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1
Salfen, Kevin. "Britten the Anthologist." 19th-Century Music 38, no. 1 (2014): 79–112. http://dx.doi.org/10.1525/ncm.2014.38.1.079.
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Abstract Benjamin Britten was one of several twentieth-century British composers active before the Second World War who wrote “anthology cycles”—that is, cyclic vocal works on poetry anthologies of the composer's own making. This apparently British invention is deeply indebted to the widespread success of the anthology as a literary form in classrooms, homes, and marketplaces of Victorian and Edwardian England. Britten's early attraction to canonical anthologies such as Arthur Quiller-Couch's Oxford Book of English Verse (1900), for example, is representative of a cultural practice of reading. Britten and other British composers renewed their connection to that practice when they became anthologists for their musical works, identifying themselves as arbiters of poetic and musical taste. Britten's anthology cycle Serenade for tenor, horn, and strings (1943) uses Quiller-Couch's Oxford Book for as many as four of its six texts, many of which share pastoral themes. And yet the composer's musical settings often seem to challenge a conventional reading of the chosen texts and the generic titles Britten assigned to each movement. By creating a canonical, pastoral anthology and then challenging it through music, Britten, who had just returned to England from the United States, invested Serenade with the potential to present the world of prewar England as embattled.
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Bryan, John. "Extended Play: Reflections of Heinrich Isaac's Music in Early Tudor England." Journal of Musicology 28, no. 1 (January 1, 2011): 118–41. http://dx.doi.org/10.1525/jm.2011.28.1.118.
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The so-called Henry VIII's Book (London, British Library Add. MS 31922) contains two textless pieces by Isaac—his three-part Benedictus and the four-part La my—together with a number of other Franco-Flemish “songs without words” typical of the contents of manuscripts copied for the North Italian courts where the earliest viol consorts were being developed in the 1490s and early 1500s. Alongside these pieces are works by native English composers, including William Cornyshe, whose extended three-part Fa la sol has a number of stylistic traits in common with some works by Isaac (for example, his three-part Der Hundt) and Alexander Agricola (his three-part Cecus non judicat de coloribus) that were also transmitted in textless format. The fact that these latter two pieces were published in Hieronymus Formschneider's Trium vocum carmina (Nuremberg, 1538) while Cornyshe's Fa la sol was published in XX Songes (London, 1530) shows that this type of repertoire was still prized several years after the composers' deaths. Analysis of musical connections between the work of Isaac and Cornyshe, as evident in pieces such as those from Henry VIII's Book—in particular, techniques employed by the composers to extend the structures of their “songs without words”—sheds fresh light on the reception in England of Isaac's music and that of his continental contemporary Agricola. Relevant considerations include the context in which these pieces were anthologized together and the introduction into England of viols similar to those Isaac may have known in Ferrara in 1502, when La my was composed. Such pieces are representative of a typical courtly repertoire that developed into the riches of the later Tudor instrumental consort music.
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Griffiths, Austin. "Playing the white man’s tune: inclusion in elite classical music education." British Journal of Music Education 37, no. 1 (November 26, 2019): 55–70. http://dx.doi.org/10.1017/s0265051719000391.
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AbstractThis study examined the nature of inclusion for female and black and minority ethnic (BME) young people in elite-level classical music in England. By contrasting the numbers of female and BME students taking part in elite youth orchestras and music schools with the representation of female and BME compositions in the professional classical music repertoire, the study asked whether female and BME inclusion was limited to participation as performers or whether it included adequate representation in terms of the music performed. The survey analysed 4897 pieces from 681 composers drawn from the 2017/18 concert seasons of 10 major English orchestras, 1 week’s play lists from two classical music radio broadcasters and the programmes from the last four London Promenade seasons. The study found that female and BME students were well represented in elite music education, but they were very poorly represented in the professional repertoire, where 99% of performed pieces were by white composers and 98% by male composers. Applying Bourdieu’s concepts of doxa and illusio, the study concluded that inclusion in classical music in England allowed female and BME musicians to play, but structures in the field maintained a repertoire that continues to be white and male and does not recognise the contributions of female and BME composers. This suggests that inclusion for female and BME musicians is limited and the field continues to promote white and male dominance in its cultural values.
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Logan, Jeremy. "Synesthesia and feminism: A case study on Amy Beach (1867-1944)." New Sound, no. 46 (2015): 130–40. http://dx.doi.org/10.5937/newso1546130l.
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As one of the most notable American woman composers of the early 20th Century, Amy Beach had to struggle with her social role as a woman born into the middle class of New England, USA. Before marrying into the upper class, she was already established as a concert pianist. Her husband pressured her not to perform in public, which affected her emotionally and compositionally. This paper will re-evaluate the work of Amy Beach within the context of her struggles as a woman composer and more specifically focus on her synesthesia and how it influenced her choice of keys and modes within her music. The colors of her keys will be compared to affects according to color psychology, as well as affects of key signatures.
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Sysolyatina, Sofiya V. "“Jephthah’s Daughter” by Amy Beach: the Biblical World in the Words of a Woman." ICONI, no. 2 (2019): 59–67. http://dx.doi.org/10.33779/2658-4824.2019.2.059-067.
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The article examines from the positions of musical content by means of analysis of the musical and poetical the composition “Jephthah’s Daughter” by Amy Beach, an American composer of the late 19th and early 20th century, a member of the “Boston six” — a group of American composers of the turn of the century, also known as the New England School, among which Amy Beach was the only woman. “Jephthahʼs Daughter” is a concert aria for voice and orchestra, which is interesting in the context of the composer’s musical legacy, as well as an exemplary composition of its era. The aria is devoted to the Biblical subject matter or, more precisely, the well-known Old Testament plot of the sacrifi ce of the daughter of the Israelite judge Jephthah. Besides the analysis of the musical fabric, the article examines the author’s approach to the subject of the principle of the choice of the material and the work with the textual sources — the Biblical story and the French poem, which comprised the basis of the aria’s text. As a result, the conclusion is arrived at about the composer’s artistic intentions and about the conceptual component of the work. The article contains information about Amy Beach’s biography, her artistic approach, her attitude to religious subject matter and social problems of the society contemporary to her, in particular, the issues of equal rights for women.
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Owens, Peter. "The Contemporary Composer in the Classroom." British Journal of Music Education 3, no. 3 (November 1986): 341–52. http://dx.doi.org/10.1017/s0265051700000826.
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This article is a revised version of a talk given by the author before an international symposium on music education in Hortos, Greece, in 1985. It considers the current state of modern music, suggesting that there have been some important changes in direction since the avant-garde styles of the 1950s and 1960s; and it reflects on some of the implications of these changes for secondary-school music teaching.Some proposals are made for factors likely to facilitate the success of contemporary music which children hear or perform. In the original talk these points were illustrated with recorded examples, indicated here by numbers in the text. The role of children as contemporary composers themselves is also discussed in terms of the method and motivation by which creative work may be encouraged.The educational writers on whom the author bases much of his argument are clearly acknowledged throughout the text. Otherwise, opinions derive from experience of teaching and writing music for children in England and in France.
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Schönlau, Stephan. "Farinel’s Ground and other ‘Follyes’ in English sources of the late 17th and early 18th centuries." Early Music 49, no. 1 (February 1, 2021): 67–86. http://dx.doi.org/10.1093/em/caab003.
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Abstract This article is the result of a comprehensive study of folia grounds—usually known as Farinel’s Ground in England—published, copied in or otherwise connected with England, a list of which is provided. A discussion of general characteristics as well as of typical melodic, harmonic and rhythmic features of folia grounds from this period is followed by a comparative analysis of all English folias. These form relatively distinct groups of sources that often share strains, suggesting patterns of transmission particular to division grounds. Lastly, the order of strains in a number of versions is discussed in conjunction with principles outlined in Christopher Simpson’s The Division-Violist (London, 1659) and Thomas Mace’s Musick’s Monument (London, 1676), shedding light on what theorists and composers at the time thought about large-scale structure in division grounds, and in ground-bass compositions in general.
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Docherty, Barbara. "English Song and the German Lied 1904–34." Tempo, no. 161-162 (September 1987): 75–83. http://dx.doi.org/10.1017/s0040298200023366.
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If it is Indeed the case that there is a landscape of the soul which song inhabits, few would dissent from the view that in England in 1900 it was a dead land. The ‘aesthetic tension’ between poetry and music which had stimulated Schubert, Schumann, and Wolf seemed entirely absent, and there was no English Eichendorff or Mörike. Stephen Banfield has asserted that English composers at this time aspired only to produce a ‘frictionless entity’ by providing a ‘pianistic’ accompaniment to Rupert Brooke's or Mathew Arnold's words.
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Robin, William. "Traveling with “Ancient Music”." Journal of Musicology 32, no. 2 (2015): 246–78. http://dx.doi.org/10.1525/jm.2015.32.2.246.
