Choral Voices

Discussion of why choral and instrumental concerts were only lightly regulated by the state provides a springboard for examining the freedom the French provinces enjoyed and the considerable expansion of concert life that was based on individual and collective initiative. Core institutions such as the orphéon, “concerts populaires” and reconstituted cathedral choir schools (maîtrises—some of them state-subsidized) complemented private clubs and chamber ensembles in a bourgeois musical economy that often displayed a varied mix of high and low genres in comparison with Paris. Local administrative machinery aided a “democratizing” shift from private to public (accessibility). Parisian modes of choral and orchestral concert life are introduced as a prelude to discussion in chapters 3 and 4 of the distinctiveness of provincial centers. Discussion touches on provincial attitudes to touring ensembles from Paris and the increasing extent of soft power exerted by the capital.

Johann Gottfried Wilhelm Palschau: Reconstructing the Composer's Biography

В статье на основе широкого ряда источников (мемуары, письма, биографические словари, научные работы и т. д.) реконструируется биография прославленного в свое время композитора и клавириста-виртуоза Иоганна Готфрида Вильгельма Пальшау (1741-1815). Подробно освещаются его концертная жизнь и композиторское творчество, а также контакты в музыкальной среде Санкт-Петербурга конца XVIII - начала XIX века. Впервые приводится список всех изданных при жизни композитора произведений. Basing on numerous sources (memoirs, letters, biographical dictionaries, scientific works, etc.), the article reconstructs the biography of celebrated composer and virtuoso keyboardist Johann Gottfried Wilhelm Palshau (1741-1815). The little-known aspects of his concert life and his activity as a composer, as well as his contacts with other musicians in St. Petersburg of the late 18 and early 19 centuries, are covered in detail. For the first time, a list of all works published during the composer's lifetime is presented.

“Blok’s Symphony” by Vladimir Shcherbachyov: a “partitura incognita”

Весной 2021 года семья ленинградского композитора В. В. Щербачёва опубликовала за свой счет партитуру самого значительного сочинения в его симфоническом наследии — Симфонии № 2 для солистов, хора и оркестра на тексты Александра Блока. Созданное в первой половине 1920-х годов, произведение к настоящему моменту исполнялось лишь дважды: при жизни автора в 1927 году (дирижер В. А. Дранишников) и после его смерти в 1987 году (дирижер В. В. Катаев), в связи с чем предпринимается попытка объяснить этот исторический факт. Отдельное внимание посвящено обстановке премьерного показа и впечатлению, произведенному им на первых слушателей и отразившемуся в периодике тех лет. На основе личных бесед автора рецензии с внучкой композитора Е. О. Кучумовой воссоздаются обстоятельства исполнения симфонии, приуроченного к 100-ле тию со дня рождения композитора. Отмечается кропотливая работа редакторов— сотрудников Санкт-Петербургской консерватории Н. А. Мартынова и А. А. Красавина — по восстановлению нотного текста на основе сохранившейся рукописной копии переписчика и стеклографического издания в библиотеке «Дома музыки на Старо-Петергофском» (в прошлом библиотека Музфонда Ленинградского отделения Союза композиторов). Обосновывается необходимость включения данного монументального симфонического произведения в современную концертную жизнь. In spring 2021 the descendants of the Leningrad composer Vladimir Scherbachyov published for their own money the score of his most significant symphonic opus — Second Symphony for soloists, choir and orchestra with lyrics from Alexander Blok. Composed at the beginning of XX century, it has been performed just twice — during the life of the author at 1927 (conductor Vladimir Dranishnikov) and after his death at 1987 (conductor Vitaliy Kataev), which makes it necessary to explain this historical fact. Special attention is paid to premiere and impression on public, reflected in critical articles. Based on the personal conversation with Vladimir Scherbachyov’s granddaughter Elena Kuchumova circumstances about 100th anniversary of the composer’s birth performance are recreated. Nicolay Martynov and Alexey Krasavin performed rigorous work of on recreation of the score on the basis of a manuscript copy of autograph and steklograph edition held at library of “Musical House on Staro-Peterhofsky” (previously the library of Musical Fond of the Union of Composers of Leningrad). The necessity of including this monumental symphonic piece in the modern concert life is justifed.

