scholarly journals Dzieła kameralne Henryka Mikołaja Góreckiego w kontekście przemian stylu kompozytora. Wybrane przykłady

2020 ◽  
pp. 91-113
Author(s):  
Weronika Sucharska
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Chamber Works ◽  
The Way ◽  
Stylistic Changes

Henryk Mikołaj Gorecki's Chamber Works in the Context of the Changes of the Composer's Style: Selected Examples The aim of this paper is to study stylistic changes in Henryk Mikołaj Górecki’s works based on four predefined instances of chamber music: Quartettino, Op. 5, Concerto for Five Instruments and String Quartet, Op. 11, Muzyczka IV, Op. 28 and Aria scena operowa, Op. 59. The use of structural, auditory and style-critics analyses has made is possible to follow the variety of the composition techniques present in chamber compositions. Additionally, it has allowed to exhibit idiomatic features of Górecki’s style and enabled to study the way in which Górecki used chamber music.

scholarly journals Henryk Mikołaj Górecki’s Chamber Music Works in the Context of the Transformations of the Composer’s Style: Selected Examples

2020 ◽  
pp. 87-108
Author(s):  
Weronika Sucharska
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Auditory Analysis ◽  
Stylistic Changes

The aim of this paper is to analyse stylistic changes in Henryk Mikołaj Górecki’s output on the example of four selected chamber music works: Quartettino, Op. 5, Concerto for Five Instruments and String Quartet, Op. 11, Little Music 4, Op. 28 and Aria (‘operatic scene’), Op. 59. By applying the methods of structural and auditory analysis as well as style criticism, I discuss the diversity of composition techniques found in these compositions. Additionally, my methodology has allowed me to represent the idiomatic, idiosyncratic features of Górecki’s style and study the ways in which Górecki approached chamber music.

Debussy and La Sonate cyclique

2005 ◽  
Vol 22 (4) ◽  
pp. 644-679 ◽  
Author(s):  
MARIANNE WHEELDON
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
18Th Century ◽  
Chamber Works ◽  
French School ◽  
First Time ◽  
Vincent D'indy

ABSTRACT In 1915, Debussy returned to the genre of chamber music for the first time since the String Quartet of 1893 and composed the only sonatas of his career. What draws these early and late chamber works together is that they are all cyclic in construction. While Debussy's quartet clearly bears the imprint of Céésar Franck's cyclic procedures, his sonatas engage with this tradition more cautiously. Comparing the string quartet with the sonatas elucidates Debussy's uneasy rapprochement with a style he had formerly embraced. Debussy's underplaying of the cyclic tradition was motivated by what the cyclic sonata had come to represent in the intervening years, in particular its appropriation by Franck's student Vincent d'Indy. In his teachings and publications, d'Indy promulgated a nationalistic view of the cyclic sonata, one that declared Franck and the modern French school as the only comprehending heirs of Beethoven. Reluctant to participate in this particular heritage, Debussy diverted attention from the cyclic procedures used in the sonatas by explicitly emphasizing their stylistic affiliation with the French 18th century and by implicitly aligning himself with Franck rather than with d'Indy. In this way Debussy sought to carve out a place for his sonatas within a less contentious tradition.

Symphonies Reframed

2018 ◽  
Author(s):  
Gjertrud Pedersen
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Chamber Ensemble ◽  
Educational Value ◽  
Chamber Ensembles ◽  
String Trio ◽  
Original Works ◽  
The Difference ◽  
Core Questions ◽  
First Time

Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

Haydn, String Quartet in G, op. 76 no. 1/i (Allegro con spirito)

2021 ◽  
pp. 105-119
Author(s):  
James Hepokoski
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Ongoing Process ◽  
The Moment ◽  
Cultural Role

Not all classical expositions are “two-part expositions,” that is, one divided in half by a medial caesura. Another, less common option was that of the “continuous exposition,” lacking a medial caesura and hence (in Sonata Theory’s view) lacking a “secondary theme” proper. This chapter considers a chamber work with an exemplary continuous exposition, the first movement of Haydn’s String Quartet in G, op. 76 no. 1. The chapter’s historical backdrop also considers the cultural role and implications of the chamber music of the era, drawing from, among other sources, Klorman’s recent study of chamber music characterizing it as an ongoing, mutual conversation “among friends.” The opening of Haydn’s quartet is a particularly apt illustration of that idea, with each of the players joining in, one by one. The bulk of the chapter is given over to a phrase-by-phrase analysis of the movement that emphasizes the ongoing process of musical elaboration and close motivic development that is characteristic of Haydn’s style. Special attention is given to the moment where presumed expectations for a two-part exposition are overridden and one realizes that the exposition will be continuous. Alternative readings of this moment are also considered.