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In reforming psalmody in early nineteenth-century New England, participants in the so-called “Ancient Music” movement imported the solemnly refined hymn tunes and scientific rhetoric of Europe. This transatlantic exchange was in part the result of European travels by a generation of young members of the American socioeconomic and intellectual elite, such as Joseph Stevens Buckminster and John Pickering, whom scholars have not previously associated with hymnody reform. This study asserts that non-composers, particularly clergy and academics, played a crucial role in the “Ancient Music” movement, and offers a fuller picture of a little-examined but critical period in the history of American psalmody. Tracing the transatlantic voyages of figures like Buckminster and Pickering reveals that the actions and perspectives of active participants in the Atlantic world shaped “Ancient Music” reform and that hymnody reform was part of a broader project of cultural and intellectual uplift in New England.
10
Heminger, Anne. "MUSIC THEORY AT WORK: THE ETON CHOIRBOOK, RHYTHMIC PROPORTIONS AND MUSICAL NETWORKS IN SIXTEENTH-CENTURY ENGLAND." Early Music History 37 (October 2018): 141–82. http://dx.doi.org/10.1017/s0261127918000074.
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Whilst scholars often rely on a close reading of the score to understand English musical style at the turn of the fifteenth century, a study of the compositional techniques composers were taught provides complementary evidence of how and why specific stylistic traits came to dominate this repertory. This essay examines the relationship between practical and theoretical sources in late medieval England, demonstrating a link between the writings of two Oxford-educated musicians, John Tucke and John Dygon, and the polyphonic repertory of the Eton Choirbook (Eton College Library, MS 178), compiled c. 1500–4. Select case studies from this manuscript suggest that compositional and notational solutions adopted at the turn of the fifteenth century, having to do particularly with metrical proportions, echo music-theoretical concepts elucidated by Tucke and Dygon. These findings impinge upon the current debate concerning the presence of a network between educational institutions in the south-east of England during this period.
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Mace, Nancy A. "Charles Rennett and the London Music-Sellers in the 1780s: Testing the Ownership of Reversionary Copyrights." Journal of the Royal Musical Association 129, no. 1 (2004): 1–23. http://dx.doi.org/10.1093/jrma/fkh001.
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As printed music became a valuable market commodity in late eighteenth-century England, it became a significant part of debates over the interpretation of the first copyright law (1710). In particular, compositions by Charles Dibdin and John Garth became the focus of several lawsuits filed by the attorney Charles Rennett challenging the traditional interpretation of the clause that granted composers a second 14 years of protection after the first had expired. These suits detail the status of music as intellectual property and offer new information about the businesses of major music-sellers like Longman & Broderip, the Thompsons and John Welcker.
12
Herissone, Rebecca. "Playford, Purcell, and the Functions of Music Publishing in Restoration England." Journal of the American Musicological Society 63, no. 2 (2010): 243–90. http://dx.doi.org/10.1525/jams.2010.63.2.243.
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Abstract During Purcell's lifetime the music-publishing business in England flourished, thanks mainly to John Playford. Since intellectual property rights did not yet exist, Playford and his successors were able to select music they were confident of selling, predominantly producing multicomposer anthologies of popular tunes. Composers may have benefited little from these publications so it is significant that some took the financial risk of printing their music without an established publisher's support. Analysis suggests that musical self-publication was undertaken for several quite specific purposes. Three self-published books stand out as the only operatic scores published in seventeenth-century England: Locke's The English Opera (1675), Grabu's Albion and Albanius (1687), and Purcell's The Vocal and Instrumental Musick of the Prophetess (1691). These substantial volumes had no obvious practical use and all sold poorly; put into political context, however, they reveal how printed music in England was developing from a purely practical performance tool into a medium through which statements could be made and musical works given monumental status. Yet Purcell's own management of the printing of The Vocal and Instrumental Musick of the Prophetess suggests that he was confused about the distinct and mutually exclusive functions of music printing in the period, which led him to misunderstand the nature of the market and how he might appropriate the medium for his own benefit.
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Long, Megan Kaes. "What Do Signatures Signify?" Journal of Music Theory 64, no. 2 (October 1, 2020): 147–201. http://dx.doi.org/10.1215/00222909-8550771.
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At the beginning of the seventeenth century English composers used only a handful of keys: they combined five keynotes (G, A, C, D, and F) with the three signatures documented in English solmization theory (♮,♭, and♭♭). By the end of the century English theorists described eighteen keys—all of the modern major and minor keys with up to four signature accidentals. But the route from eight to eighteen keys was not straightforward. This article traces this route by examining how the function of signature flats and sharps changed in seventeenth-century England. At the beginning of the century signature flats and sharps were clefs, mere notational symbols that provided a shorthand for the probable pitches in a composition. As a result, English musicians used adjacent keys (i.e., ♮-D and -D), which were distinct, well-formed versions of a broader category of D minor. In the middle of the century, composers and theorists used ad hoc and asymmetrical strategies ♭ to create new keys. Composers explored new flat keys through the process of signature creep, while theorists devised new sharp keys when they identified the parallel key relationship. Finally, theoretical interventions at the end of the century “fixed” keys into our modern system but obscured the varied pitch structure that still animated musical practice. The messy, flexible circumstances in which keys arose complicate several assumptions about modern key; this evidence challenges notions of transpositional equivalence and reveals that different kinds of keys may be built on different conceptual foundations.
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Bowers, Roger. "The Vocal Scoring, Choral Balance and Performing Pitch of Latin Church Polyphony in England, c.1500-58." Journal of the Royal Musical Association 112, no. 1 (1987): 38–76. http://dx.doi.org/10.1093/jrma/112.1.38.
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Embedded into the approaches to their crafts adopted inescapably by the composers and performance directors of church polyphony in England during the century or so before the Reformation were a number of constraints imposed by extraneous factors over which they had no control, but which effected a decisive influence over both the resulting form and the sound of the music which they produced in their respective capacities. Looming large among these was the nature of the performing medium. Over most aspects of this neither composer nor director exercised any influence at all; in terms of, for instance, the simple number of executants, they were obliged to produce music for and from the medium which their ecclesiastical superiors saw fit to provide, and the principal priority of the latter was the realization not of occasional polyphony for the liturgy, but of its standard plainsong and ceremonial as laid down by the authorized service books. Within these predetermined numbers of priests, clerks and choristers, however, the principal musicians presumably enjoyed some scope for nominating the constituent numbers of executants of the various timbres of voice necessary for mounting a performance of polyphony. The decisions taken by the musicians themselves in an area such as this that lay probably within their discretion have much to reveal about the nature of the choral balance and of the vocal scoring that they envisaged as appropriate for their music, and also – by inference from the latter – its sounding pitch.
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Herissone, Rebecca. "“Exactly engrav’d by Tho." Journal of Musicology 37, no. 3 (2020): 305–48. http://dx.doi.org/10.1525/jm.2020.37.3.305.
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Thomas Cross Jr. was the first music printer to capitalize on the growth of public musical performances in late seventeenth-century England by producing cheap, single-sheet editions of the newest and most popular songs, especially those from the latest theater productions, for audience members and others in fashionable society to buy. As England’s first specialist music engraver, he was able to produce his simple prints of individual songs unusually quickly and to sell them at a fraction of the price of the larger movable-type anthologies that remained the mainstay of established London music stationers in this period. In the absence of intellectual property laws, Cross was free to print any music he could acquire, and he soon came to be seen as a threat by composers and music stationers alike. He clearly did not enjoy good relationships with contemporary composers, and we can safely assume that they did not supply him with his source materials. Given that his prints were nearly always the first published editions of the theater songs to appear in print, how did he obtain his musical texts? This article examines the hypothesis that Cross’s engravings may have derived directly from the stage performances of the singers he names in the titles of his editions, and that they may reflect the singers’ interpretations of the music “exactly engrav’d,” as Cross claimed. Comparison of the variants in Cross’s editions with readings preserved in sources that have known connections to contemporary performance demonstrates that his prints—despite their not undeserved reputation for inaccuracy—probably preserve contemporary performing practices more closely than has hitherto been acknowledged. Their significance as sources thus needs to be reevaluated, which raises broader questions about the criteria that scholars use when making judgments about the relative authority of sources from this period.
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Rzaieva, Mekhpara. "Symphonic Creative Activity of Rufat Ramazanov." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (June 4, 2021): 101–15. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233342.
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The article analyzes several works related to the symphonic work of Rufat Ramazanov, a middle-aged representative of the modern Azerbaijani school of composition. The article also examines Ramazanov’s symphonic works against the background of the development of Azerbaijani music culture and examines his symphonic works in terms of genre diversity. Also, the article considers the characteristics of music and harmonic language in the symphonic works of the composer, the methods of using orchestration. The article emphasizes the unique stylistic features of Rufat Ramazanov’s symphonic works, their connection with folk art, and his tendency to modernize within the traditions. The purpose of the research is to analyze certain symphonic works of Rufat Ramazanov and to study the individual stylistic features of the composer. The main touches are the emergence of the characteristic features of the composer’s symphonic work and the discovery of its connection with modern Azerbaijani music culture. The basis of the research is the involvement in detailed scientific research of several valuable symphonic works of R. Ramazanov, a worthy representative of the modern generation of Azerbaijani composers, which have not been subjected to scientific and theoretical analysis. From this point of view, the research is based on the method of complex theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that the composer’s work has undergone stylistic changes in the process of development, and modern technical methods have uniquely manifested themselves. At the same time, based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists, the article forms the methodological basis. The scientific novelty of the research is that for the first time as special research work, the article is devoted to the symphonic work of R. Ramazanov, a representative of the modern school of the composition of Azerbaijan, and the study of general creative features associated with it. The presented article for the first time scientifically analyzes the symphonic works of R. Ramazanov, which are important in his work but have not been studied so far. Conclusions. A comprehensive analysis of Ramazanov’s symphonic works in the presented article allows one to draw important conclusions about the features of the composer’s creative style. It was noted that the richness and deep content of the musical language of the bright and individual symphonic works created by Ramazanov, one of the modern Azerbaijani composers distinguished by his original creative style, in various years of his creative life are important in our national music art. It was noted that the composer’s insistence and seriousness towards himself are also felt like his works. From this point of view, Ramazanov’s symphonic music and modern writing techniques with rich images were chosen from his contemporaries and recognized in our music society and were welcomed not only in his homeland but also far beyond its borders. It should be noted that several of Ramazanov’s works have been successfully performed not only in his native Azerbaijan but also in Turkey, England, Norway, Israel, Canada, Georgia, and other countries. Ramazanov is currently experiencing a period of growth in his creativity, enriching our professional music art by creating new modern works.
