scholarly journals Aleksandar Obradović: 'Pro libertate concerto for piano and orchestra no. 3'

New Sound ◽  
2013 ◽  
pp. 99-109
Author(s):  
Stefan Cvetković
Keyword(s):  
Piano Concerto ◽  
The Third ◽  
Late Works

The Third Piano Concerto by Aleksandar Obradović, composed in 1999, is one of the authorgs late works. While the poetical concept of the composition reflects the authorgs personal reaction to the events from that period, aesthetically it shows that the coexistence of different compositional and technical patterns is possible, amalgamated within a unique stylistic procedure of the work. According to its compositional and technical procedures, the concerto belongs to the class of neoclassical pieces which, apart from confirming Obradoviügs openness towards various musical solutions, attests to resorting to designs that stem from an extramusical stimulus to creativity.

Topoi in der Musik Béla Bartóks

2013 ◽  
Vol 54 (3) ◽  
pp. 289-299
Author(s):  
Jürgen Hunkemöller
Keyword(s):  
Bird Song ◽  
Musical Analysis ◽  
Piano Concerto ◽  
The Third ◽  
Different Types ◽  
Important Means

The recognition of topoi, i.e. traditional formulae, is an important means of musical analysis. To illustrate this, the paper discusses the types of the battaglia and the pastoral in Bach’s Cantata Halt im Gedächtnis Jesum Christ, and briefly enumerates different types of allusions to jazz in 20th-century compositions by Stravinsky, Milhaud, Blacher, Tippet, and Zimmermann. Then it raises the possibility of an analysis of topoi in Bartók’s music in four main categories. It considers Bartók’s musical quotations from Bach to Shostakovich; the chorale as special topos appearing in Mikrokosmos, in the Concerto for Orchestra, in the Adagio religioso of the Third Piano Concerto; the topos-like employment of the tritone; and finally the idea of a Bartókian Arcadia in the Finale of Music for Strings, and the integration of bird song in the Adagio religioso.

Dreaming of Maturity 1924–1928

Poulenc ◽  
2020 ◽  
pp. 62-84
Author(s):  
Roger Nichols
Keyword(s):  
Piano Concerto ◽  
The Third ◽  
Violin Sonata

This chapter looks at the triumph of Francis Poulenc's Les Biches, in which he took some time to fully absorb it and what it meant for him as a composer. It clarifies the significance of triumphs for composers and how they pose the problem of acting as markers against which anything a composer writes thereafter will be judged. The chapter looks into Poulenc's two new works in the whole of 1924 that was given the title of a piano concerto: Trio for oboe in May and Poèmes de Ronsard in December. It mentions Poulenc's work on the third movement of Napoli and revision of the Impromptus. It also describes the Violin Sonata for Jelly d'Aranyi that ultimately met the familiar fate of most of Poulenc's works for strings.

scholarly journals Collection of the Buddhist sculptures of Mongolia of the National Museum of the Republic of Buryatia

2021 ◽  
pp. 68-77
Author(s):  
С.Б. Бардалеева
Keyword(s):  
Comparative Methods ◽  
Scientific Conference ◽  
National Museum ◽  
Next Generation ◽  
Buddhist Art ◽  
The Third ◽  
The Republic ◽  
First Time ◽  
Late Works ◽  
350Th Anniversary

В статье впервые рассматривается собранная Национальным музеем Республики Бурятия коллекция буддийской скульптуры Монголии, связанной с именем Г. Дзанабадзара (1635–1723), основоположника монгольской школы в буддийском искусстве. В ходе изучения коллекции использовалась визуальная и сравнительная методика, а также знакомство с авторскими работами Мастера в музеях Монголии. В результате были выявлены три группы буддийских скульптур с характерными особенностями этой школы: цельное толстостенное литье, блестящая позолота, комбинированное золочение, особая техника освящения скульптур. Ярким украшением коллекции является авторская работа самого Дзанабадзара — скульптура Будды долголетия Амитаюса. Кроме того, около тридцати скульптур XVIII–XIX вв. представляют его школу. Третья группа скульптур состоит из поздних работ монгольских мастеров в виде реплик и подражаний. О коллекции монгольской скульптуры музея упоминалось в сообщении автора статьи на научной конференции в Монголии, посвященной 370-летию Дзанабадзара. Целью данной статьи является возможность ознакомить читателей с «эталонными» работами Великого Дзанабадзара и его школы, создавших базу для творчества следующих поколений художников. The collection of the Buddhist sculpture of Mongolia, which is related to the founder of the Mongolian school in the Buddhist art G. Zanabazar (1635–1723), is observed for the first time at this article. The process of research of the collection involved visual and comparative methods as well as conversance with the master’s works in museums of Mongolia. As a result, three groups of the Buddhist sculptures with special features of the school were fetched out: one-piece and heavy-walled casting, lucent gilding, special technic of sculpture consecrating. The collection cherry on top is Zanabazar’s own work — a sculpture of Buddha of longevity Amitayus. Furthermore, about thirty sculptures of 18th – 19th centuries represent his school. The third group of the sculptures consists of late works of Mongolian masters by way of replica and imitating. This collection of the Mongolian sculptures of the museum was mentioned by the article author at scientific conference in Mongolia dedicated to the 350th anniversary of Zanabazar’s birth. The article aim is to introduce to the readers the “reference” works of the great Zanabazar and his school, which prepared a basis for creation for the next generation of artists.

