Journal articles on the topic 'German Baroque Composers'

Abstract The German musical Baroque represents a sum of stylistic diversities, in which the European cultural values were merged with the national ones, resulting in a strongly individualized, but malleable style. The works dedicated to the bassoon by German composers are living evidence of aesthetic unity in the Baroque stylistic diversity, emphasizing the universality of music and its cohesive force. The analyzed concertos approach the aesthetics of each composer, through his relationship with Italian and French music, personalized in an expressive form of the German type: robust, in a clear, dynamic solid structure.

The baroque music is modelled on the language, so the claim of the composers of the time and the report of the musicians and musicologists of today. It is thus national because it always refers to a specific language. Typically, we consider as a proof the work of the composer Jean-Baptiste Lully who, as the saying goes, would have formed his recitatives according to the declamation of the actress Champmeslé. Starting from a specific linguistic material, Baroque music is national: it is French, Italian, German, English ... Numerous studies, in particular musicological, have shown the treatment of language rhythm among composers. In this article we will discuss the subject from a wider angle and try to show by an accentuated and intonational segmentation of the text and the melody composed by the musicians, to what extent the prosody of French and the French Baroque music correspond.We use the prosodic segmentation model proposed by Piet Mertens for French, and we base our study on a body of recitatives, because this genre is considered extremely close to declamation, and therefore to the spoken language. Despite the differences between the language used in the compositions and the standard Parisian French of the 21st century, due to the style and evolution of French, Mertens' approach proves to be convincing in describing the compositional setting of the text by composers French Baroque. The research thus confirms the close proximity between textual and musical prosody for the French Baroque recitative.

Research has used the normalized pairwise variability index (nPVI) to examine relationships between musical rhythm and durational contrast in composers’ native languages. Applying this methodology, linearly increasing nPVI in Austro-German, but not Italian music has recently been ascribed to waning Italian and increasing German influence on Austro-German music after the Baroque Era. The inapplicability of controlled experimental methods to historical data necessitates further replication with more sensitive methods and new repertoire. Using novel polynomial modelling procedures, we demonstrate an initial increase and a subsequent decrease in nPVI in music by 34 French composers. Moreover, previous findings for 21 Austro-German (linear increase) and 15 Italian composers (no change) are replicated. Our results provide promissory quantitative support for accounts from historical musicology of an Italian-dominated Baroque (1600-1750), a Classical Era (1750-1820) with Austro-German centres of gravity (e.g., Mannheim, Vienna), and a Romantic Era (1820-1900) with greater national independence. Future studies should aim to replicate these findings with larger corpora with greater historical representability.

Much recent writing concerning the early eighteenth-century sonata has focused on a subgenre that appropriates stylistic elements from more fully scored works. Thus several of J. S. Bach’s solo and trio sonatas signify the concerto in certain movements by adopting ritornello form and establishing instrumental roles of ‘soloist’ and ‘orchestra’, only to undermine the integrity of these roles during the course of a movement. These Sonaten auf Concertenart, and a number of similar examples by Bach’s German contemporaries, have been viewed as responses to Vivaldi’s solo concertos and especially his so-called ‘chamber concertos’, which feature similar kinds of role playing. This study, by re-examining the phenomenon of the sonata in concerto style from a number of perspectives, shows that the genre was more widespread and its origins and meanings more complex than previously recognized. Evidence for this revised view takes the form of generic titles on manuscripts and prints; music by German, Italian and French composers spanning much of the eighteenth century, from Molter to Mondonville to Mozart; some three dozen sonatas by Telemann, who exhaustively explored the genre over several decades and was perhaps its originator in Germany; and literary amalgamations of genre indicative of a broader eighteenth-century fascination with mixed types.

The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.