Beethoven’s Symphonies in the Musical Life of Nineteenth-Century Laibach

Nineteenth-century concert life in Laibach (Ljubljana), capital of the Habsburg Carniola, was shaped and led by the local Philharmonic Society. Until the establishment of the Musical Society in 1872, it was the only musical institution in Carniola. Even after the establishment of the Musical Society, the Philharmonics remained the principal and representative leader of concert life. In the mid-nineteenth century, the main European centers had their own operatic and concert civil orchestras, however, Laibach did not have a concert symphony orchestra. In order to lead and perform regular symphonic concerts, the Philharmonic Society had to hire musicians from the military chapel, which also collaborated with the Opera and, at the end of the nineteenth century, participated in the concerts of the Music Society. The history of the Philharmonics exhibits not only a rich tradition but also illustrates the program endeavors of the artistic leaders, the musical trends of the time and social circumstances, which sometimes encouraged and at other times hindered its work. The first preserved program notes indicate that at that time (1816) challenging symphonic works were already played and in this regard Beethoven’s role was evident. In 1808 the Society already attempted to elect Beethoven as an honorary member of the society, but this happened only in 1819. A year before the local premiere of his Symphony No. 6, and for this opportunity, the composer sent a manuscript with his own corrections. Until then his Symphonies Nos. 1, 2, 7 and probably 4 were already performed there. The program notes of the Society indicate that Beethoven’s works were played at least (but usually more than) once in a season. In the second half of the nineteenth century, the appeal and the interest in the composer’s creative output grew even stronger, alongside the appreciation of the memory of the composer. It is also significant to note that his chamber works became regularly performed in the chamber concerts of the Philharmonics. Even though from the very beginning the composer’s overtures had a stable and regular place within the repertoire, the first full performance of his Symphony No. 9 took place only in 1902 (the first three movements were already performed a decade earlier).

Vasily Sapelnikov vs Imperial Russian Musical Society (1903): New Materials

В статье рассматривается история конфликта выдающегося пианиста Василия Львовича Сапельникова с руководством Императорского Русского музыкального общества (в лице глав Петербургской и Московской дирекций - Цезаря Антоновича Кюи и Василия Ильича Сафонова) в 1903 году. Инцидент был вызван нарушением договоренности о неучастии Сапельникова в концертах Московского филармонического общества в случае заключения контракта с ИРМО. Посредником в переговорах стало немецкое концертное агентство Вольфа, которое устраивало данный ангажемент. Подробный анализ сложившейся ситуации стал возможен благодаря привлечению новых архивных источников из фондов Российского национального музея музыки - переписки непосредственных участников инцидента, которая впервые вводится в научный оборот. Ее анализ в комплексе с сопутствующими уже опубликованными материалами не только проясняет конкретные обстоятельства дела, но и позволяет воссоздать контекст концертной жизни русских столиц начала XX века - в частности, особенности менеджмента в условиях конкуренции филармонических организаций, институциональное положение артиста, степень юридического оформления его прав и обязанностей. The article deals with the history of the conflict between the outstanding pianist Vasily L. Sapelnikov and the Directorate of the Imperial Russian Musical Society (represented by the Heads of St. Petersburg and Moscow Divisions-Cesar A. Cui and Vasily I. Safonov) in 1903. The incident was caused by Sapelnikov's breach of condition of his non-participation in concerts of Moscow Philharmonic Society in case of signing a contract with Imperial Russian Musical Society. Wolff's Concert Agency, which arranged this engagement, became the mediator in the negotiations. A detailed analysis of the case was made possible by attracting new archival sources from the collections of the Russian National Museum of Music, i. e. the correspondence of participants of the incident, which is being introduced into scientific circulation for the first time. Its study and analysis, together with the accompanying published materials, not only clarify the specific circumstances of the case, but also allow us to reconstruct the context of the concert life of Russian capitals in the early 20 century-in particular, the features of management in the conditions of competing Philharmonic organizations, the institutional position of the artist, the degree of legal registration of his rights and duties.