scholarly journals Refiguring the Romantic Body: Chinese Women Pianists in the American Conservatory

2017 ◽  
Vol 2 (2) ◽  
Author(s):  
Audrey Vardanega
Keyword(s):  
Los Angeles ◽  
Classical Music ◽  
Chinese Women ◽  
The Body ◽  
Piano Concerto ◽  
Los Angeles Times ◽  
The Third ◽  
Clothing Style ◽  
Normative Expectations ◽  
New Criterion

When the twenty-four-year-old pianist Yuja Wang walked on the stage of the Hollywood Bowl in a tight, short orange dress on August 2, 2011 to play the Third Rachmaninoff Piano Concerto under the direction of conductor Lionel Bringuier, Wang’s attire was interpreted as a transgression of normative expectations for classical performers. The Los Angeles Times reviewer Mark Swed described her dress as “so short and so tight that had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under eighteen not accompanied by an adult…had her heels been any higher, walking, to say nothing of her sensitive pedaling, would have been unfeasible” (Swed 2011). The New Criterion reviewer Jay Nordlinger characterized it as “stripper-wear,” raising the question of how perceptions would change if the “pianist sitting before us were not a [tasteless] brash girl…but an antique, venerable Austro-German Meister” (Nordlinger 2011). Both critics’ comments highlight the significance of the body in classical music performances—where Wang’s clothing style or “stripper-wear” heightens the visibility of her body and draws attention to her sexiness, problematizing critics’ expectations for the comportment of the performing body (Ameer 2011).

scholarly journals The “Ontological Difference” Again. A Dialetheic Perspective on Heidegger’s Mainstay

2018 ◽  
Vol 1 (1) ◽  
pp. 143-154
Author(s):  
Francesco Gandellini
Keyword(s):  
Crucial Role ◽  
Paraconsistent Logic ◽  
Main Argument ◽  
Ontological Difference ◽  
The Third ◽  
Classical Notion ◽  
Late Works ◽  
Logic Of Paradox ◽  
Previous Paragraph

Abstract This paper intends to offer a new assessment of the “Ontological Difference” (OD), one of Martin Heidegger’s mainstays, in the light of the metaphysical view called “dialetheism”. In the first paragraph I briefly summarize the main argument of Heidegger’s contradiction of Being, where OD is present as a premise. In the second paragraph I introduce dialetheism, indicate two kinds of dialetheic solutions to the paradox and explain why they face comeback troubles from OD. The third paragraph is devoted to a review of Heidegger’s uses of OD and underlines the crucial role of negation in it. In the fourth paragraph I investigate the philosopher’s account of negation and show similarities with the account provided by the paraconsistent logic called “Logic of Paradox”. The fifth paragraph puts forward two possible readings of OD, the first based on the classical notion of negation and the second on the notion of negation pointed out in the previous paragraph. The second reading is proved suitable for dialetheists and in accordance with the exegesis of some textual passages from Heidegger’s late works.

Genèse et transcendantalisation du concept d’,horizon‘ chez Husserl

2008 ◽  
Vol 2008 (1) ◽  
pp. 43-70
Author(s):  
Fausto Fraisopi
Keyword(s):  
Point Of View ◽  
Logical Investigation ◽  
Transcendental Subjectivity ◽  
Fundamental Structure ◽  
The Third ◽  
The Subject ◽  
Definition Of ◽  
Late Works

The concept of ,horizon‘ is fundamental for a theory of subjectivity and even more for a theory of transcendental subjectivity. This concept was introduced by Leibniz and discussed by Wolff, Baumgarten, Meier, to the aim of exploring more deeply its function in relation to the subject. Kant adopted this concept as a key-concept for his theory of experience and for his definition of logical forms as such. After Kant, the concept of ,horizon‘ reappeared in Husserl as a necessay correlate of the intentionality from a transcendental point of view. In 1913, when Husserl was working to rewrite the third chapter of the sixth Logical Investigation, he was forced to reintegrate the structures related to intuitive fulfillment with the coupled core/halo concepts, developed in 1908. On the basis of this integration, the concept of horizon emerged as a fundamental structure of perception. The structure of a single perception thus became integrated into a whole system of perception. This function of ,horizon‘ of correlating each intentional act is explicited in his late works, as the Cartesian Meditations and Experience and Judgement: each appearance consists of a whole system of appearances that are empty of content but are also potential manifestations of the same type.

