scholarly journals Կոմիտասից դեպի Բեթհովենյան տիրույթի որոշ տարրեր

2021 ◽  
pp. 41-47
Author(s):  
Տաթևիկ Շախկուլյան
Keyword(s):  
Symphony Orchestra ◽  
Piano Sonata ◽  
String Quintet ◽  
Mixed Choir ◽  
The Subject

Հոդվածը քննարկում է Կոմիտասի կրած գերմանական ազդեցությունների որոշ հարցեր։ Մասնավորապես՝ քննարկվում է գերմանացի կոմպոզիտոր Լ․վ․ Բեթհովենի Op. 57 սոնատի թեմատիկ մոտիվի ակնհայտ նմանակումը Կոմիտասի լարային կվինտետում, որը Բեռլինում ուսանելիս իրականացված աշխատանք է։ Քննարկվում է նաև գերմանացի գրող Վ․ Գյոթեի երկու բանաստեղծությունների երաժշտական մարմնավորման հանգամանքը ինչպես Կոմիտասի, այնպես էլ Բեթհովենի կողմից։ Եթե Կոմիտասը ստեղծել է երկու առանձին երգ դաշնամուրային նվագակցությամբ, ապա Բեթհովենը երկու բանաստեղծությունների հիման վրա ստեղծել է մեկմասանի կանտատ երկսեռ երգչախմբի և սիմֆոնիկ նվագախմբի համար։ The article discusses some issues regarding the German influence on Komitas. In particular, the author focuses on the resemblance of the subject of L. v. Beethoven’s Piano Sonata No. 23, Op. 57 (known as Appassionata) to that of Komitas’s string quintet, which he wrote while studying in Berlin. The article also examines the musical embodiments by both Beethoven and Komitas of the German writer, poet J. W. Goethe’s two verses. Beethoven composed a single-movement cantata for mixed choir and symphony orchestra, while Komitas, basing on the same two verses, created two separate songs with piano accompaniment.

London, Barbican: Dieter Schnebel, David Sawer

Tempo ◽  
2013 ◽  
Vol 67 (265) ◽  
pp. 83-85
Author(s):  
Paul Conway
Keyword(s):  
Symphony Orchestra ◽  
New Work ◽  
Piano Sonata ◽  
Mezzo Soprano ◽  
German Composer ◽  
Symphonic Work

In a substantial concert at the Barbican Centre on 15 February 2013 the BBC Symphony Orchestra, conducted by Ilan Volkov, presented the British debut of Schubert Fantasia (1978, revised 1989) – senior German composer Dieter Schnebel's subtle reconstruction of one of Schubert's most original piano sonata movements – and the first performance of David Sawer's dramatic scena for mezzo-soprano and baritone soloists and orchestra, Flesh and Blood (2012). Both premières lasted around 25 minutes. Sawer's new work made a satisfying contrast with its Schubertian surroundings. But an even more rewarding, and certainly more congruent, companion to the Schnebel might have been Luciano Berio's Rendering for Orchestra (1990), which reworks the fragments of Schubert's unfinished Tenth Symphony in D major, D936a into a three-movement symphonic work that would have complemented Schnebel's postmodern re-imaginings. It would also have made some fascinating associations with the Viennese master's last completed work in symphonic form: the ‘Great’ C major Symphony, which was heard after the interval. Enough speculating on what might have been; what of the fare that was actually on offer?

Peter Maxwell Davies's Symphony No. 10, LSO and chorus, Barbican Centre, London

Tempo ◽  
2014 ◽  
Vol 68 (269) ◽  
pp. 69-70
Author(s):  
William Cole
Keyword(s):  
Symphony Orchestra ◽  
Musical Language ◽  
The Third ◽  
Building Activity ◽  
The Subject ◽  
Peter Maxwell Davies

Sir Peter Maxwell Davies' Tenth Symphony was given its premiere by the London Symphony Orchestra and Chorus at the Barbican on 2 February 2014. The work concerns itself with both the architecture and the death of Francesco Borromini; while perhaps an unusual subject for a symphony, there is precedence in Maxwell Davies's work, as the same man is the subject of his Third Naxos Quartet, and the Third Symphony takes Brunelleschi as its subject. Maxwell Davies has suggested direct links between Borromini's creations and his own – in the programme note we discover that ‘the precise parameters and proportions by which a huge basilica of Borromini's was constructed’ control portions of the work – and indeed the architect's presence pervades the symphony. As well as guiding Maxwell Davies's constructive parameters in the instrumental movements, Borromini is the subject of the chorus' music throughout and almost becomes a character in an operatic scena in the final passage, as he plays out his own suicide to the backdrop of the chorus intoning the names of his most celebrated work. Yet this new symphony rarely betrays its rigorous origins, and aside from passages for percussion mimetic of building activity (hammers, vibraphone, anvils and so on) many aspects in fact suggest a softer, smoother musical language.