The purpose of the article is to study the baroque principles ofplaying the organ and the advantages of authentic performance of works ofthe Baroque era in our time. The methods, which are used into therepresented work, are historical, comparative, structurally analytical,axiological as well as generalizing. Scientific novelty consists in revealingthe features and specifics of authentic performance on a modern organ andcomparing the authentic and modern interpretation of works of theBaroque era. Conclusions. The organ has a long history of its evolution.The path of its formation began in the 7th century BC. with the advent ofPan's flute. Over the centuries, the instrument that we know today has beenshaped. The peak of the evolution of the organ is the period of the Baroqueera (XVII – the first half of the XVIII century). At that time, many organmasters worked on improving the instrument, including the North German master Arp Schnitger, whose organs are directly connected with the workof Dietrich Buxtehude and his contemporaries. In the second half of the18th century, organ art lost its primacy to symphonic and chamber music.Only at the beginning of the 19th century did composers and masters againturn to the organ. The instrument acquires new qualities, in connectionwith which the performers' attitude to the interpretation of baroque worksis changing. The main task of the performer is to achieve maximum soundeffect, behind which the true meaning of Baroque works is lost. Therefore,at the same time, supporters of an authentic interpretation appear whoadvocate baroque principles of performance on authentic instruments.Authentic sounding on a modern organ is possible due to following certainrules and using only those features of a modern organ that are inherent in abaroque instrument.

17th century German clavier music presents a capacious stratum of culture of the Baroque period, which is of enormous interest. Frequently it is perceived as an enormous transition to J.S. Bach’s musical legacy, but upon more assiduous examination it turns out that this stratum has its own value, although, obviously, it could not do otherwise than create the footing for the musical culture of the following 18th century. The present article has an overview character and is meant to summate the most important phenomena which could give an overall perception of the chronological order of the formation of clavier genres and forms of the pre-Bach era, about the outstanding composers of clavier music, and of the intersection between various national styles in their heritages.

Background. In today’s performing arts, more and more musicians are turning to the trends of historical performance. Therefore, musicology is actively searching for new approaches to the detailed study of authentic performance, to the reproduction of the most adequate ways of interpreting the music of previous eras. Among such methods of interest is the correlation of methods of reconstruction and deconstruction considered in this study. The object of the study is historically oriented performance of music works. The aim of the article is to determine the basic approaches of a number of modern scientific works to the reproduction and interpretation of old music and to identify the research position, which will play the role of methodological key to the analysis of the phenomenon of Early music. The methodology of the research based on analytical and comparative approaches applied to historical-stylistic phenomena, and emphasizes the methods of deconstruction and reconstruction for ancient music interpretation. Research results. The study identifies various approaches to studying the specificity of performing early music and to the interpreted compositional object of authentic performance. The latest scientific publications of musicians-researchers are analyzed: N. Sikorska, V. Kachmarchik, E. Kruglova. N. Sikorska (2016) have identified different approaches to musical Baroque legacy, implemented in nonauthorial editions of the Romanticism era. She presents in the form of a hierarchical system the stylistic parameters of the authentic performance of the Baroque style in the works for clavier of the late 16th – early 18th century. V. Kachmarchik (2003), in his scientific work, studied the historiography of flute art and determined the main stages of development of the flute design, also noted the basic principles of the formation of German flute pedagogy and determined the role of outstanding personalities in German flute art of the 18th – 19th centuries. E. Kruglova (2007) in her doctoral dissertation summarizes the artistic principles of Baroque vocal art: the vocal tradition of the Baroque era, the specifics of musical expressive means (dynamic, tempo, vocal-language articulation, ornamentation) and vocal technique (breathing, sound emission). She also conducts a comprehensive study based on the cultural-historical method that represent a culture as the key to interpreting a work of art and helps to understand comprehensively the bel canto singing tradition in the Baroque era. Also, she uses the theoretical and analytical methods, which provides a deep analysis of documents to identify the essence of the singing tradition, a thorough study of the means of musical expressiveness that make up its basis; the method of comparative analysis for determination the features of the most important parameters of performing interpretations of music by G. F. Handel in the period under review. However, these works did not pay due attention to the difference in the basic definitions of the very phenomenon of authentic performance: firstly, of the authentic performance as an instrumental accompaniment of vocal music, and secondly, of the ideas about the essence and nature of the instrumental version of historical performance itself. The author of the article formulates the methodological principles of studying the phenomenon of authentic performance, explains the attributes of the methods of “reconstruction” and “deconstruction” – in relation to the recreation of the historical interpretation of early music. Thanks to the methods of reconstruction and deconstruction, the historical image and meaning of the musical culture of the Baroque and the Renaissance may be recreated adequately. Need to take in account the uniqueness of each historical situation and the importance of the context of the era, in correlation with which the corresponding instruments, canons of musical writing and performance occur, are determined. The use of the reconstruction method led to the comprehension of the change of all means of expressiveness: tempo, motion, instrumentation, touch and strokes – even the tasks and meaning of music as an art form. Note that such an approach as deconstruction involves a “focus shift” to identify small details that will decipher the meaning of the work. The use of this method by authenticity scientists clarifies the incorrectness of the ideas about early music, helps the modern listener to improve the ideas about the relevant cultural era. With the help of scientific discourse, researchers and performers reconstruct the real meaning of early music, a new vision of historical performance as an artistic phenomenon is gradually emerging. Conclusions. The presented analysis of various approaches to the study and authentic reproduction of music by ancient composers reveals, from the author’s point of view, as a fundamental and promising approach based on the correlation of deconstruction and historical reconstruction methods. The Baroque era is characterized by the huge role of conventions and the careful study of details that are inextricably linked with canon and tradition. In this case, the use of the method of deconstruction destroys, first, the incorrect achievements and ideas about ancient music, which prevent the modern performer and listener from reaching its understanding. For an adequate restoration of ancient music, many factors must be taken into account, the main of which is the experience and achievements of pioneers of an authentic direction. The artistic practice of authentic performers should also be based on the achievements and conclusions of the relevant research work. Prospects for further research in this matter are a detailed study of works of ancient musical heritage and ways of their modern reproduction by talented musicians.

