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.

Samuel the Third in the Midst of the Hebrew Creative Activity towards the End of the First Millennium in Eretz Israel

Ginzei Qedem ◽  
2020 ◽  
Author(s):  
Joseph Yahalom
Keyword(s):  
General Public ◽  
Critical Edition ◽  
Full Scale ◽  
Creative Activity ◽  
The Third ◽  
First Millennium

The article serves as a supplement to a recent critical edition: The Yotserot of R. Samuel the Third: A Leading Figure in Jerusalem of the 10th Century (Joseph Yahalom and Naoya Katsumata eds., Yad Izhak Ben-Zvi, Jerusalem 2014, 1139 pp.). The article includes some new texts in the genre of the author's well-known activity in the field of Yotserot as well as a fragment in the genre of the Azharot. The article deals by way of introduction to the full scale of activity in establishing the newly full-fledged Yotserot genre which was introduced mainly in the middle of the century by Sa‛adia Gaon. In so doing he was able to produce two entirely new sets of Yotserot according to his well-known habits of creating parallel literary oeuvre, one for the general public and one for the elite. In a totally different capacity the article deals with a special liturgical technique established by Samuel to be used in his Ahavot and for his Meʼorot. He basically described his wretched nation as a special two-part construct state embodying a plethora of information and a whole world of sympathy.

Four Fragments of the Hebrew Bible from Antinoopolis, P.Ant. 47–50

2019 ◽  
Vol 105 (2) ◽  
pp. 209-216
Author(s):  
Jelle Verburg ◽  
Tal Ilan ◽  
Jan Joosten
Keyword(s):  
Hebrew Bible ◽  
Critical Edition ◽  
Late Antiquity ◽  
Dark Period ◽  
Dead Sea Scrolls ◽  
Dead Sea ◽  
The Third ◽  
Masoretic Text ◽  
Cairo Genizah ◽  
Epigraphic Evidence

An expedition of the Egypt Exploration Society in 1913–14 discovered four fragments of the Hebrew Bible (from the books of Kings and Job). This article presents the first critical edition of the fragments. With a few minor exceptions, the fragments conform to the Masoretic Text. The possible datings of these fragments range from the third to the early eighth centuries ce. Very little is known about the transmission of the text of the Hebrew Bible in the so-called ‘silent’ or ‘dark’ period between the Dead Sea Scrolls and the Cairo Genizah. The fragments also testify to the presence of a Jewish community in Egypt – which was virtually eradicated after the revolt of 115–17 ce. The article gives a brief overview of the extant documentary and epigraphic evidence to reconstruct the forgotten story of Jews at Antinoopolis in Late Antiquity.

The origin of the Exeter Book of Old English poetry

1996 ◽  
Vol 25 ◽  
pp. 135-185 ◽  
Author(s):  
Richard Gameson
Keyword(s):  
Old English ◽  
Critical Edition ◽  
Eleventh Century ◽  
Exeter Book ◽  
English Poetry ◽  
Documentary Evidence ◽  
Vernacular Literature ◽  
Old English Poetry ◽  
The Third ◽  
English Verse

Exeter, Cathedral Library, 3501, fols. 8–130, the celebrated Exeter Book of Old English Poetry, preserves approximately one-sixth of the surviving corpus of Old English verse, and its importance for the study of pre-Conquest vernacular literature can hardly be exaggerated. It is physically a handsome codex, and is of large dimensions for one written in the vernacular: c. 320 × 220 mm, with a written area of c. 240 × 160 mm (see pl. III). In contrast to many coeval English manuscripts, particularly those in the vernacular, there is documentary evidence for the Exeter Book's pre-Conquest provenance. Assuming it is identical with the ‘i mycel Englisc boc be gehwilcum þingum on leoðwisum geworht’ (‘one large English book about various things written in verse’) in the inventory of lands, ornaments and books that Leofric, bishop of Crediton then Exeter, had acquired for the latter foundation, then it has been at Exeter since the third quarter of the eleventh century. This, however, is at least three generations after the book was written, and it has generally been assumed that it originated else where. Identifying the scriptorium where the Exeter Book was made is clearly a matter of the greatest interest and importance. A recent, admirably thorough monograph has put forward a thought-provoking case for seeing Exeter itself as the centre responsible, and has proceeded to draw a range of literary and historical conclusions from this. The comprehensive new critical edition of the manuscript has favoured the thesis, and it has been echoed elsewhere. If correct, this is extremely valuable and exciting – but is it correct? The matter is of sufficient importance to merit further scrutiny.