Music by women composers

Tempo ◽  
2005 ◽  
Vol 59 (234) ◽  
pp. 66-72
Author(s):  
Guy Rickards
Keyword(s):  
New York ◽  
San Francisco ◽  
Women Composers ◽  
New World ◽  
Electronic Computer ◽  
Contemporary Music ◽  
New Music ◽  
Piano Sonata ◽  
Violin Sonata ◽  
Mixed Choir

HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.

Violin Forum: Intonation and Speed

1986 ◽  
Vol 36 (4) ◽  
pp. 70-71
Author(s):  
Theodor H. Podnos
Keyword(s):  
New York ◽  
Formal Education ◽  
Symphony Orchestra ◽  
Columbia University ◽  
New York Philharmonic ◽  
Boston University ◽  
Boston Symphony Orchestra ◽  
Long Time ◽  
The Subject

Theodor Podnos has authored four articles and two books on the subject of intonation. He has twenty-five compositions to his credit and has lectured in Ireland and at Columbia University. Mr. Podnos received his formal education at Peabody and Curtis Institutes, Boston University, and with Richard Burgin, long-time concertmaster of the Boston Symphony Orchestra. He has played as concertmaster under Serge Koussevitzky at Tanglewood and Paul Whiteman in New York. In 1984 he retired as a member of the first violin section of the New York Philharmonic, with which he was associated for nineteen years.

scholarly journals Guerra-Peixe’s Symphony No. 2 Brasília (Part 1)

Per Musi ◽  
2018 ◽  
Author(s):  
Marcelo Ramos de Souza
Keyword(s):  
Symphony Orchestra ◽  
Performance Edition ◽  
Radio Station ◽  
Ministry Of Education ◽  
Brazilian Music ◽  
The Us ◽  
Mixed Choir ◽  
A Performance

This article investigates the historical circunstances that led to the composition of Symphony No. 2 Brasília, by César Guerra-Peixe, written for symphony orchestra, mixed choir and an optional narrator. The piece was originally composed for a competition organized by the Radio Station of Ministry of Education in 1960 to celebrate the inauguration of the new Brazilian capitol, originating substantial controversy, hence the first prize was not awarded and a tie was registered between three candidates in second place: Guerra-Peixe, Guerra-Vicente, and Claudio Santoro – all of them became renowned composers of Brazilian music. The Symphony Brasília by Guerra-Peixe was subject of my doctoral project in three principal fronts: production of a performance edition of the full score and parts; performance of the work in the US and Brazil, aiming to correct eventual mistakes and spread the music; and a production of historical and analytical texts.

scholarly journals Schubert’s Large-Scale Sentences

2021 ◽  
Vol 27 (3) ◽  
Author(s):  
Caitlin G. Martinkus
Keyword(s):  
Nineteenth Century ◽  
String Quartet ◽  
Large Scale ◽  
Franz Schubert ◽  
Common Type ◽  
Piano Sonata ◽  
Surface Level ◽  
String Quintet ◽  
Large Structures ◽  
Formal Expansion

In this article, I share findings from analysis of first-movement sonata forms composed by Franz Schubert from 1810 to 1828. This work builds on prior studies of nineteenth-century sentences (e.g., ".fn_cite($baileyshea_2002).", ".fn_cite($bivens_2018).", ".fn_cite($broman_2007).", ".fn_cite($vandemoortele_2011).", and ".fn_cite($krebs_2013)."), offering an in-depth investigation of Schubert’s use of expanded sentence forms. I theorize the typical qualities of Schubert’s large-scale sentences and highlight a particularly common type, in which the large-scale continuation phrase begins as a third statement of the large-scale basic idea (i.e., a dissolving third statement). I present four examples of this formal type as representative, drawn from the C Major Symphony (D. 944/i), the C Minor Piano Sonata (D. 958/i), the C Major String Quintet (D. 956/i), and the D Minor String Quartet (D. 810/i). My analytical examples invite the reader to contemplate the negotiation of surface-level paratactic repetitions with deeper hypotactic structures. These large structures invite new modes of listening; exemplify the nineteenth-century shift away from the relative brevity of Classical precursors in favor of expanded forms; and problematize facile distinctions between inter- and intrathematic functions. This formal type would eventually flourish over the course of the nineteenth century, underpinning many composers’ strategies for formal expansion.