The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).

Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments from the Dettingen Te Deum in D major, HWV 283 by G. F. Handel (the last two works are Kharkiv premieres). The work with them took place in short order and so it caused of some vocal technique difficulties and the problems of performative concept and performative style. Complaxities were intensified by the lack of necessary acoustic accumulation and the practical experience of performing the music of the Baroque by many young choirmasters, members of the choir group. The importance of studying the musical heritage of composers of genius in order to make a conductor-choirmaster personality is emphasized in the article. The main difficulties of learning choral scores due to the lack of performing experience, certain acoustic accumulation of choral music of the late baroque period which students of choral conducting specialization have. The approximation to the true understanding of the performing style of choral music by J. S. Bach and G. F. Handel may be provided with conditions of a thorough in-depth studying their works. The main tasks of the performative choices are described: appreciation of the entire depth of the spiritual content of J. S. Bach’s and G. F. Handel’s music by young performers, the correlation between vocal and instrumental principles, rational and emotional ones. One of the main tasks of the choir practice of students with J. S. Bach’s cantata No. 140 «Watchet auf, ruft uns die Stimme» was an adequate presentation of composer’s style. The composer treats the human voice as equal to the orchestra. Therefore, the vocal-instrumental nature of Bach’s choral style needs another way of sound-building, a greater unity of voices than our home choral music needs. They consider specific methods and techniques of work on such executive factors as tempo-rhythm, strokes. The questions of choral vocal technique, in particular, vocal intonation (significance of timbre expression, usage of different types of respiration, clear diction, active articulation) are raised. J. S. Bach’s interpretation of voice as an instrument, demands from performers a great deal of its mobility, almost virtuosity, especially in contrapuntal sections. As for the vocal style of G. F. Handel, the influence of the operatic style, which is felt in his oratorios and cantatas is emphasized. Conclusions. The choir practice of students and performing by the student choir of German composers’ genius works, the communication of young performers with outstanding conductors, singers (including foreign ones) became for them the true school of craftsmanship, promoted the professional growth of the choir group, revealed its new performance capabilities. Choral music of J. S. Bach and G. F. Handel should move from the educational audiences of universities and academies to the specific halls. The works of genius need to include in student choral groups’ repertoire.