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Clare, David. "Cosmopolitan versus Parochial Irishness in Bernard Shaw's Music Journalism (1877–1894)." Shaw 41, no. 2 (November 1, 2021): 385–99. http://dx.doi.org/10.5325/shaw.41.2.0385.
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ABSTRACT From the very start of his career in England, Bernard Shaw positioned himself as an Irish commentator with an incisive, outsider's view of the English. Shaw's internationalist Socialism made him wary of excessive patriotism; and in his dramas he casts a cold eye on fervent patriotism. But Shaw was also known to routinely boast about his “wild and inextinguishable pride” in being “an Irishman” and to repeatedly praise Irish “brains.” This seeming contradiction regarding partiality to one's native land raises a very pertinent question: What mode of living was Shaw recommending to his fellow Irish in England? The music reviews that Shaw wrote between 1876 and 1894 reveal his nuanced thinking in this area. In these pieces, Shaw's reflections on English-based Irish singers and composers show that he was consistent in advocating that Irish emigrants embrace cosmopolitan Irishness (being proudly Irish while also remaining mindful of non-Irish ideas and perspectives) over parochial Irishness (stubbornly adhering to Irish norms in defiance of international best practice and exaggerating Irish greatness and “exceptionalism”). This fits with Shaw's general perspective on how Irish people—both within and beyond Irish shores—should approach their “‘lived’ Irishness.”
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Fleming, Simon D. I. "Avison and his Subscribers: Musical Networking in Eighteenth-Century Britain." Royal Musical Association Research Chronicle 49 (2018): 21–49. http://dx.doi.org/10.1080/14723808.2017.1363210.
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One of the most important and valuable resources available to researchers of eighteenth-century social history are the lists of subscribers that were attached to a wide variety of publications. Yet, the study of this type of source material remains one of the areas most neglected by academics. These lists shed considerable light on the connections that an author or composer had with other like-minded individuals and the support that they received from members of the middle and upper classes. In cases where a single composer published a series of works by subscription, there is an opportunity to gain an insight into the growth of the public's appreciation of the composer and the contacts he or she forged over the course of a lifetime. Charles Avison is one of the best known British composers from the eighteenth century. He issued six works by subscription between 1740 and 1767 and they together provide a unique insight into his growth into one of this country's leading native musicians. Although a respectable number of the associations discussed are already known through other sources, this study not only reinforces the importance of these associations, but additionally gives an insight into those links for which there is no other known evidence. This research ultimately reveals that Avison's location in the North-East of England did not significantly impact on his ability to forge connections across Britain and beyond.
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Теплова, А. С. "Who are You, John Dunstable? Identifying the Famous Musician." Музыкальная академия, no. 1(785) (March 25, 2024): 92–103. http://dx.doi.org/10.34690/366.
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Английский мастер раннего Возрождения, чей авторитет в среде музыкантов был засвидетельствован Тинкторисом, является одним из «малодокументированных» композиторов. Долгое время были известны всего две даты из жизни Джона Данстейбла: время исполнения двух его мотетов (1416), зафиксированное в хронике «Gesta Henrici Quinti», и год смерти композитора (1453), выгравированный на надгробии. Лиза Колтон расследовала обстоятельства, связанные с судьбой эпитафии, и обнаружила «еще одного» Джона Данстейбла — богатого человека, носившего титул эсквайра, владевшего недвижимостью в разных частях Англии и за ее пределами, имевшего влиятельных друзей и покровителей. Факты реконструированной биографии Джона Данстейбла, эсквайра из Стипл Мордена, не противоречат известным ранее сведениям о Данстейбле-музыканте, за исключением даты смерти. Колтон аргументированно оспаривает общепринятое время упокоения композитора, что позволяет отождествить «двух Данстейблов». Автор статьи идет по следу почти детективной истории, рассказанной Колтон, дополняя ее иллюстрациями и размышлениями о наследии композитора. The English master of the early Renaissance, whose authority among musicians was attested by Tinctoris, is one of the “poorly documented” composers. For a long time, only two dates from the life of John Dunstable were known: the time of the performance of two of his motets (1416), recorded in the chronicle “Gesta Henrici Quinti”, and the year of the composer’s death (1453), engraved on the tombstone. Lisa Colton investigated the circumstances surrounding the fate of the epitaph and found “another” John Dunstable—a rich man who bore the title of Esquire, owned real estate in different parts of England and abroad, and had influential friends and patrons. The facts of the reconstructed biography of John Dunstable, Esquire of Steeple Morden, do not contradict the previously known information about Dunstable the musician, except for the date of death. Colton argumentatively disputes the generally accepted time of the composer's repose, which makes it possible to identify the “two Dunstables.” The article’s author follows the trail of an almost detective story told by Colton, complementing it with illustrations and reflections on the composer’s legacy.
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KRAMER, LAWRENCE. "Music and the Politics of Memory: Charles Ives's A Symphony: New England Holidays." Journal of the Society for American Music 2, no. 4 (October 23, 2008): 459–75. http://dx.doi.org/10.1017/s1752196308080139.
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AbstractScholarship on Charles Ives has too often been reluctant to sort out what is problematical in his musical image of America. This article attempts to do so as part of an examination of Ives's A Symphony: New England Holidays, a cycle of tone poems depicting the major patriotic holidays celebrated during Ives's boyhood. The work is both a memorial to national unity, which Ives felt had collapsed in the twentieth century, and a protest against the political culture responsible. The musical means to these ends raise the question of the relationship between politics and musical form, and, with form, of musical analysis, in a particularly transparent way. Like many European composers of the era, Ives wanted to create a national style. But he did not want a style that could be reduced to formulas and circulated as a commodity. The old America he celebrated, as opposed to the new one he resisted, could be identified (or fantasized) as a culture that above all could not be commodified. The Holidays Symphony seeks to create what one might call a critical nostalgia. Its music demands to be understood as a “picture” of authentic American experience by refusing to be understandable as music on the only terms available in its day.
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GROVES, STEPHEN. "The Sound of the English Picturesque in the Age of the Landscape Garden." Eighteenth Century Music 9, no. 2 (July 30, 2012): 185–212. http://dx.doi.org/10.1017/s1478570612000048.
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ABSTRACTIn eighteenth-century England, painting, poetry and gardening were often labelled the ‘sister arts’. An increasing interest in English landscape scenes and an emerging taste for ‘nature tourism’ gave rise to the ‘picturesque’ movement. Contemporary writers seldom considered English music as part of this ‘sisterhood’, however, or treated music as a medium for conveying national scenic beauty. When the picturesque was discussed in connection with music, eighteenth-century critics tended to use the concept to explain the tactics of novelty and surprise encountered in German instrumental music. Plays with regularity and expectation were analogous to the surprises and irregularities of picturesque ‘beauty spots’ – natural features studied and imitated by contemporary landscape gardeners. Accordingly, recent musicological studies of the picturesque have also preferred to emphasize its kinship with the unconventional or subversive formal schemas in instrumental music by German composers.This article addresses the silent aporia in this discourse: the apparent absence of any participation in the picturesque movement by composers from England, the country most closely associated with this aesthetic. Focusing on the pictorialism and pastoralism of eighteenth-century English song texts and their musical treatment, this article reveals previously ignored connections between the veneration of national landscape and English vocal music. In consequence, the glee – a decidedly marginal genre in traditional eighteenth-century music historiography – emerges at the centre of contemporary aesthetic concerns, as the foremost musical vehicle for the expression of a distinctively English, painterly engagement with national landscapes.
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Pike, Lionel. "The Ferial Version of Purcell's I Was Glad." Royal Musical Association Research Chronicle 35 (2002): 41–59. http://dx.doi.org/10.1080/14723808.2002.10540996.
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There are many sources for Purcell's I was glad: the anthem was clearly very popular, existing both in a ‘symphony anthem’ form with strings and also in various ‘verse anthem’ versions with organ accompaniment. It was common to make arrangements of Purcell's most attractive anthems so that they could be performed in places and at times when strings were not available. The geographical spread of the sources suggests that I was glad was in the repertoire of most of the main choral foundations in England. The only autographs of the piece are of the ‘symphony anthem’ version, although very early sources not in Purcell's hand give the piece as a verse anthem with organ accompaniment. Some sources that we think of as secondary because they are not autographs could actually pre-date those in the composers' hand, and they provide evidence about alternative textual traditions, performance practice, and the reception of Purcell's music.