Middle Years

Samuel Barber ◽  
2020 ◽  
pp. 282-343
Author(s):  
Barbara B. Heyman
Keyword(s):  
New York ◽  
Symphony Orchestra ◽  
Prose Poem ◽  
Piano Sonata ◽  
James Agee ◽  
American Composers ◽  
Boston Symphony Orchestra ◽  
Cello Concerto ◽  
Impending Death ◽  
Annual Award

After his discharge from the Army, Barber continued work with the Office of War Information but was able to work at home. He received a commission from John Nicholas Brown for a Cello Concerto for the Boston Symphony Orchestra, conducted by Serge Koussevitzky. Written to include the strengths and predilections of cellist Raya Garbousova, the concerto is considered one of the most challenging contemporary works of the genre and won Barber the Fifth Annual Award of the Music Critics Circle of New York. Reputedly one of the most promising American composers of his time, Barber also composed music for Martha Graham’s ballet about Medea, Cave of the Heart. In 1947, under the shadow of his father’s deteriorating health and Louise Homer’s impending death, Barber composed his most “American work,” Knoxville: Summer of 1915, for voice and orchestra. It is set to a nostalgic prose-poem by James Agee and was premiered by the Boston Symphony with Eleanor Steber as soloist. Following this, Barber composed a piano sonata for Vladimir Horowitz, a work that had the most stunning impact on the American musical world.

scholarly journals The Symphony Orchestra and Choir of the Faculty of Music in Belgrade

New Sound ◽  
2017 ◽  
pp. 52-68
Author(s):  
Sonja Marinković
Keyword(s):  
Symphony Orchestra ◽  
Active Part ◽  
Music Scene ◽  
Mixed Choir ◽  
Artistic Work ◽  
The City

The article sheds light on the work of the Mixed Choir and Symphony Orchestra of the Faculty of Music in Belgrade, two representative ensembles that have made, over a number of decades, an invaluable contribution to the Faculty's standing in the city, nationally, as well as abroad, always taking an active part on the music scene. The aim is to show that their activities have combined pedagogical and artistic work and that they are, in an essential way, an indicator of the institution's achievements.

Prevention of Performance-Related Musculoskeletal Disorders

2014 ◽  
Vol 29 (4) ◽  
pp. 179-180 ◽  
Author(s):  
Ralph A Manchester
Keyword(s):  
Musculoskeletal Disorders ◽  
Controlled Trial ◽  
Symphony Orchestra ◽  
Exercise Program ◽  
Young Investigator ◽  
Medical Problems ◽  
Performing Artists ◽  
Young Investigator Award ◽  
The Subject

The article by Cliffton Chan et al. in this issue of Medical Problems of Performing Artists is the written version of his presentation at the PAMA Symposium that won the 2014 Alice G. Brandfonbrener Young Investigator Award. In it, Chan and his colleagues describe a controlled trial of an exercise program for professional symphony orchestra musicians. One of my first editorials was on the subject of prevention of musicians' injuries, and a lot of work has been done on this subject in the 8 years since. In this editorial I will attempt to summarize some of the work that has been done since 2006 and suggest how we might build on the momentum that has been created by Dr. Chan and other researchers.

Words

PMLA ◽  
1935 ◽  
Vol 50 (4) ◽  
pp. 1320-1327
Author(s):  
Colbert Searles
Keyword(s):  
Subject Matter ◽  
Assistant Professor ◽  
The Subject

THE germ of that which follows came into being many years ago in the days of my youth as a university instructor and assistant professor. It was generated by the then quite outspoken attitude of colleagues in the “exact sciences”; the sciences of which the subject-matter can be exactly weighed and measured and the force of its movements mathematically demonstrated. They assured us that the study of languages and literature had little or nothing scientific about it because: “It had no domain of concrete fact in which to work.” Ergo, the scientific spirit was theirs by a stroke of “efficacious grace” as it were. Ours was at best only a kind of “sufficient grace,” pleasant and even necessary to have, but which could, by no means ensure a reception among the elected.

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