The purpose of the article is to investigate the historical formationof the French clavier school; a characteristic of creativity and a peculiarityof the works concerning the famous French composer and harpsichordistFrancois Cooperen as the topmost of the French clavier school. The seriesmethods are delineated, first of all, by historical, structurally analyticaland axiological, as well as comparative approaches. The method ofperforming analysis acquires the special significance. Scientific novelty isto reveal the peculiarities of creativity and specific performance of worksby Francois Cooperen, from the point of view of the contemporary artist;characterizing the relation of the composer to the musical text;classification of subjective means of expressiveness of the game and theiruse precisely when performing works on the harpsichord. Conclusions.Each clavier school (Italian, Spanish, French, English, German) has itsown peculiarities, which were formed during the XV – beginning XVIIIcenturies. During the performance of a piece of music, the performer facesa difficult task – to perform the work according to the composer's designand in accordance with the style of the clavier school. For Ukrainianperformers of ancient music, this is more difficult than for Europeanmusicians, because Europe was the center of origin and flourishing ofclavier music. During the Renaissance and the Baroque, the mostprominent musicians (J. Gabrieli, J. Frescobaldi, I.S Bach, F. Handel,F. Couperin, D. Scarlatti) appear as representatives of various pianoschools. They left tracts and methodological instructions for performingtheir works that contemporary musicians can learn in the originallanguage.

Jörg Widmann is a German composer who is acutely conscious but certainly not in awe of his musical forebears. His best-known string quartet, no. 3 ‘The Hunt’ makes dramatic use of – and has great fun with – Schumann. His 2011 concerto Flûte en suite, performed at the 2014 Proms, more than nods to Bach and baroque elegance. In Armonica, commissioned by the International Mozarteum Foundation to celebrate Mozart's 251st birthday in 2007, Widmann surprisingly and yet unsurprisingly features the glass harmonica, the distinctive instrument that Mozart featured in his own last chamber piece, the Adagio and Rondo for glass harmonica, flute, oboe, viola and cello, K617. Mozart teamed the instrument with the quieter representatives from the wind and string families; Widmann places it against the whole orchestra.

Background. The creative life of Ludwig Spohr (1784–1859) coincides with at least three historically-cultural periods: Late-Classical, Romantic and LateRomantic, thus creating a straight line from Classical works of XVIII century to those of the middle of XIX century. First works by Spohr having opus number chronologically coincide with the beginning of Beethoven’s central period of life, and in this light, he is rather seen as heir of pre-Beethoven generation of composers. But, having outlived the last Viennese Classicist by 32 years, Spohr assimilated both his experience and innovations of the new generation of musicians, his junior contemporaries. In spite of the fact that Spohr wasn’t inclined to radical innovations, unlike his coeval Weber, he became one of the first harbinger of the new music. Yet we should note that situation of drastic change of musical culture, in which the composer was brought up, programmed his lifestyle and general direction of his creativity. Moreover, “intersection of times” defined contradictions in Spohr’s legacy, that hitherto hurdle his unambiguous evaluation. Literature review. It would be unfair to state that name of Spohr doesn’ figure in musicologists’ researches at all. Although one has to admit that while in Western musicology a certain tradition of studying his creative life has been established, in Soviet and post-Soviet scientific area creativity of Spohr hasn’t ever become on object of separate dissection, with a single exception of Raaben’s essay (Raaben, 1967). But even in this work Spohr only listed alongside with other musicians, but not as a self-sufficient phenomenon. Scattered facts of Spohr’s creative life are incorporated into brief outlines of his works or spheres of activity, created by M. Cherkashyna (1998), N. Antipova (2007), V. Ferman (1961), V. Pluzhnikov (2006). Researches are actively trying to reveal diverse connections between Spohr and the past of the musical culture: his “Mozartness” (Heussner, 1957), efforts to revive music by Bach, Handel and other masters of the past (Homburg, 1958; 1960). Much less attention is drawn to historical typology of Spohr’s legacy, to his place in the spacetime of music. H. Riemann (1961) regards him as a Romantic composer, having more in common with Shubert and Mendelssohn than with Weber, Schumann and Marschner. K. Huschke (1939) notes his soft, elegiac and lofty feelings, beauty of the melodies, his nobility in stark contrast with Weber’s art founded in folk intonations, although claiming both of them to be German in spirit. Although wholistic image of Spohr in research literature, unfortunately, has not been created yet. The aim of this paper is an attempt to present complex creative personality of Spohr, comprised of the opposite constituents, as a whole. Results. On the verge of XVIII–XIX centuries even tradition, that is one of the most profound and fundamental factors of culturally-historical process, is subjected to reconsideration. For Spohr, tradition means mainly possessing skills, professionality. Spohr endeavoured mastership in every single thing he did: practicing violin 10 hours daily, polishing his Kapellmeister art, or embodying appearing musical ideas in his compositions. It was rather predictable that he had become one of the most prominent pedagogues of XIX century, progenitor of violin school and glorious Violinschule. According to the tradition dating back to the Baroque era, Spohr reveals a tendency towards inventio: both in the terms of technology (invention of a chinrest) and in creativity. In the latter case inherited meets modern. Spohr precisely formulates artistic ideas appearing to him thus becoming one of their generators. Spohr’s attitude to tradition can be understood through his favouring of musical classics as vivid reality. Almost all scholars of his legacy unanimously agree that he had enormous adoration of Mozart during all his life. One may say that in mind of Spohr two different approaches to tradition overlap: from the standpoint of XVIII century (when it was regarded as a continuity of knowledge, well-developed skills, order) and from the vantage of XIX century (as an object of reconsideration, adaptation in the context of new stylistic system and Romantic worldview). Not only did ambiguous approach to the tradition defined his art, but also affected societal, political views, spheres of activity and personal traits. Conclusions. Observations on creative life of Spohr allow to demonstrate paradoxes of his personality. He was simultaneously a court musician and a “free artist”; a proponent of musical past and critic of the modernity – and its indefatigable champion as opera Kapellmeister and as symphonic and concert conductor; performer-virtuoso – and serious, ruminant creator of large-scale oratorios, operas and symphonic conceptions; advocate for normativity in art – and pioneer in many respects, – these are pairs-oppositions defining the image of Spohr’s personality.