Sur les traces du De motibus / iudiciis planetarum attribué à Ptolémée

2011 ◽  
Vol 16 (6) ◽  
pp. 571-599
Author(s):  
Eduard Frunzeanu ◽  
Isabelle Draelants
Keyword(s):  
Fifteenth Century ◽  
Present Article ◽  
Thirteenth Century ◽  
Critical Edition ◽  
Northern Italy ◽  
The Third

AbstractA short astrological treatise about the properties of the planets in the zodiac, called De motibus / iudiciis planetarum and attributed to Ptolemy (inc. Sub Saturno sunt hec signa Capricornus et Aquarius et sunt eius domus), appears from the thirteenth century onwards in two distinct traditions: in the encyclopedias of Bartholomew the Englishman and Arnold of Saxony, both written around 1230–1240, and in astronomical miscellanies copied in the fifteenth century either in or around Basel and in Northern Italy. These fifteenth-century manuscripts fall into two distinct groups of astronomical texts: the first is copied together with the De signis of Michael Scot, the second together with a part of the third book of Hyginus' De astronomia. The present article aims to describe the characteristics of the distinct textual filiations of De m. / iud. pl. and gives the first critical edition of the text.

scholarly journals KRÓL-DUCH JULIUSZA SŁOWACKIEGO W RECEPCJI JAROSŁAWA IWASZKIEWICZA

2016 ◽  
Vol 19 (2) ◽  
pp. 133
Author(s):  
Katarzyna Gędas
Keyword(s):  
Critical Edition ◽  
Literary Texts ◽  
The Third ◽  
Lost Time ◽  
Narrative Poem

he article addresses instances of the reception of Juliusz Słowacki’s Król- -Duch in Jarosław Iwaszkiewicz’s life and works; it is based on Iwaszkiewicz’s memoirs, diaries, reviews, literary texts, correspondence with his wife Anna, and the marginalia left on the copies of Król-Duch remaining in the poet’s archive in Podkowa Leśna. The article also includes a critical edition of the three texts on Król-Duch by Iwaszkiewicz, published in “Wiadomości Literackie” in 1924, 1925, and 1927. The first two texts critically review Słowacki’s narrative poem, the third is a literary sketch putting Król-Duch side by side with Marcel Proust’s In Search of Lost Time.

Sirènes

After Debussy ◽  
2020 ◽  
pp. 31-52
Author(s):  
Julian Johnson
Keyword(s):  
Voice Leading ◽  
Piano Sonata ◽  
The Third ◽  
Starting Point ◽  
The 1950S

Debussy’s Sirènes is the starting point for a discussion of the wordless voice in music from Debussy through to Saariaho. How should we interpret the idea of the siren voice? As a misogynistic voice (Cavarero), or a dangerously seductive voice (Adorno and Horkeimer) that foregrounds the sonic aspect of language over its signifying aspect? Mallarmé’s Un coup de dès is used to explore the idea of the siren’s voice leading to the shipwreck of language and the breaking up of grammatical order. This is taken as a parallel to Debussy’s call to dissolve tonal grammar towards a more fluid kind of musical logic. Both enable the appearing of a ‘constellation’ of new relations, a key idea for Boulez in the 1950s, from Pli selon pli to the Third Piano Sonata.

Hilaire de Poitiers, Commentaire sur Matthieu 33, 5 : plaidoyer pour le texte de la famille α

Augustinianum ◽  
2020 ◽  
Vol 60 (2) ◽  
pp. 379-397
Author(s):  
Christophe Guignard ◽  
Keyword(s):  
Critical Edition ◽  
The Other ◽  
Short Text ◽  
The Third ◽  
Other Hand ◽  
Manuscript Tradition ◽  
Hilary Of Poitiers ◽  
The One

Three major reshuffles delineate two families (α and β) within the manuscript tradition of the Commentary on Matthew by Hilary of Poitiers. In the first two cases (3, 2; 9, 7-9), J. Doignon in his critical edition (SCh 254 and 258) favored the text of the α family, judging that the β family generally attests to numerous revisions intended to suppress difficult lectiones. In the third case, on the other hand, he adopted the short text of the β family, thus demoting two short passages in 33, 5 specific to the α family. This article shows that on the one hand the language of these passages is attributable to Hilary and on the other their content fits perfectly with his exegesis. It thus argues for their authenticity.

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