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Struck, Michael. "Evidence from a fragmented musical history: Notes on Berthold Goldschmidt's Chamber Music." Tempo, no. 174 (September 1990): 2–10. http://dx.doi.org/10.1017/s0040298200019380.
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In Germany during the last few years interest has at last been growing in composers who were forced to go into exile (and were still able to do so) in the age of National Socialism. Thus attention has been focussed again in the land of his origin – though pretty belatedly – on the composer and conductor Berthold Goldschmidt, born in Hamburg in 1903. Goldschmidt had to reach a positively biblical age before he received serious consideration: in 1987, on the occasion of the Berlin Festival ‘Music in Exile’; in Duisburg, Hamburg, Essen, and – with heightened intensity – in the most northerly region of the Federal Republic, Schleswig-Holstein. Some of his works were performed on these occasions, and received with amazement and perplexity. But above all Goldschmidt was constantly questioned in interviews and panel discussions, as a ‘witness of his time’. Of course he is, beyond doubt, the ideal conversational partner: he can describe and comment on German musical life in the 1920's and early 1930's most vividly and with a touch of irony; he can report movingly, yet apparently without any trace of bitterness, on the abrupt breaks in his life and his musical career – emigration to England, the struggle to make a fresh start in that country (of which he became a naturalized citizen in 1947), the attempt to establish himself as a creative artist. One learns a great deal about the numerous disappointments on the way to a viable and satisfying existence as an artist, and about his virtual silence as a composer for almost 25 years, from 1958 to 1982.
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Vasic, Aleksandar. "The reception of west European music in Belgrade between world wars: On the examples of “Muzicki glasnik” and “Muzika” magazines." Muzikologija, no. 11 (2011): 203–18. http://dx.doi.org/10.2298/muz1111203v.
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The very first music magazines started in Belgrade between World Wars were ?Muzicki glasnik? (issued monthly from January to December 1922) and ?Muzika? (also issued monthly in the period January 1928 - March 1929). These magazines used to publish music essays, researches, debates, notes, news and other kind of articles. This paper brings an analysis of texts on West European music in these two journals. ?Muzicki glasnik? published only few articles on European music. Those were on bibliographical news concerning editions on musicology in England and on French music magazines. There was a report on the concert held in Leipzig in1922 in honour of late Arthur Nikisch. ?Glasnik? also published an obituary to Camille Saint-Sa?ns containing, by contemporary standards, excessively complimentary evaluation of his music. West European music was far more present on the pages of ?Muzika? magazine. The editorial board used to publish thematic issues dedicated to jubilees of great European composers (such as Franz Schubert, Ludwig van Beethoven). One issue was dedicated to English music and this magazine also wrote about Puccini. Essays on European music were translated from foreign languages and the authors of some were coming from Yugoslavia. ?Muzika? magazine was addressing wide, educated audience, not only musicians. Therefore the texts giving biographical and psychological portraits of composers used to prevail over musicological analyses of their works. Serbian music community was not highly developed thus ?Muzika? moderately used expert terminology. Essays, as dominant forms in Serbian musicography up to 1941, were often written in a literary manner. This is evident in ?Muzika? as well. ?Muzika? and ?Muzicki glasnik? adopted different aesthetics and ideology. The fact that the reception of West European music in ?Glasnik? was minimal was not only due to the insufficient number of associates. The editorial board of ?Glasnik? was more concerned with domestic music and problems of music institutions. Besides, the editors of this magazine were of opinion that the Serbian music should not solely look up to West European composers but even more to the Slav and domestic music exemplars. The editors of ?Muzika? were, however, strongly adhering to West European tradition. They thought that only high culture and knowledge could bring the Serbian music to a serious level, both technique and art wise. The editors of this magazine did not desire our composers to be epigones of Western musicians, but wanted to provide domestic musicians and readers with information on European art. In this regard, ?Muzika? used to have an enlightening mission in our country.
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Adams, Aileen K., and B. Hofestädt. "Georg Händel (1622–97): The Barber-Surgeon Father of George Frideric Handel (1685–1759)." Journal of Medical Biography 13, no. 3 (August 2005): 142–49. http://dx.doi.org/10.1177/096777200501300308.
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George Frideric Handel was born in Halle (Saale) in Germany. After initial musical education in Germany and Italy, he came to London as a young man and spent the rest of his life in England. Until recently, little has been written of his early life in either the English or the German literature, and it is not widely known that he was the son of Georg Händel, a barber-surgeon of repute. When his father's name is mentioned, it is usually to claim that he actively discouraged his son's musical education. Georg Händel lived in a turbulent time; he became an eminent surgeon who served as valet and barber to the Courts of Saxony and Brandenburg, as well as a distinguished citizen of Halle. In describing his surgical duties, we show how these differed from those of barbers in England and France at that time. Barbers in Germany were less controlled, freer to practise as they pleased, and Händel himself had important duties in public health and forensic medicine. George Frideric was the first son of the second marriage, born when his father was 63 years of age. We aim also to dispel the notion that Händel's influence on his son's career was as obstructive as has been claimed, but rather that he was a responsible father with his children's interests at heart. This is shown in the success achieved by all his children, most of whom followed their father into medicine, while George Frideric became the most famous of them all, being regarded by posterity as one of the greatest composers.
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McLamore, Alyson. "‘By the Will and Order of Providence’: The Wesley Family Concerts, 1779–1787." Royal Musical Association Research Chronicle 37 (2004): 71–114. http://dx.doi.org/10.1080/14723808.2004.10541005.
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Musically, London has often stood in the shadow of its European cousins. In early studies of the Classical period, musicological attention was usually concentrated on the leading Viennese composers, with only passing reference to England in so far as it related to the careers of these masters. The situation began to change in the 1950s with Charles Cudworth's and Stanley Sadie's pioneering studies of eighteenth-century England, and in recent years several English towns and cities have been the focus of further research. Investigations into London's burgeoning eighteenth-century musical life have revealed the capital's important role in developing modern performance standards and the evolution of a ‘canonic’ repertory, but most research has been centred around public concerts. Despite this increased scholarly attention, there are many frustrating gaps in our knowledge about these activities, and the dearth of information is even greater for most private concerts. There is, however, rich surviving documentation pertaining to the series conducted for nine successive years by the sons of the Revd Charles Wesley (1707–88), co-founder with his brother John Wesley (1703–91) of Methodism. Until now, scholars have failed to make full use of the Wesley materials, partly because of their scattered locations, but also perhaps from a sense that the concerts stood only on the periphery of London concert life. Nevertheless, a closer examination of the Wesley records—and a comparison between them and what is known about more public concerts—shows that these concerts were not as marginal an enterprise as is sometimes assumed.
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Макаловская, Ирина Геннадьевна. "Public Concert in England as a Socio-Cultural Ritual and its Historic Forms." Научный вестник Московской консерватории, no. 3(46) (October 25, 2021): 142–57. http://dx.doi.org/10.26176/mosconsv.2021.46.3.006.
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Публичный музыкальный концерт по сути своей - социокультурный ритуал, в рамках которого взаимодействуют публика и музыканты. Часто формат концерта является и одним из маркеров деления музыки на «популярную» и «академическую», но это не всегда верно. Уже со времен появления первых публичных концертов в Англии организаторы привлекали слушателей, разнообразя формы исполнения, включая в программу совершенно разные произведения, как развлекательные, так и «серьезные», как известные, так и новые для публики, стремясь угодить различным вкусам, а также меняли формат концертов, ориентируясь на предпочтения аудитории. Эта тенденция не угасает и сейчас, академические композиторы придумывают новые способы представления своих произведений в новых местах, включая их в разнообразные программы. В данной статье мы рассмотрим, как видоизменялись форматы концертов в Англии c XVIII века до нашего времени и какая музыка на них исполнялась, на примере концертов Воксхол-гарденз, концертов военных оркестров, фестиваля «BBC Proms», концертов клубных ночей Nonclassical. A public music concert is essentially a sociocultural ritual in which the audience and musicians interact. Often the format of the concert marks the division of music into “popular” and “academic” but it is not always true. Since the appearance of the first public concerts in England, the organizers made attempts to attract as many listeners as possible by modifying the performance formats, including completely different works in the program, serious and popular, well-known and new, trying to please different tastes. They also were changing the way of presenting music. This trend continues today as academic composers come up with new ways of presenting their works, in new places and new formats, including new compositions into different programs. In this article, we will look at how the formats of concerts in England have changed, and what kind of music was played on them, for example, Vauxhall Gardens concerts, military band concerts, BBC Proms festival, Nonclassical club night concerts.
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Svirskaya, Ekaterina V. "Thomas Tallis’ Magnificats: Features of the Genre." Contemporary Musicology, no. 4 (2022): 17–41. http://dx.doi.org/10.56620/2587-9731-2022-4-017-041.
