scholarly journals Palestrina in Serbia

2020 ◽  
Vol 56 (1) ◽  
pp. 79-99
Author(s):  
Ivan Moody

Kosta P. Manojlović was a highly significant figure in the development of Serbian choral music and musical education. His studies abroad brought him into contact with repertoires of Western “early music” that had a profound impact on his work. This article discusses his adaptations of Renaissance polyphony found in the archive of the First Belgrade Choral Society.

Author(s):  
Татьяна Владимировна ПАВЛОВА-БОРИСОВА

В данной статье рассматривается история развития хорового исполнительства в Якутии, становление Якутского хорового общества – республиканского отделения Всероссийского хорового общества (ВХО, обосновывается актуальность этого значимого для Якутии явления музыкальной культуры. Очерчены основные вехи в развитии данного общества. Автор статьи представляет изучаемый объект как значимое явление в культурной жизни республики, прослеживая его развитие на протяжении более полувека, начиная с 1958 г. Благодаря деятельности Якутского отделения Всероссийского хорового общества хоровым движением было охвачено практически всё население Якутии. Благодаря сотрудничеству с якутскими композиторами, хоровая музыка стала популярной на уровне трудовых коллективов республики тех лет. Показана роль руководителей регионального отделения разного периода времени – Г.Ф. Таныгина, Ф.А. Баишевой, Л.Е. Архиповой и др. Смена политического строя в стране не лучшим образом отразилась на развитии хорового дела в стране и в республике, в частности, Всероссийское хоровое общество и его региональные отделения перестали существовать, несмотря на его реорганизацию в 1987 г. в Музыкальное общество. В статье впервые описано время, начиная с 2013 г., когда происходило восстановление Якутского отделения Всероссийского хорового общества. Необходимость его возрождения стала очевидной в виду возросшего спроса на организацию хорового дела как массового явления культуры якутского общества. В статье представлены важнейшие мероприятия, проведенные Якутским отделением ВХО, охарактеризованы крупные достижения за последние годы, проанализированы основные проблемы, стоящие перед организацией в переходный восстановительный период, а именно – улучшение финансирования, подготовка кадров. The article is devoted to the study of choral performance in Yakutia, the formation of the Yakut Choral Society, the regional branch of the All-Russian Choral Society. The relevance of this significant for Yakutia phenomenon of musical culture is substantiated. The main milestones in the development of the society are outlined. The author of the article presents the object under study as a significant phenomenon in the cultural life of the republic for more than half a century, starting in 1958. Thanks to the activities of the Yakut branch of the All-Russian Higher Education, the choral movement covered almost the entire population of Yakutia. Thanks to cooperation with Yakut composers, choral music became popular even among teams of co-workers. The role of the leaders of the regional branch – G.F. Tanygin, F.A. Baisheva, L.E. Arkhipova, and others – is shown. The changes in the political system in the country had a detrimental effect on the development of choral art in the country and in the republic, in particular. The RCS and its regional branches ceased to exist despite the attempts to reorganize it in 1987 into the Musical Society. For the first time, the article shows the difficult time when the restoration of the RCS in the Sakha Republic (Yakutia) took place, starting in 2013. The need for revival became obvious in view of the increased demand for the organization of choral work as a mass phenomenon of the culture of society. The most important events carried out by the Yakutsk branch of the RCS are presented and the major achievements in recent years are characterized. At the same time, the main problems facing the organization in the transitional recovery period are analyzed: improving funding and training.


Per Musi ◽  
2011 ◽  
pp. 79-100
Author(s):  
David Kjar

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.


Tempo ◽  
2005 ◽  
Vol 59 (232) ◽  
pp. 84-85
Author(s):  
Jill Barlow

Cecilia McDowall is noted for her ‘practical’ approach to composing choral music to suit the needs and capabilities of local amateur choirs, and she has a growing association with several, notably the St Albans Choral Society, by whom she was commissioned to write a new setting of the Stabat Mater, which duly received its world première in St Albans on 23 October 2004. It was written to celebrate the Diamond Jubilee of St Albans Choral Society, and they duly rose to the occasion lustily in fine spirits.


2015 ◽  
Vol 12 (2) ◽  
pp. 259-260

Early-music performances were a rarity in Malta until a few years ago. Slowly, over the years, harpsichords started to appear in concerts and a retired doctor began to build clavichords. During a series of fundraising concerts for the restoration of one of Valletta's oldest churches, a male-voice choir was formed to sing renaissance polyphony. This fervent activity led a local artist, Kenneth Zammit Tabona, to dream of a baroque music festival in the island's capital, Valletta. January 2013 saw the first Valletta International Baroque Festival, with concerts held in several of Valletta's baroque edifices, including the magnificent Manoel Theatre (built in 1731 and one of the oldest working theatres in Europe) and the awe-inspiring St John's Co-Cathedral, the church of the Knights of Malta. The first year was a resounding success and augured well for the future, as was confirmed in the second year of the festival.


Author(s):  
Nataliia Kosaniak

Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.


2014 ◽  
Author(s):  
Rob C. Wegman ◽  
Johannes Menke ◽  
Peter Schubert
Keyword(s):  

Author(s):  
Nicola Pritchard-Pink

Jane Austen was one of Dibdin’s greatest admirers and his songs feature prominently in her music collection. Yet the Dibdin songs she owned, with their bawdy comedy, political and social satire, and martial, masculine themes, were far removed from the musical diet prescribed for young ladies of Austen’s rank by conduct writers. Indeed, they were quite different from those advocated by Dibdin himself in his tract on the musical education of young girls, the Musical Mentor (1808), which suggested songs on ‘Constancy’, ‘A Portrait of Innocence’, or ‘Vanity Reproved’ as more suitable subject matter. By highlighting the contrasts between contemporary expectations of female performance and the contents of Austen’s collection, this interlude presents domestic musical performance less as an instrument of control and more as a means by which women could express themselves and participate in the world beyond the bounds of home, family, and conduct-book femininity.


Author(s):  
Laurence Maslon

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.


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