing a new performance edition that takes into account the many discrepancies among the composer’s manuscripts and the currently available editions. It is the author’s sincere hope that this research can help to popularize this repertoire, which is colorful and satisfying, but remains relatively unknown, both in Brazil and beyond.

Progress report on 21-cm observations at low latitude between longitudes (l 11) 0° and 66°

1967 ◽  
Vol 31 ◽  
pp. 177-179
Author(s):  
W. W. Shane
Keyword(s):  
Preliminary Report ◽  
Progress Report ◽  
Galactic Centre ◽  
Low Latitude ◽  
The Third ◽  
Introductory Lecture ◽  
Centre Region

In the course of several 21-cm observing programmes being carried out by the Leiden Observatory with the 25-meter telescope at Dwingeloo, a fairly complete, though inhomogeneous, survey of the regionl11= 0° to 66° at low galactic latitudes is becoming available. The essential data on this survey are presented in Table 1. Oort (1967) has given a preliminary report on the first and third investigations. The third is discussed briefly by Kerr in his introductory lecture on the galactic centre region (Paper 42). Burton (1966) has published provisional results of the fifth investigation, and I have discussed the sixth in Paper 19. All of the observations listed in the table have been completed, but we plan to extend investigation 3 to a much finer grid of positions.

The orbit of Pluto over a long interval of time

1966 ◽  
Vol 25 ◽  
pp. 227-229 ◽  
Author(s):  
D. Brouwer
Keyword(s):  
Periodic Orbit ◽  
Numerical Integration ◽  
Restricted Problem ◽  
Three Dimensional ◽  
The Third ◽  
Circular Restricted Problem ◽  
Resonance Relation

The paper presents a summary of the results obtained by C. J. Cohen and E. C. Hubbard, who established by numerical integration that a resonance relation exists between the orbits of Neptune and Pluto. The problem may be explored further by approximating the motion of Pluto by that of a particle with negligible mass in the three-dimensional (circular) restricted problem. The mass of Pluto and the eccentricity of Neptune's orbit are ignored in this approximation. Significant features of the problem appear to be the presence of two critical arguments and the possibility that the orbit may be related to a periodic orbit of the third kind.

Monte Carlo Algorithms for Moments of Transition Arrays

1988 ◽  
Vol 102 ◽  
pp. 79-81
Author(s):  
A. Goldberg ◽  
S.D. Bloom
Keyword(s):  
Monte Carlo ◽  
State Vector ◽  
Basis Vector ◽  
Collective State ◽  
Dispersion Characteristics ◽  
Dipole Strength ◽  
The Third ◽  
Monte Carlo Algorithms ◽  
Third Moment ◽  
Very High

AbstractClosed expressions for the first, second, and (in some cases) the third moment of atomic transition arrays now exist. Recently a method has been developed for getting to very high moments (up to the 12th and beyond) in cases where a “collective” state-vector (i.e. a state-vector containing the entire electric dipole strength) can be created from each eigenstate in the parent configuration. Both of these approaches give exact results. Herein we describe astatistical(or Monte Carlo) approach which requires onlyonerepresentative state-vector |RV> for the entire parent manifold to get estimates of transition moments of high order. The representation is achieved through the random amplitudes associated with each basis vector making up |RV>. This also gives rise to the dispersion characterizing the method, which has been applied to a system (in the M shell) with≈250,000 lines where we have calculated up to the 5th moment. It turns out that the dispersion in the moments decreases with the size of the manifold, making its application to very big systems statistically advantageous. A discussion of the method and these dispersion characteristics will be presented.

Probe size and 5th-order aberration

1987 ◽  
Vol 45 ◽  
pp. 134-135 ◽  
Author(s):  
Zhifeng Shao
Keyword(s):  
Electron Probe ◽  
Spherical Aberration ◽  
Wave Length ◽  
Cylindrical Symmetry ◽  
Electron Wave ◽  
Third Order ◽  
The Third ◽  
Probe Radius ◽  
Small Probe ◽  
Probe Size

A small electron probe has many applications in many fields and in the case of the STEM, the probe size essentially determines the ultimate resolution. However, there are many difficulties in obtaining a very small probe.Spherical aberration is one of them and all existing probe forming systems have non-zero spherical aberration. The ultimate probe radius is given byδ = 0.43Csl/4ƛ3/4where ƛ is the electron wave length and it is apparent that δ decreases only slowly with decreasing Cs. Scherzer pointed out that the third order aberration coefficient always has the same sign regardless of the field distribution, provided only that the fields have cylindrical symmetry, are independent of time and no space charge is present. To overcome this problem, he proposed a corrector consisting of octupoles and quadrupoles.

The effects of Cyclosporin-A (CYA) on the Ultrastructure of Gingival Mast Cells (GMC) in Behcet's disease (BD)

1990 ◽  
Vol 48 (3) ◽  
pp. 358-359
Author(s):  
Oktay Arda ◽  
Ulkü Noyan ◽  
Selgçk Yilmaz ◽  
Mustafa Taşyürekli ◽  
İsmail Seçkin ◽  
...  
Keyword(s):  
Unknown Etiology ◽  
Control Group ◽  
Target Cells ◽  
Gingival Hyperplasia ◽  
Cellular Activity ◽  
Direct Relation ◽  
Immune Disease ◽  
Genital Ulceration ◽  
Functional Changes ◽  
The Third

Turkish dermatologist, H. Beheet described the disease as recurrent triad of iritis, oral aphthous lesions and genital ulceration. Auto immune disease is the recent focus on the unknown etiology which is still being discussed. Among the other immunosupressive drugs, CyA included in it's treatment newly. One of the important side effects of this drug is gingival hyperplasia which has a direct relation with the presence of teeth and periodontal tissue. We are interested in the ultrastructure of immunocompetent target cells that were affected by CyA in BD.Three groups arranged in each having 5 patients with BD. Control group was the first and didn’t have CyA treatment. Patients who had CyA, but didn’t show gingival hyperplasia assembled the second group. The ones displaying gingival hyperplasia following CyA therapy formed the third group. GMC of control group and their granules are shown in FIG. 1,2,3. GMC of the second group presented initiation of supplementary cellular activity and possible maturing functional changes with the signs of increased number of mitochondria and accumulation of numerous dense cored granules next to few normal ones, FIG. 4,5,6.

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