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The article explores the specifics of the Magnificat produced by Thomas Tallis, one of the leading English 16th century composers. The development of the genre is a direct reflection of the religious history of 16thcentury England. It was a peculiar and unique period as catholic kings would replace protestant kings which inevitably led to the reformation of church rites. Tallis as a composer witnessed the reign of four monarchs, and the three Magnificats from his legacy appear to have been written for different forms of worship in pre-Reformed English Catholic and post-Reformed Anglican Church. Russian musicology has not given much attention to Tallis's works. Recently, a few studies focused on some of his compositions, however, Tallis’s Magnificats are still outside the research scope. This article summarizes the information of foreign researchers on the chronology of Tallis' works, the conditions of developing liturgical cycles, and their relationship to religious changes in the country. The article also provides a detailed analysis of Magnificats. In particular, it focuses on the specifics of architectonics and texture in the Magnificats with the Latin text and in the cycle written for Anglican Church. Thus, the article discusses structural features of Tallis’s Magnificat for the Anglican Church and raises a question about the emergence of the tradition that combines the Magnificat and Nunc dimittis in one cycle during a reformatory worship. In addition, the article examines the techniques Tallis used to approach the melodic basis of the Magnificats that embrace unique features of British culture to further transform them in a polyphonic setting.
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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (January 2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.
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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.
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Lindgren, Lowell. "Musicians and Librettists in the Correspondence of Gio. Giacomo Zamboni (Oxford, Bodleian Library, Mss Rawlinson Letters 116–138)." Royal Musical Association Research Chronicle 24 (1991): 1–194. http://dx.doi.org/10.1080/14723808.1991.10540945.
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Gio. Giacomo Zamboni, merchant, diplomat and amateur harpsichordist, was born in Florence on 26 July 1683, arrived in London late in 1711 and lived there until his death on 8 April 1753. His career closely parallels that of George Frideric Handel, composer, manager and harpsichordist, who was born in Hanover in 1685, arrived in London late in 1710 and lived there from late 1712 until his death in 1759. When these two men arrived in London, opera in Italian was a novelty at the Queen's Theatre in the Haymarket, which had just begun to employ Italian singers, instrumentalists, composers, librettists and stage designers. During the ensuing decades, there was an unprecedented influx of Italian performers and creators who, like Handel and other ‘outlandish’ personnel at this theatre, found that salaries were higher, working conditions were better and freedom was greater in England than in their own lands. Many therefore stayed as long as possible, and their artistic accomplishments as well as their intricate interactions with British and foreign patrons, diplomats, merchants and musicians are fascinating endeavours that deserve detailed study. At present, the best survey is that in George Dorris, Paolo Rolli and the Italian Circle in London, 1715–44 (The Hague and Paris, 1967), which focuses upon literary accomplishments. The essential base for any such study must, of course, be primary source materials, which include letters and other documents as well as librettos and scores. My hope is that the passages cited below from 458 items, most of which have never before been printed, will significantly broaden our base for study of ‘the Italian circle’ in London between 1716 and 1750.
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Panov, Alexey A., and Ivan V. Rosanoff. "Performing Ornaments in English Harpsichord Music. Part I." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 381–92. http://dx.doi.org/10.21638/spbu15.2021.302.
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The article deals with the problems of interpreting English ornaments (embellishments, graces) of the second half of the 17th century in the process of their evolution. The authors consistently analyze the recommendations of the early English musicians Edward Bevin, Christopher Simpson, Matthew Locke, John Playford, and Henry Purcell. Emphasis in this study is allotted to the first ever published in England full table of ornaments with their execution written by Christopher Simpson in his The Division-Violist (London, 1659). Detailed consideration here is given to the ornament named “Shaked Beat”. It should be noted that the first full table “Marques des Agréments et leur signification” in France was enclosed only in D’Anglebert’s Pièces de Clavecin (c1689). For comparison, recommendations of the performance of ornaments are provided by some Italian, German and French composers and theorists of this time, such as Emilio del Cavalieri, Guillaume-Gabriel Nivers, Jean Rousseau, Gilles Jullien, Étienne Loulié and Johann Gottfried Walther. A critical revision of scholarly publications on the problems of this study beginning from Edward Dannreuther and Arnold Dolmetsch to the present time has been carried out. Serious inaccuracies were found in the works of modern researchers and in reference and encyclopedic publications, including The New Grove Dictionary of Music and Musicians and Die Musik in Geschichte und Gegenwart.
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Macdonald, Hugh. "The prose libretto." Cambridge Opera Journal 1, no. 2 (July 1989): 155–66. http://dx.doi.org/10.1017/s0954586700002949.
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Before returning to Paris in 1874 after his eventful four-year stay in England, Gounod embarked on a comic opera based on Molière's George Dandin. Recuperating in St Leonard's-on-Sea from a ‘cerebral attack’ he wrote a lengthy Preface, dated 10–11 April 1874, from which the following is drawn:The infinite variety of stress, in prose, offers the musician quite new horizons which will save him from monotony and uniformity. Independence and freedom of pace will then come to terms with observance of the higher laws that govern periodic pulse and the thousand nuances of prosody. Every syllable will then have its own quantity, its own precise weight in truth of expression and accuracy of language. Longs and shorts will not have to make those cruel concessions, those barbarous sacrifices of which composers and singers, it must be admitted, take so little notice. What inexhaustible mines of variety there will be in sung or declaimed phrases, in the duration and intensity of stress, in the proportion and extension of musical periods, extensions which will no longer depend on continual reiteration and repetition but on logical progression and the growth of the germinal idea on which the piece is based […]
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Meng, Juguang. "TRUMPET IN THE ORCHESTRAL SCORE OF "ODE ON ST. CECILIA`S DAY" (1692) BY HENRY PURCELL." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 46–55. http://dx.doi.org/10.36340/2071-6818-2023-19-6-46-55.
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The subject of this research is the trumpet parts in Henry Purcell’s "Ode on St. Cecilia`s Day" (1692). The author analyses the role of the trumpet in the context of the general content of the work and its poetic symbolism. In this regard, the issue of using special compositional techniques, in particular sound visualisation and musical rhetoric, is analysed. In addition, questions of trumpet tonality semantics are considered. A large amount of background information on the history of the music holiday origin is provided in the article; opinions of scientists who put forward hypotheses about the fruitfulness of the English cultural soil for the rooting and development of such celebrations are given. The author mentions the names of outstanding trumpeters for whom trumpet parts were created, and whose art served as the foundation for the development of the trumpet style in England in the 17th-18th centuries. Along with the performers who made Purcell's art famous, information on fellow composers, Blow and Draghi, is provided; they also created musical offerings to St. Cecilia and undoubtedly influenced the style of young Purcell. The author believes that a new approach to this instrument’s capabilities and the presence of qualified performers broadened the area for the composer's fantasies and experiments. It was reflected not only in the creation of countless motifs based on fanfare and trumpet trill, expansion of the sound range and the use of “imperfect” harmonics of the natural scale but also made it possible to assign to the trumpet repertoire a certain intonation vocabulary, easily perceived, recognizable and freely used in vocal and various instrumental parts. The author comes to the conclusion that Purcell perceived the trumpet as an instrument with great virtuoso and cantilena potential; he used it in climactic moments, maintaining absolute balance with the winds and strings. With Purcell's work, the future of trumpet music became more distinct. Keywords: natural trumpet, Ode to St. Cecilia, English Baroque.
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Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
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Golianek, Ryszard. "Politics, music and cosmopolitism: the operatic output of Joseph Poniatowski (1816–1873) in its social and political contexts." Studia Musicologica 52, no. 1-4 (March 1, 2011): 157–64. http://dx.doi.org/10.1556/smus.52.2011.1-4.11.
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Joseph (Giuseppe or Józef) Poniatowski (1816–1873), Polish prince, singer, opera composer and politician, spent all his life abroad: firstly in Italy, then in France and, finally, in England. His artistic output comprises twelve operas composed between 1839 and 1872; nine of them to Italian and three to French texts. Being an amateur composer, he notwithstanding succeeded in staging his operas in many operatic theatres of renown, including La Scala, Covent Garden, Teatro San Carlo, Teatro La Fenice and the Paris Opéra. The paper presents the composer’s output in the social and political contexts of his times. Prince Poniatowski started his international career as a plenipotentiary minister of Tuscany in Paris, London and Brussels; then he settled down in Paris and became a French citizen and even a French senator. He enjoyed the close friendship of Napoleon III with whom he went into exile to England after the Sedan defeat. In all of his three domiciles he presented his operas to the audiences. However, as shown by the press reviews, their reception changed from appreciation to indifference, which was caused by the different political and social backgrounds in the particular countries.
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Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)." British Journal of Music Education 37, no. 1 (November 16, 2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.
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AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on canonic knowledge rather than skills-based learning. In musical terms, this has reinforced the value of ‘prescribed works’ in A-level music specifications.Thus far, little attention has been paid to the extent to which a kind of scholastic canon is maintained in the Western European Art Music section of the listening and appraising units in current A-level music specifications. Though directed in part by guidance from Ofqual (Office of Qualifications and Examinations Regulation, the regulatory body for qualifications in England), there is evidence of a broader cultural trend at work. The present article seeks to compare the historical evidence presented in Robert Legg's 2012 article with current A-level specifications. Such a comparison establishes points of change and similarity in the canon of composers selected for close study in current A-levels, raising questions about the purpose and function of such qualifications.