Listening, Touching, Meaning: On Translating Musical Experience, Answering the Call of Art, and Aesthetic Subjectivity in Baudelaire and Proust

2019 ◽  
Vol 100 (4) ◽  
pp. 597-614
Author(s):  
Joseph Acquisto
Keyword(s):  
Nineteenth Century ◽  
Chamber Music ◽  
Literary Studies ◽  
Musical Experience ◽  
Blank Space ◽  
Absolute Music ◽  
Dramatic Music ◽  
The Way

Abstract This essay examines the way Baudelaire and Proust respond to music in terms of trying to account for being ‘touched’ or ‘struck’ by it. I contrast dramatic music, as it figures in Baudelaire’s writing on Wagner, with the newly emergent notion of ‘absolute music’, as it manifests itself in the fictitious chamber music of Vinteuil in Proust’s novel. The essay thereby demonstrates how emptying music of referential meaning allows writers to fill up that blank space with a verbal reply to the call of music, which itself becomes an act of aesthetic creation. Such an approach to listening, which emerged in the nineteenth century, still resonates with contemporary accounts by scholars working between musicology and literary studies, and shapes their account of aesthetic subjectivity.

Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations

1994 ◽  
Vol 44 (2) ◽  
pp. 79-80
Author(s):  
Pamela Ryan ◽  
Heidi Castleman
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Symphony Orchestra ◽  
Associate Professor ◽  
Brooklyn College ◽  
State University ◽  
The North ◽  
The Arts ◽  
North Carolina School ◽  
Cincinnati College

Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed with the Bowling Green String Quartet at Carnegie Hall and in Mexico City. Recently, she has performed on chamber music radio broadcasts in New Orleans and with the Louisiana Philharmonic. She now serves as principal violist of the Tallahassee Symphony Orchestra.

London, Wigmore Hall: Maxwell Davies's new ‘Naxos Quartets’ (and earlier works on CD)

Tempo ◽  
2004 ◽  
Vol 58 (228) ◽  
pp. 68-69
Author(s):  
Paul Conway
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Large Scale ◽  
String Quartets ◽  
Individual Character ◽  
The Individual ◽  
Peter Maxwell Davies ◽  
Original Approach

In a project that will be completed in 2007, Sir Peter Maxwell Davies has been commissioned by the Naxos recording company to write ten string quartets. Large-scale ambitions already realized, the intimacy of chamber music offers an opportunity not only to consolidate but also to probe and quest with the precision of scaled-down forces. It is timely, then, to be reminded that, although it has not been a major preoccupation such as opera, concerto and symphony writing, the quartet form has drawn from him some significant examples evincing an original approach. A recent Metier release usefully gathers together on one disc all Max's works for string quartet prior to the Naxos series. In these persuasive recordings, the members of the Kreutzer Quartet display a keen understanding of the individual character of each piece, the circumstances of its creation and the purpose for which it was intended.

Landscape as Music, Landscape as Truth: Schubert and the Burden of Repetition

2005 ◽  
Vol 29 (1) ◽  
pp. 031-041 ◽  
Author(s):  
Scott Burnham
Keyword(s):  
String Quartet ◽  
Temporal Evolution ◽  
Interior Space ◽  
The Way

Adorno's essay on Schubert opens by invoking a fraught move across the threshold that separates the death of Beethoven from the death of Schubert. He goes on to read Schubert's music through a series of dichotomies whose opposite terms are distinctly Beethovenian: Schubert's themes are self-possessed apparitions of truth rather than inchoate ideas that require temporal evolution; his repetitive, fragmentary forms are inorganic rather than organic, crystalline rather than plantlike. Above all, Adorno develops the idea that Schubert's music offers the repeatable truth of a landscape rather than the processive trajectory of a teleological history. Schubert's themes, like landscapes, are forms of permanence that cannot be fundamentally altered but can only be revisited. With special emphasis on Schubert's G-Major String Quartet, this article inflects Adorno's view of Schubert's landscapes by considering how these "truths" also present themselves as illusory and inward (e.g., how some of Schubert's thematic areas can be heard to project a visionary interior space in the way that they suddenly introduce a markedly different realm or the way that they obliquely inhabit their tonal centers). It is then argued that Schubert's music is thus steeped in an existential consciousness for which subjectivity is the only knowable truth. And this truth bears repeating, in the double sense that it can be repeated and it must be repeated.

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