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.

The Museum of 2000 years of German-Jewish History in Berlin, designed in 1989 by Daniela Libeskind, an architect of Polish origins, was to make a powerful reference to the Holocaust as well. Using an underground passage, the architect connected the existing Baroque edifice of the Kollegienhaus in Kreuzberg’s Lindenstrasse, with the building created to his design (the so-called Abteilung). The external form of the buildings is a steel, flat-topped structure, composed of cubical blocks, irregular and marked by incisive edges. Inside, this zig-zagging building was intersected by a straight structure, 4.5 m wide, 27 m high and 150 long, which runs interruptedly along the main axis. The resulting empty spaces, extending from the ground floor to the roof, are tightly isolated from the remaining sections of the edifice. The analysis conducted by the author targets the comparison of that structure of the Void with the Freudian notion of the Unheimlich (uncanny). The comparison was made in a conversation with Libeskind by the originator of the theory of deconstruction, Jacques Derrida. Unheimlich is a psychological notion, which in this case denotes “secret”, “hidden” Jewishness, which instead of remaining an “internally closed” aspect is manifested as a characteristic, “negative” reflection. The term, entangled in the context of architectural theory as well as in the notion of anti-monument, represents a starting point in considering the contemporary condition of German culture, where that Void /unheimlich is a constant, “burdensome” echo of the Holocaust.

Many attempts have been made to describe the life, fame and fate of the great German Luthe- ran pastor, preacher, theologian, humanist, poet, composer of well-known church songs and social activist, Valerius Herberger (1562-1627), who lived and worked in the Polish royal city Wschowa. The excellence of this gure has been proved by ample theological and homiletic works published in print. This article depicts the richness of both Herberger as a person and his works by making references to as many as ten bynames given to him. The rst three of them were coined by drawing an analogy to the father of the Reformation, Martin Luther, namely „the little Luther”, „the other Luther”, „the Polish Luther”. In two other epithets: „evangelical Abraham a Sancta Clara” and „the other Ignatius Loyola” Herberger was compared respectively to two gures well-known in the Catholic world, that is to an Augustinian Friar Abraham a Sancta Clara, one of the most famous, early baroque preachers, and to Ignatius Loyola, the founder of the Jesuits. The remaining ve bynames refer directly to Herberger’s performance as a preacher and a pastoral worker, that is: „Preacher of Jesus”, „Lover of Jesus”, „Preacher of the Heart”, „Warden of Hearts” and „Pastor of the Plague”. All those epithets pose a constant challenge to successive generations of preachers, theologians, priests, Catholic writers and social activists to become if not another Herberger, at least a little Herberger.