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Klendiy, O. M. "Interpretative aspect of C. Saint‑Saëns’s piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 136–53. http://dx.doi.org/10.34064/khnum1-56.09.
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Background, the objective of the research. From the perspective of interpretative discourse, C. Saint-Saëns’s heritage widens the contemporary views of his performance career and explains the nature of his pianoforte mentality. Moreover, an interpretative approach is becoming an important part of its investigation methodology, which makes it possible to state the aim of the paper, which is to determine the priorities of C. Saint-Saëns as being an outstanding virtuoso performer of his historical era (what is necessary to understand his artistic mentality). According to the aim of the paper, the following practical tasks have been solved: 1) lay down the requirements for a pianist when performing C. Saint-Saëns’s pianoforte cycles; 2) determine the artist’s most performed solo pianoforte works nowadays (namely the cycles). The methodological basis of the research is a comprehensive approach based on the unity of historical biographical, genre-style and performance research methods that emphasize the importance of the piano work of a unique French artist for modern generations of performers. The results of the research. The analysis of the performances of young C. Saint-Saëns has become obvious that at the beginning of his performance career, he was far from the traditional image of a pianist-virtuoso typical for the first half of the 19th century and has represented the model of a pianist-interpreter of classical music pieces, according to new cultural tendencies. In the middle of the 1860s C. Saint-Saëns shifted his genre-style priorities in his concert performance and widened the geography of his audience outside France to Germany, England and Russia. The French virtuoso improved his repertoire by performing the works of contemporary composers. However, the tendency towards romantic repertoire did not prevent him from including of J.-Ph. Rameau’s and J. S. Bach’s works into his concert program. Beginning from the 1890s to the end of C. Saint-Saëns’s performance career (1921), his own works made the basis of his concert programs also. Having systematized of C. Saint-Saëns’s repertoire, four performance preferences have been distinguished: 1) interest in the works of Baroque composers and French national culture of pre-classical period; 2) returning to Viennese classicists as the basis of a pianist’s concert repertoire in the new historical era; 3) having romanticists’ works serving as the example of modern performer’s repertoire in the second half of the 19th century; 4) producing his own music pieces and transcriptions. Based on summarizing the repertoire preferences, in terms of their stylistics and the increase in the significance of the historical interpretation of other composers’ works, which can be traced in C. Saint-Saëns’s statements and recommendations, it has been concluded that at the beginning of the 20th century his performance style corresponded to the one typical for new post-romantic performers – “interpreters-generalists” (according to O. Kandynskyi-Rybnikov, 1991). The comparison of C. Saint-Saëns’s solo concert programs of different years and the genre and style orientation of the piano compositions created by him in the corresponding periods shows a noticeable interconnection of two major areas of his creative activity – concert and composing. In his early period, he interpreted, as a pianist, mainly the classical music pieces (especially Beethoven’s). And his own Op. 3, Bagatelli, was created under the influence of the Viennese classicism music. In his mature period (starting from the middle of the 1860s), which was connected with C. Saint-Saëns’s concert tours outside France and the enrichment of his repertoire with the works by F. List, F. Chopin, F. Mendelssohn, R. Schumann, there was a shift of the composer’s genre and style priorities: he composed the concert etudes of the Op. 52, program pieces of the Album Op. 72. Finally, in his late period (from the 1890s), except for his own music pieces, the basis of C. Saint-Saëns’s concert programs consists of the works of classicists. At those times, his Suite Oр. 90, Six Etudes op. 135 for left hand and Six Fugues Op. 61 were created, which shows the author’s interest in the genre models of European Baroque. The fundamental principles of C. Saint-Saëns’s pianoforte mentality has been distinguished: virtuosity and simultaneous accuracy of applying expressive means; clarity and accuracy of instrument sound together with the delicacy and flexible manner of intoning; in terms of the interpretation of historically remote composers’ pieces (pre-classical, classical and early-romantic periods), the attempts to approximate the tone to the authentic sound pattern. Taking into account the composer’s performance style and the tasks set in the score of his works, the requirements for a pianists needed for the interpretation of C. Saint-Saëns’s pianoforte cycles have been laid down: high level of performance technical preparation; analytical skills, wide kit of mental sound patterns that integrates the features of various historical and style eras, from Baroque to PostRomanticizm. As for the panorama of the interpretative versions of C. Saint-Saëns’s piano works, every cycle has quite rich performance history, which is proved by numerous professional recordings. Over the last decade, more and more recordings of C. Saint-Saëns’s pianoforte cycles have been appearing, which contributes to the popularization of the pianoforte heritage of the French artist. Most of them have been created by French pianists. However, the geography of the recordings is quite wide: Italy, the USA, Switzerland, Hungary, Austria, Russia, Germany. Unfortunately, in Ukraine the piano cycles are almost unknown and are rarely performed; there are no known audio recordings of their performance by outstanding Ukrainian pianists. Conclusion. In search of a starting point in mastering the principles of interpretation of French piano culture, the study of the creative activity by C. Saint-Saëns today has advantages over the study of other French composers of the mid XIX – early XX century, because there is a large amount of material available that reveals its artistic, in particular performing, priorities. All the above indicates the need to popularize the piano heritage of C. Saint-Saens in the modern globalized world and proves the importance of an interpretological approach to its understanding. The latter reveals the essence of the piano style of a unique artist who, in his creative evolution, has gone from classicromantic attitudes to examples of his own nео-stylistic thinking, which dominates the art of the twentieth century.
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Parapar, Cristina. "Black Music and Desublimation: Contravening Expectations in Marcusean Aesthetics." Artefilosofia 19, no. 35 (June 21, 2024): 1. http://dx.doi.org/10.69640/raf.v19i35.7264.
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In 1968, Herbert Marcuse spoke to a packed audience of students at the New England Conservatory. The author of "One-Dimensional Man" urged young composers and performers to fight against the sublimating, harmonizing, and consoling forms of tradition. In other words, he encouraged them to create music that responded to the needs of the historical moment they were living in. Marcuse realized that both serious and popular music could not divorce themselves from their political dimension, and thus, they could contribute to the task of emancipation. In this speech, the philosopher declared that the musical counterculture of the 60s and 70s was the outcry of men and women who had lost patience, who had felt the lie, the hypocrisy, and the indifference of late capitalism, and who wanted music from other planets, very real and very close planets. This later reference to a speech by Arnold Schönberg serves as the motivation for this investigation, which has a dual purpose. On the one hand, this article aims to examine Marcuse's comments and notes on musical counterculture from the late 60s until his passing. Certainly, the German philosopher was primarily interested in the Black music of his time because he believed it revealed the fissures of one-dimensional society and participated in the desublimation of the real. For this reason, the goal is to delve into the forms and musical strategies that led Marcuse to consider that Black music contributed to the task of denouncing the brutality of one-dimensional society. Secondly, this article seeks to evaluate the ongoing relevance of Marcuse's radical aesthetics in the context of contemporary popular music.
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Williamson, Magnus. "Liturgical Polyphony in the Pre-Reformation English Parish Church: A Provisional List and Commentary." Royal Musical Association Research Chronicle 38 (2005): 1–43. http://dx.doi.org/10.1080/14723808.2005.10541008.
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The great majority of late-medieval lay people encountered the Universal Church most directly, and in some cases exclusively, through their local parish church. The parish has therefore been at the heart of research into lay piety, as witnessed in a range of detailed studies of pre-Reformation beliefs, rituals, rites of passage, clergy, episcopal oversight, parochial administration and social organization. Until recently, however, the ‘soundscape’ of the pre-Reformation parish has received less exhaustive attention, perhaps because the parish has been seen as peripheral or subordinate to the mainstream of musicological research (few first-rank composers are known to have worked within English parish churches), but also because the documentary sources are more disparate and often less complete and informative than the archives of more superficially prestigious institutions. Nevertheless, if the widespread cultivation of polyphonic singing within divine worship was one of the seminal cultural achievements of late-medieval England, what contribution did the parish make towards this revolution? How many parishes maintained polyphonic choirs? What role did the laity play in promoting liturgical polyphony? And what might such initiatives reveal concerning lay attitudes towards liturgical music? Studies of Bristol, London, Louth, Ludlow and York have highlighted the potential of the parish as a focus for musicological research, and have begun to answer some of these questions. The following handlist, an earlier form of which was prepared for the 2002 Harlaxton Medieval Symposium, is intended to serve as a springboard for further research in this field. Although neither complete nor definitive, its aims are to bring together, as comprehensively as possible, the available evidence concerning the singing of liturgical polyphony before 1559, and to provide an overview of the contextual factors which have informed the underlying methodology: to this end, the list itself is preceded by an extended commentary.
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Cherniavska, M. S. "Clara Wieck Schumann in the European scientific discourse." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 213–31. http://dx.doi.org/10.34064/khnum2-17.14.