Some Observations on Bartók's Third Piano Concerto

Tempo ◽  
1963 ◽  
pp. 8-10
Author(s):  
Benjamin Suchoff
Keyword(s):  
New York ◽  
Piano Concerto ◽  
New York Philharmonic ◽  
The Third

In the correspondence between Bartók and his publisher, Ralph Hawkes, a letter to the composer, dated 22 August 1940, contains what is apparently the first mention of the Third Piano Concerto:I do not know whether you have developed any ideas for new works during the last few months, quite possibly not, but I would like to remind you of your promise of the orchestral version of the Two Pianos and Percussion work, also to advise you that I shall expect the Third Piano Concerto by the summer of 1941. My reason for saying this is that you will be wanted as soloist with this work for the New York Philharmonic during its Centennial Season 1941–42.

scholarly journals НОME Topos and Associated Motifs in A. P. Chekhov’s Prose of 1890s: Humility, Escape, Departure

2020 ◽  
Vol 19 (9) ◽  
pp. 102-113
Author(s):  
Lyudmila N. Sinyakova
Keyword(s):  
Everyday Life ◽  
Short Story ◽  
Social Role ◽  
Family Reunification ◽  
Human Values ◽  
The Third ◽  
Education Courses ◽  
The Devil ◽  
Late Works ◽  
At Home

Purpose: The article examines the topos of HOME and following motifs A. P. Chekhov’s late prose. Results: The 1st story, A Woman’s Kingdom, portrays a rich young woman who is bored with her eventless everyday life. Being clever and open-hearted, Anna Akimovna searches for human values, such as empathetic communication, loving family, etc. The fictive time is Christmas Eve and Christmas Day, so genre tradition of Christmas narratives involves miracles connected with status changes (marriage, family reunification, poor relative gets award or gift from their rich uncle, an orphan finds their parents, and so on). Ritual temporality suggests some fate changes, and it makes Anna Akimovna dream about her matrimony matters with the worker Pimenov. At last she realizes that Pimenov is below her socially, and social instinct leads her closer to vapid and stupid such as Lysevich or important administrative official Krylin. Dull days she spends at home compel her to leave her dreams for humility. Thus, home-associated motifs in the story are boredom, weariness, and humility. The second narrative, At Home, is based on a return plot. Vera Kardina, who has received her education courses in Moscow, suffers from primitive customs of her home estate. Eventually, she realizes that she is becoming as rude and narrow-minded as the others inhabitants. Therefore, she decides to escape into an unhappy marriage. Corresponding motifs are the same: boredom and weariness, but the main character’s escape reveals the higher degree of disagreement with her current lifestyle. In the third short story, A Doctor’s Visit, the female character’s disease is explained by her inner anxiety related to her social role. Liza Lyalikova is the heir of a huge factory, but she worries that it makes her unhappy and lonely. Doctor Korolev is sure that the best way for Liza’s recovery is to quit the business. When the characters meet next morning, doctor believes that Liza would leave home. Both characters compare the factory with the devil, the absolute evil force, that forms the main motif of the short story. Here, the HOME topos is reconstructed in symbolic way. Conclusion: We conclude that the topos of home in Chekhov’s late works produces destructive emotions. Main characters of narratives don’t feel safe and calm in their homes. Motif dynamics show the development of characters’ positions from humility to deliverance.

Growing Up Against Allegory: The Late Works of J. M. Coetzee

2020 ◽  
Vol 53 (3) ◽  
pp. 419-435
Author(s):  
Benjamin R. Davies
Keyword(s):  
South Africa ◽  
Nobel Laureate ◽  
Don Quixote ◽  
Growing Up ◽  
The Novel ◽  
Reading And Writing ◽  
Classic Work ◽  
Parental Roles ◽  
The Third ◽  
Late Works

Abstract The first two books of J. M. Coetzee's recent trilogy, The Childhood of Jesus (2013) and The Schooldays of Jesus (2016), are extremely strange. Just when “the Australian fiction,” following the works set in South Africa and various international locations, was thought to be the last phase of Coetzee's career, the Nobel laureate changed tack. The Jesus books challenge readers and critics with their sparse tone, lengthy philosophical dialogues, and allegorical obscurity. Their difficulty seems to shed little light on some of the most intriguing questions about Coetzee's writing: namely, its form and its interaction with allegory. Beginning with a reappraisal of a classic work of Coetzee studies, this essay then lays out a theory about the connection between reading and writing allegory within traditions of what constitutes a “novel.” In the second section, examples from Coetzee's earlier fiction are analyzed, with focus on In the Heart of the Country (1977) and Boyhood (1997). Parental roles are found to be vital in the connections between the novel form and allegory. The third section applies these analyses to Childhood and Schooldays. Focus on the books’ references to Plato and Don Quixote helps scrutinize their philosophy and reach the thesis of this essay: that with these books, Coetzee experiments with a form that goes beyond the novel.

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