scholarly journals The plague, a metal monster, and the wonder of Wanda: in pursuit of the performance style

Per Musi ◽  
2011 ◽  
pp. 79-100
Author(s):  
David Kjar
Keyword(s):  
Significant Role ◽  
Early Music ◽  
Performance Style ◽  
Musical Education ◽  
Significant Contributor ◽  
Modern Style ◽  
Early Music Movement ◽  
Early Music Revival

The claim of having achieved "authenticity" in performance has today almost disappeared without a trace. However, Richard Taruskin's efforts to disprove the premise through a series of articles in the 1980s still beg important questions, such as exactly what are the origins of the early music movement's performance style and which performers had a role in its transmission? Taruskin contends that Stravinsky transmitted the "geometrical," or modernist, Bach to the musical world, and that Stravinsky might have learned it from Wanda Landowska. Taruskin's accolade exposes more than a bit of irony within the early-music revival, since Landowska is seldom, if ever, acknowledged as a significant contributor to the development of the early-music "style" of performance, even though Landowska's recordings reveal a performer with a modern style, one that foreshadows 1980s early-music performances. Due primarily to the sound of her non-historic harpsichord, Landowska's influence, however, has been diminished, and her significant role was negated in the post-"authenticity" early music movement. This paper traces Landowska's central influence through an investigation of her Varsovian musical education, Parisian residency, and recordings. It recognizes and advocates for the contributions made by Landowska before the advent of the "authenticity" era.

Ina Lohr (1903–1983) - Transcending the Boundaries of Early Music

2020 ◽  
Author(s):  
Anne Smith
Keyword(s):  
20Th Century ◽  
Significant Role ◽  
Chamber Orchestra ◽  
Early Music ◽  
Early Music Movement ◽  
Schola Cantorum

<P>Although almost forgotten today, Ina Lohr played a significant role in Basel’s 20th-century musical world. In 1930, she became Paul Sacher’s musical assistant, helping in the preparations for performances of the Basel Chamber Orchestra, of which he was the director. Just three years later, she was one of the courageous pioneers who under the direction of Paul Sacher founded the now internationally renowned Schola Cantorum Basiliensis. As Ina Lohr was instrumental in creating its program, her work indirectly had an enormous impact on the Early Music Movement. Through her biography, we learn to see Early Music within the complex cultural and religious matrix of her time, forcing ourselves to transcend our own boundaries to understand her life.</P>

Music in museum (second half of 20th century, Ukraine)

2018 ◽  
pp. 61-65
Author(s):  
N. Svyrydenko
Keyword(s):  
20Th Century ◽  
Western Europe ◽  
Fine Arts ◽  
Early Music ◽  
Performance Style ◽  
Russian Art ◽  
The Past ◽  
Music Collection ◽  
Concert Programs ◽  
Early Music Revival

Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.

scholarly journals Evolution versus Authenticity: Johannes Brahms, Robert Franz, and Continuo Practice in the Late Nineteenth Century

2006 ◽  
Vol 30 (2) ◽  
pp. 182-204 ◽  
Author(s):  
Elaine Kelly
Keyword(s):  
Nineteenth Century ◽  
Johannes Brahms ◽  
Late Nineteenth Century ◽  
Early Music ◽  
The Past ◽  
Baroque Music ◽  
Heated Debate ◽  
Late Nineteenth ◽  
High Level ◽  
Early Music Revival

The early-music revival provoked much heated debate in the second half of the nineteenth century. The leading scholars of the era, Philipp Spitta and Friedrich Chrysander were keen to encourage performances and editions of early music that presented it in the spirit in which it was conceived. This approach met with vociferous opposition from Robert Franz and his supporters, who embraced a Darwinian aesthetic. Although committed to reviving the past, Franz believed that the tastes of nineteenth-century listeners had become too sophisticated to enjoy early music in its original state and modernized it accordingly. The source of the most heated debates was the issue of continuo realization, a topic in which Brahms, through his performing and arranging activities, had a vested interest. Franz, who dismissed the musicologists as artistic philistines, found a difficult adversary in Brahms. Brahms's scholarly inclinations have been well documented, and predictably, his approach to reviving Baroque music reflected a high level of historical awareness. He was, however, first and foremost a creative musician, and as a consequence, aesthetic issues were paramount in his performances and publications. Considerable tensions arose between Franz, and Brahms, and Chrysander, which are explored here in relation to the latter's editions of Handel's Italian duets and trios. The difficulties surrounding continuo practice were not confined to opposition from Franz; even among musicologists there was much disagreement about how the music should be performed. Brahms's approach to continuo realization is considered in this context.

The Early Music Revival, a History

1990 ◽  
Vol 43 ◽  
pp. 172
Author(s):  
Kenneth Mobbs ◽  
Harry Haskell ◽  
Nicholas Kenyon
Keyword(s):  
Early Music ◽  
Early Music Revival

Early-music revival

2013 ◽  
Author(s):  
Paul C. Echols ◽  
Maria V. Coldwell
Keyword(s):  
Early Music ◽  
Early Music Revival

The state of musical education of schoolchildren in Poland in the post-war period (40-60 years of the XX century)

2020 ◽  
Vol 1(16) (2020) ◽  
pp. 14-21
Author(s):  
Anastasia Vilchkovska ◽  
Keyword(s):  
Music Education ◽  
Significant Role ◽  
Education System ◽  
Primary Schools ◽  
Geographical Location ◽  
School Education ◽  
Foreign Teachers ◽  
Musical Education ◽  
Difficult Time ◽  
The Subject

Relevance of research. The nearest Ukraine in terms of geographical location, culture, centuries-old historical ties and Slavic mentality is Poland. For the history of pedagogy in particular, the system of music education of schoolchildren is interesting to explore and analyze the difficult time of reconstruction of school education in Poland after the Second Word War, which killed 17% of the population. The purpose of the study is to analyze form and content of music education of Polish schoolchildren in the postwar (40-60 years of the 20th century). Research methods. Analysis and synthesis of Polish scientific and pedagogical literature on music education of schoolchildren, regulations, school curricula and program, materials of scientific and practical conferences empirical and independent data. Research results. After the end of the Second World War and the liberation of Poland from German occupation, the reconstruction of the virtually completely destroyed school system and the creation of new education system based on different ideological, political and economic principles before the pre-war period began. The restructuring of the school education system involved, firs of all, the definition of the new educational goal, which was set before the school. It was based on the idea of harmonious development of personality. A significant role in this process was given to the musical education of schoolchildren. The subject of “Singing” was introduced into the curricula of primary schools (grades 1-7), which had two hours in grades 1-5 and one hour in grades 6-7, as well as two hours for school choir classes pre week. A significant role in the development of the system of music education of foreign teachers-musicologists: E.Jagues-Dalcroze, Z. Kodály, James L. Mursell, C. Orff and others. They adapted to the conditions and Polish educational traditions. In the 1962, the name of the subject “Singing” was changed to “Music Education”, which was in line with pedagogical functions. Conclusions. In the postwar (40-60's) the modernization of the system of music education of schoolchildren was carried out. The organization content and forms of music education in secondary schools were based on the concepts of well-known in Europe scientists, teachers, musicologists, composers [É.Jagues. Dalkroze, Z. Kodály, J. Mursell, C. Orff], who adapted in accordance with the conditions and national Polish educational traditions. The musical education of the younger generation was greatly influenced by ideological and sociopolitical factors that determined the functioning of the socialist society of the Polish People's Republic.

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