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Background. The article is devoted to studying of versatile aspects of life and work of the outstanding German pianist and composer Clara Josephine Wieck Schumann (1819–1896) on little-known in domestic musicology materials of the European scientific literature. The review of scientific sources also includes the rare works given personally to the author by the relative of Clara Schumann, Frau Hannelore Österschritt, which is the great-granddaughter of her step-brother on the mother’s side, W. Bargiel. The above large array of systematized chronological and literary sources gives an idea of the scale and aspects of studying such a scientific problem as the analysis of Clara Schumann’s creative heritage to date. It turns out that her phenomenon as a supernova on the German sky made Europeans see a woman in a different way – as a creator, a bright personality, a public figure, a successful performer. The purpose of the article is the description and systematization of European science sources, covering the figure of Clara Wieck Schumann. Research methodology are based on general scientific approaches necessary for the disclosure of the topic, including logical, historical, chronological, source-study methods needed to synthesize and systematize of scientific sources. Results. The figure of Сlara Wieck Schumann – an outstanding female composer, a successful concert pianist, a teacher, a wife, a mother and a Muse of two brilliant composers of Romanticism – was so bright that she was able to break the all previous ideas of that time about the role of a woman in society. This is evidenced by the impressive scale of the interest of researchers to her personality and creativity, the interest, which has not been extinguished in Europe for almost two centuries. Build on the literature of European scientists from different countries devoted to Clara Wieck Schumann, one can come to the conclusion that during her lifetime the work of this prominent woman was arousing the great interest of musicologists and critics (G. Schilling, F.-J. Fétis, H. Riemann), and her musical works were known and demanded. One of the most important issues that are considered in scholarly works is Clara’s personality as a representative of women who have broken the centuries-old ideas and foundations about the place of latter in society. Some of the authors (La Mara, Eva Weissweiler) tried to prove the secondary character of feminine creativity, based on cliché about that Clara Schumann herself was not always sure of the value of her musical compositions. Other researchers (F. Liszt, E. Wickop, C. Dahlhaus) argued that the work of Clara Schumann occupies a special, leading place among the history of well-known women-composers. After the death of the composer interest to her musical creativity began to fade away. Confirmation of this is almost complete absence of her works in concert programs of pianists, and even not a complete edition of the compositions of the musician. Despite this, during the twentieth century, Clara Schumann’s work continues to be carefully studied by the researchers of Germany (B. Litzmann, W. Kleefeld, K. Höcker, R. Hohenemser, A. Meurer, E. Wickop), France (R. Pitrou), England (P. Susskind, J. Chissell, N. Reich). During the last forty years, interest to Clara Wick Schumann’s creativity has grown substantially, possibly due to activation of the feminist movements in the world. Clara became one of the main objects of research about women who wrote and performed musical compositions. The culmination of this process can be called the emergence of the fundamental monograph by Janina Klassen “Clara Wieck-Schuman. Die Virtuosin als Komponistin” (1990), where the composer’s creative efforts are most fully analyzed, as well as valuable references to rare historical sources are given, including the letters from the Robert Schumann’s house in Zwickau, which have not yet been published. Conclusions. Thus, the presented large array of literary sources, being systematized by chronology and the subjects, gives an idea of the state of the studying and analysis of the cultural heritage of Clara Wieck Schumann today. The author hopes that the information collected will ease orientation in finding answers to questions arising to musicologists who explore her creativity. Summing up, we can present the generalized classification of the literature considered. So, Clara’s diaries including the records making by her father and relating to the early period of her creation, give the understanding of how the pianist’s outlook was formed. Estimative judgments about the value of composition as an important area of Clara’s creation should be sought in her epistolary heritage, in particular, in the correspondence with R. Schumann and J. Brahms. At the same place one should to look for the motives and emotional boundaries of her creativity. Answers the many questions that may arise to a performer who interprets of Clara Schumann’s music can be found in the fundamental biographical study by B. Litzmann and the articles by F. Liszt. A large layer of modern researches, which has been published since the 80s of the twentieth century, cannot be discounted as the authors rely on modern methods of analysis. Therefore, it is as if the resolved problems are being considered on a new level: from the research of forgotten pages of “XIX century women’s music” (J. Klassen), new data about Clara’s life outlook formation, and ending with issues of her music style. All these aspects give the opportunity to “collect” the creative and personal “portrait” of a genius woman of the nineteenth century.
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Akatrini, V. "“VIENNESE” CREATIVE PERIOD IN THE EUSEBIUS MANDYCZEWSKI’S BIOGRAPHY." Aesthetics and Ethics of Pedagogical Action, no. 26 (December 25, 2022): 116–29. http://dx.doi.org/10.33989/2226-4051.2022.26.273126.
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The article presents the genesis of the Mandyczewski family based on extensive source material; the factors of Eusebius Mandyczewski’s formation as a musician, conductor, and composer are characterized. Attention is focused on the significant influence on his professional development of the well-known church history teacher of Chernivtsi University Eusebius Popovych, music teacher Sydor Vorobkevych, and violin teacher Adalbert Hrimaly. The features of the talent of the future musician in his youth are revealed (he created 82 compositions between the ages of 14 and 17). Emphasis is placed on a significant event – receiving a scholarship at the competition of young talents in Leipzig, which was a significant financial support for his further studies at the University of Vienna. The “Viennese” period of E. Mandyczewski’s creativity, which lasted 54 years, is characterized. In Vienna, he studied German studies, philosophy, literature, art history, musical disciplines; his teachers were music critic Eduard Hanslick, musicologist Martin Gustav Notteb, composer Robert Fuchs. E. Mandyczewski’s professional growth was connected with activities at the Vienna Academy of Music, the Vienna Conservatory; he was the conductor of various choirs and orchestras, archivist and bibliographer of the Viennese “Society of Friends of Music” - one of the significant centers of European musical life.
It was found that during many years of teaching activity, the Maestro trained a whole galaxy of composers, musicologists, teachers, most of whom became stars of the musical world of Austria, Italy, England, America... Among his students are Hans Gall, Karl Behm, Hilarion Verenko, Manolis Calomiris, George Sell, Leone Sinigaglia, Karel Prochazka (senior), Marcian Negria, Joseph Alois Krieps, Julius Patzak, Ferdinand Rebay, Rosario Scalero, Gustav Uwe Yenner, and Arthur Schnabel, Karl Garinger, Ignaz Brühl, Henry Kimball Hadlita, and others. The Austrian press deservedly called the honorary citizen of Vienna E. Mandyczewski “a living musical encyclopedia”. As a theoretician, he wrote many scientific studies on the work of W. Mozart, L. Beethoven, L. Bach, K. Czerny, A. Bruckner, Strauss, etc., compiled a complete edition of the works of J. Haydn, F. Schubert (in 42 volumes), J. Brahms (in 26 volumes). It is emphasized that E. Mandyczewski is the author of 11 Ukrainian choirs, the canon for three voices “And the day goes, and the night goes...” (to the words by T. Shevchenko), music to the lyrics by Yu. Fedkovich “Wake up, Boian!”, “Kobzar’s dawn” etc., vocal works written to the texts of Serbian, Hungarian, Ukrainian, Moldovan folk songs, author’s works written to the texts by Romanian and Moldovan poets M. Eminescu, H. Koshbuk, V. Aleksandr, O. Vlahutse, etc. Research attention is focused on the authorship of vocal works of a secular and spiritual nature, among which the most significant are: “Greek Mass” for solo, choir and orchestra, the cycle “Tuscan Songs”, church works – 12 liturgies, “Cherub” for mixed choir, “Our Father” for two children’s voices, carol “Silent night, holy night”, psalms, etc.
On the basis of primary factual sources, the influence of E. Mandyczewski on the development of musical culture and education in Bukovyna is characterized.
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Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (May 29, 2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8138.
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The meaning of music at a large farm during the inter-war periodThis article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s social and cultural identity; i.e., both their self-conceptualisation and their marking of identity towards their surroundings. The article’s method is rooted in a ‘broad’ concept of culture, along with Christopher Small’s concept ‘musicking’ and new musicology’s tendency to focus on the practice of music-making rather than on ‘great’ composers and books of music. Torpelund is compared to similar settings in England (e.g., East Suffolk around 1900, according to Carole Pegg) and Western concert halls (around 1980, according to Christopher Small).During the inter-war period, the Olsen family gathered together a circle of diverse people, including relatives, friends, business connections and other musicians, who all participated in the “musicking” as equals. Their repertoire consisted of classical and romantic art music from c. 1780–1890, plus the family’s old folk-dancing music (arranged by members of the family). In its own opinion, the circle’s music-making was a ‘higher’ kind of music that established clear distinctions towards lower social classes, towards other races (e.g., blacks with their ragtime and jazz) and towards modern music (e.g., art music and popular music). Specific to Torpelund are three concepts, which also characterise the social and cultural identity of the Olsen family: conservatism, privacy and exclusivity. The musical practices of the Olsens at Torpelund indicate that, during the inter-war period, the family represented a particular amalgamation of the peasant family, the part of the country (northwestern Zealand) and an international, middle-class education.
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Briggs, Peter M. "Timothy Dwight 'Composes' a Landscape for New England." American Quarterly 40, no. 3 (September 1988): 359. http://dx.doi.org/10.2307/2712955.
Full text
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Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (May 29, 2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8136.