Performing and Premiering in spite of a Global Crisis: Gerd Kühr’s Corona Meditation and its Usage of Online Platforms

Through the challenges that can arise in connection with a global crisis, in which live performances are prohibited, musicians and music institutions, such as concert houses, have to find solutions in order to give the recipients the opportunity to convey music through a different medium. Gerd Kühr’s Corona Meditation for any number of pianos was especially composed to adjust to the recently changing situation concerning the typical structures of concert life. The concept offers a direct connection between technology – here in the form of using a conference programme and a livestream platform – and music itself, as the composer was aware of difficulties that can arise through using an online medium. By examining the mentioned composition, this paper focuses on the aspect of relocating music to a virtual space, using online platforms as potential temporary alternatives to real-life performances and reflection of the streaming culture in general. Connected to all that matters are problems and difficulties during these types of concerts deriving through the existing technological limits.

Rescuing a Heritage Database: Some Lessons from London Concert Life in the Eighteenth Century

The paper outlines the genesis and subsequent transformation of the database Calendar of London Concerts 1750–1800, now available as a dataset at https://www.doi.org/10.17026/dans-znv-3c2j. Originally developed during the 1980s, the database was used as a primary research tool in the preparation of articles and a 1993 monograph: the first comprehensive study of London’s flourishing public concert life in the later eighteenth century, which culminated in Haydn’s London visits in 1791–5. The database itself, extending to over 4000 records, was derived from an exhaustive study of London newspapers. Following the obsolescence of the relational database in which the material was initially stored, it has recently been transferred to a spreadsheet in csv format, publicly available with free open access. Issues arising out of the standardisation of concert data are explored, especially regarding the layout of complete concert programmes, and the strengths and limitations of the original design are analysed, within the context of the newly available version.

Liedbegleitung und künstlerische Identität. Zur Zusammenarbeit Clara Schumanns mit Julius Stockhausen

Clara Schumann’s impact on the history of piano playing and the development of 19th century concert life can hardly be denied. But understanding her pianistic career in terms of the work of a modern soloist covers the fact that she actually spent a large amount of time on stage not alone but performing together with colleagues. Taking a closer look at Clara Schumann’s collaboration with the baritone Julius Stockhausen, this article provides special insight into this field of her professional life: In addition to uncovering the contexts of collective concert programming and its reception it sheds light on the evolution of the Lied accompanist’s artistic identity in general and Clara Schumann’s specific ideal of communicating through musical performance.

Thomas Adès in Five Essays

The British composer, conductor, and pianist Thomas Adès (b. 1971) has achieved a level of recognition and celebrity within the concert world shared by very few living musicians today, and his compositions enjoy a degree of widespread acclaim that places him among the most widely heard composers working now. His critical and popular successes, at least inside the insulated world of classical music, place him within the absolute mainstream of concert life today. Is he merely pecking over the carcass of a tradition, soon to be subsumed by or abandoned in favor of some other cultural practice? Or does his work suggest possibilities for a concert world waiting to be born? This book, which is the first full-length study of Adès’s work as a whole in English, seeks to answer—or at least articulate the terms of response to—these questions and others. In recognition of the diversity of Adès’s output, this book is structured as a series of essays. These essays are organized thematically. The first two essays considers Adès’s arrangements and serialist compositions, respectively. The third looks at how his opera The Tempest illuminates much of his music’s beguiling contradictions. The fourth considers how Adès has been understood as a “surrealist” composer, and the final chapter considers the cosmic sweep of some of his most recent works.