The article deals with the impact of the English theatre director Edward Gordon Craig’s innovations in the dance theatre of the end of the 20th to the beginning of the 21st century. We consider one of Craig’s earliest performances in the opera “Dido and Aeneas” by the well-known English composer of the 17th century Henry Purcell., This was first staged in 1900 in London, and we focus on the selected methods and techniques associated with the reforming of theatre language, which were used by choreographers, such as the American Mark Morris and the German Sasha Waltz several decades later. Dance-operas by Morris (staged in 1989 in Belgium), and by Waltz (staged in 2005 in Berlin), despite their completely different approaches to the material, undoubtedly used Craig’s inventions, consciously or unconsciously entering into a dialogue with his experimental performance. Both Morris’s minimalism and Waltz’s baroque abundance stem from English director’s work, although the choreographers do not refer to it directly, since Craig’s innovations have become an inalienable part of theatrical practice in the 20th century. Comparative analysis allows us to discover how the English director’s ideas aimed at the creation of a theatre based on such components as motion, line, colour and rhythm and of a powerful affect on the audience, similar to how it was in ancient theatre, and how this was successfully realized in the work of postmodern choreographers. Special attention is paid to the stage design of performances and to the formation of a visual image and atmosphere of the performance

Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realization of natively national cultural meanings in “Album for the Young” op. 68 in his late works (S. Grokhotov; 2006). The content of given above and other modern researches allows to reconsider still unfortunately widely accepted conception of a “twilight” of Schumann’s genius in the last years of his creative life (D. Zhytomirskiy) and to re-evaluate all the works created by the composer in that time. In the given article, one of them is studied, “3 Piano Sonatas for the Young” op. 118, one of the last among them. This choice is effectuated by two main reasons: by op. 118 being an example of “children music” of R. Schuman, that adds additional marks to the portrait of composer, taking a journey through happy pages of his life, preceding its tragic ending; and by possibilities to study typically “Schumannesque” on this example in constantly changing artistic world of German Romantic, who was on the verge of radical changes in national art of second half of XIX century. In order to conduct a research, the following methods of studying of musical phenomena are used: historical, evolutional, genetic, genre and typological, compositional and dramaturgic, comparative. Regarded through the prism of traditions, Sonatas for the Young reveal simultaneous interjections of contained ideas both with musical past, practice of national culture, including modern one, and with author’s own experience. Dedicating every Sonata to one of his own daughters, R. Schumann continues tradition of addressing his works, a tradition, that in fact has never been interrupted. As one can judge by R. Schumann’s dedications, as a rule, they mask an idea of musical portrait. The First Piano sonata op. 11, 6 Studies in canon form op. 56, Andantino from Piano sonata op. 22 are cited (the last one – according to observation of K. Zhabinskiy). The order of the Sonatas for the Young has clear didactic purpose, as if they were mastered by a child consecutively through different phases of learning piano, that gives this triad a feeling of movement towards general goal and makes it possible to perceive op. 118 as a macrocycle. Another type of cyclization, revealed in this article, discloses legacy of works like suites and variations, created by R. Schumann in 1830s, a legacy effectuated in usage of different variative and variant principles of creating the form on different levels of structure. For example, all the movements of the First sonata are bound with motto, consisting of 4 sounds, that allows to regard this cycle simultaneously as sonata and as variations, and if we take into consideration type of images used, we can add a suite cycle to these principles. In a manner, similar to “Carnival” and “Concerto Without the Orchestra”, author’s “explanation” of constructive logic lays within the composition, in the second movement (“Theme and Variations”). To end this list, the Finale of the Third Sonata for the Young contains a reminiscence of the themes from previous Sonatas, that in some way evokes “Children’s scenes” op. 15 (1838). Suite-like traits of Sonata cycles in the triad op. 118 can also be seen in usage of different-leveled titles, indicating: tempi (“Allegro”, “Andante”), programme image (“The Evening Song”, “The Dream of a Child”) or type of musical form (“Canon”), that underscores a bound of Sonatas for the Young with R. Schumann’s cycles of programme miniatures. In addition to that, a set of piecesmovements refl ects tendency of “late Schumann” to mix different historical and cultural traditions, overcoming the limits of autoretrospection. Tempo markings of movements used as their titles allows to regard them predominately as indications of emotional and imagery content, that resembles a tradition of composer’s practice of 17th – 18th centuries. “Allegro” as a title is also regarded as an announcement of the beginning of the Sonata cycle, and that especially matters for the fi rst Sonata, that, contrary to the Second and Third, is opened not with sonata form, but with three-part reprise form. Of no less signifi cance is appearance of canon in “children” composition with respective title, a canon simultaneously referring to the music of Baroque epoch and being one of obligatory means of form-creating, that young pianist is to master. The same can be addressed to the genre of sonata. Coming from the times of Viennese Classicism, it is preserved as the active of present-day artistic horizon, required from those in the stage of apprenticeship, that means sonata belongs to the present time. For R. Schumann himself, “child” triad op. 118 at the same time meant a return to the genre of Piano sonata, that he hadn’t used after his experiments of 1830s, that can also be regarded as an autoretrospection. Comparative analysis of Sonatas for the Young and “Big Romantic” sonatas, given in the current research, allowed to demonstrate organic unity of R. Schumann’s style, simultaneously showing a distance separating the works of composer, belonging to the different stage of his creative evolution. Created in the atmosphere of “home” routine, dedicated to R. Schumann’s daughters, including scenes from everyday life as well as “grown-up” movements, Three Sonatas for the Young op. 118 embody typical features of Biedermeier culture, a bound with which can be felt in the last works of composer rather distinctly. The conclusion is drawn that domain of “children” music of the author because of its didactic purpose refl ects stylistic features of “late Schumann”, especially of his last years, in crystallized form.