Full textAbstract:
The meaning of music at a large farm during the inter-war period This article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s social and cultural identity; i.e., both their self-conceptualisation and their marking of identity towards their surroundings. The article’s method is rooted in a ‘broad’ concept of culture, along with Christopher Small’s concept ‘musicking’ and new musicology’s tendency to focus on the practice of music-making rather than on ‘great’ composers and books of music. Torpelund is compared to similar settings in England (e.g., East Suffolk around 1900, according to Carole Pegg) and Western concert halls (around 1980, according to Christopher Small). During the inter-war period, the Olsen family gathered together a circle of diverse people, including relatives, friends, business connections and other musicians, who all participated in the “musicking” as equals. Their repertoire consisted of classical and romantic Viennese music from c. 1780–1890, plus the family’s old folk-dancing music (arranged by members of the family). In its own opinion, the circle’s music-making was a ‘higher’ kind of music that established clear distinctions towards lower social classes, towards other races (e.g., blacks with their ragtime and jazz) and towards modern music (e.g., art music and popular music). Specific to Torpelund are three concepts, which also characterise the social and cultural identity of the Olsen family: conservatism, privacy and exclusivity. The musical practices of the Olsens at Torpelund indicate that, during the inter-war period, the family can be seen as a particular amalgamation of the peasant family, the part of the country (northwestern Zealand) and an international, middle-class education.
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Lapsley, James N. "Charles Ives and the Reformed Tradition." Theology Today 64, no. 3 (October 2007): 305–21. http://dx.doi.org/10.1177/004057360706400303.
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The American composer Charles Ives (1874–1954) was rooted in New England Congregationalism, the Puritan wing of the Reformed tradition. Although he is often seen as an innovative composer identified with New England transcendentalism, he never abandoned his Reformed evangelical faith but rather expressed it in some of his greatest music, particularly the Third and Fourth Symphonies.
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Beckwith, John. "Ernest MacMillan and England." Canadian University Music Review 19, no. 1 (March 8, 2013): 34–49. http://dx.doi.org/10.7202/1014604ar.
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The Canadian composer-conductor Ernest MacMillan wrote England, an Ode, for chorus and orchestra, in a German prison camp in World War I, and was awarded a D.Mus. by Oxford University for it, in absentia. The score is examined alongside background documents, including MacMillan's unpublished memoirs, for its ambitious musical features, its conformity to the degree specifications, and the influences it suggests (MacMillan studied works by Debussy and Skryabin while incarcerated, and received advice from a fellow-prisoner, the composer Benjamin Dale). The choice of text, a decidedly imperialistic poem by A. C. Swinburne, is measured against MacMillan's later association with Canadian cultural nationalism.
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Tomson, Earl. "GERARD SCHURMANN IN INTERVIEW." Tempo 59, no. 231 (January 2005): 17–28. http://dx.doi.org/10.1017/s0040298205000033.
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Gerard Schurmann was born of Dutch parents in the former Dutch East Indies in 1924, but spent more than 40 years, including the most formative period of his musical life, in England before moving to the US in 1981. Even during his years in the Netherlands as orchestral conductor with the Dutch Radio in his early twenties, he maintained an apartment in London, sometimes commuting to his place of work in Hilversum. His experience was similar to Bernard van Dieren, another Dutch-born composer who lived in England, although not for as many years as Schurmann: Holland has made no particular move to claim either as a Dutch composer. It was in England that Schurmann developed his skills and persona as a musician, after arriving as a teenager in 1941.
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STEWART-MACDONALD, ROHAN. "THE UNDISCOVERED FLIGHT PATHS OF THE ‘MUSICAL BEE’: NEW LIGHT ON HUMMEL’S MUSICAL QUOTATIONS." Eighteenth Century Music 3, no. 1 (March 2006): 7–34. http://dx.doi.org/10.1017/s1478570606000479.
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Hummel’s quoting of music by other composers has been mentioned briefly in a number of studies. While some of these quotations are explicit, others are a good deal more problematic. This article investigates explicit quotations that appear in two of Hummel’s string quartets dating from 1803–1804 and the finale of a piano sonata from 1807. The fourth movement of the String Quartet in G major, Op. 30 No. 2, twice quotes J. S. Bach’s Goldberg Variations, BWV988, the slow movement of Op. 30 No. 3 refers to Handel’s Messiah and the finale of the F minor piano sonata cultivates a complex relationship with the last movement of Mozart’s ‘Jupiter’ Symphony. My objective is to demonstrate the sophistication and subtlety with which Hummel manipulates the quoted material in these three cases.Hummel’s obvious quotation of Bach and Handel in particular is related to a multi-faceted preoccupation with archaic styles and earlier works that had taken root in the later eighteenth century and that continued to expand into the nineteenth and beyond. Although England was the first nation to develop a performance tradition around the ‘ancient’ musical repertory, it was the accumulation of a didactic tradition around the keyboard works of J. S. Bach in north Germany and its steady migration to centres like Vienna that is of more direct relevance here. And when one surveys the (supposed) quotations by Haydn, Mozart, Beethoven and Clementi of works by Bach and Handel and compares them with Hummel’s, Hummel’s remain outstanding in their exactness and also in their frequent lightheartedness of tone. Whereas many straightforward quotations or instances of modelling appear reverential or seek to exalt the basic idiom, Hummel’s either are humorous or seem calculated to reduce the potency of the original in order to assimilate the earlier idiom into the later one. The three pieces considered here illustrate the spectrum of techniques used by Hummel to manipulate quoted material in his works. The quotations in the two quartets have drawn very little comment; the references to Mozart’s ’Jupiter’ Symphony in the finale of Op. 20 have been remarked on more frequently, but the relationship between the two finales is a good deal more intricate than has previously been shown. The ‘contrapuntal deconstruction’ that takes place late in the third movement of Hummel’s Op. 20, between the most explicit reference to the ‘Jupiter’ finale and the coda, is lighthearted in character – amusing, even – and is in some ways the most ingenious and vibrant episode in the movement.
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DAVISON, ALAN. "THE FACE OF A MUSICAL GENIUS: THOMAS HARDY'S PORTRAIT OF JOSEPH HAYDN." Eighteenth Century Music 6, no. 2 (August 3, 2009): 209–27. http://dx.doi.org/10.1017/s1478570609990054.
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ABSTRACTHaydn's first visit to England in 1791 was accompanied by a publicity war waged between his supporters and detractors. The composer's friends were keen to present him as a musical genius while at the same time defending him against what they saw as reactionary criticisms over rules and taste. One such defence was in the form of a portrait by Thomas Hardy, probably the most famous image of the composer. While readily considered today as a matter-of-fact representation of an urbane Georgian gentleman, the portrait is in fact a sophisticated response to contemporary arguments surrounding Haydn, and presents him as an inventive genius of taste and judgment. By the manipulation of portrait conventions, Hardy created a visual representation of the composer analogous to written accounts by supporters such as Charles Burney. Haydn is shown as a man confident in his contribution to musical posterity, and the image reinforces advice from the time that repeated listening to and study of his music was required properly to appreciate it. The portrait has lost its original force as conceptions of genius changed from the early nineteenth century, reflecting a shift in the aesthetics of both music and visual art.
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Clemens, W. A. "Early Jurassic allotherians from South Wales (United Kingdom)." Fossil Record 10, no. 1 (February 1, 2007): 50–59. http://dx.doi.org/10.1002/mmng.200600018.
Full textAbstract:
Abstract. Fossils from two fissure fillings in Pant Quarry (designated Pant 4 and Pant 5), South Wales, United Kingdom, probably of Early Jurassic age document a taxonomically diverse vertebrate fauna, the Morganucodon-sphenodont fauna, composed of several kinds of reptiles, non-mammalian synapsids, and mammals. Six isolated molariform teeth from Pant 4 and 5 fissures clearly record the presence of Thomasia (Mammalia, Allotheria, Haramiyidae), a genus previously known only from purported Late Triassic faunas of southwestern England, France, Belgium, Luxemburg, Germany, and Switzerland. Small morphological differences from teeth in the larger English and continental European samples warrant identification of the Welsh material as Thomasia cf. moorei. The highly derived morphology of an isolated molariform tooth from Pant 5 fissure indicates the presence of another, possibly allotherian, taxon. Fossilien aus zwei wahrscheinlich unterjurassischen Spaltenfüllungen (Pant 4 und Pant 5) im Steinbruch Pant in Süd-Wales dokumentieren eine taxonomisch diverse Wirbeltierfauna. Diese Morganucodon-Sphenodontiden-Fauna besteht aus verschiedenen Formen von Reptilien, Synapsiden und Säugetieren. Sechs isolierte molariforme Zähne aus den Spaltenfüllungen Pant 4 und Pant 5 belegen eindeutig das Vorkommen von Thomasia (Mammalia, Allotheria, Haramiyidae), einer bisher nur aus vermutlich obertriassischen Faunen Südwest-Englands, Frankreichs, Belgiens, Luxemburgs, Deutschlands und der Schweiz bekannten Gattung. Geringe morphologische Unterschiede zu dem umfangreicheren Material aus England und Kontinental-Europa sprechen für die Identifikation des neuen Materials als Thomasia cf. moorei. Die stark abgeleitete Morphologie eines isolierten molariformen Zahnes aus der Spalte Pant 5 belegt das Vorkommen eines anderen Taxons, das möglicherweise auch den Allotheria zuzuordnen ist. doi:10.1002/mmng.200600018