The studies on book culture and the functioning of various libraries have been present in academic circle for many decades. For obvious reasons the interest in books among the illustrious members of Radziwiłł magnate family as well as their scope of activity as the patrons of culture have been analyzed by historians. In the context, the history of the famous Radziwiłł library in Nesvizh can be considered as a separate research topic. This magnificent collection was confiscated after the first partition of Polish-Lithuanian Commonwealth (1772) by order of Empress Catherine the Great. Some 15.000 volumes were transported to Saint Petersburg and offered to the Russian Academy of Sciences and Fine Arts (later Russian Academy of Sciences).Nicolas Radziwiłł the Black (1515–1565) is considered to be the founder of the Nesvizh library; however, its full development can be dated back to the time of Nicholas Christopher Radziwiłł “the Orphan” (1549–1616), who rebuilt the ducal palace and organized a library in one of the specially adopted rooms. The Nesvizh collection has been enriched by numerous donations, including that of cardinal and bishop of Vilnius George Radziwiłł (1556–1600), Sigismund Charles Radziwiłł (1591–1642), and many other members ofthe family.The presented catalogue was compiled under the request of Duke Alexander Louis Radziwiłł. This magnate, born in 1594 as a son of Nicolas Christopher Radziwiłł and Elisabeth Eufemia née Wiśniowiecka, received a most privileged education. In 1610 he began his studies in Germany then traveled throughout Germany, France and Italy. He returned to the Polish-Lithuanian Commonwealth by the end of 1620, but in 1624 he left for Italy again, this time in the company of Prince Vladislas Vasa. In summer 1625 he again returned to the Polish-Lithuanian Commonwealth, but soon was totally immersed in political life. Thanks to family connections he advanced his career very fast, becoming in the court marshal of Lithuania in 1635, and grand marshal of Lithuania only two years later. In December 1652 he went to Italy again and died in Bologna March 30, 1654. The manuscript catalogue of the library of Alexander Louis Radziwiłł is currently preserved in the Kórnicka Library of the Polish Academy of Sciences (Ms BK 1320). It contains of two parts. The first of them (f. 1–25r), compiled according to subjects, was written down in April 1651, then second one (f. 26r–46v), compiled alphabetically – in May and June this year. The catalogues are not identical. The first part, divided into classes, is more comprehensive than the second one (alphabetical). The catalogue was composed by John Hanowicz, mayor of Nesvezh. The manuscript has been marked with the ex-libris of the Radziwiłł library (Ex Bibliotheca Radivilliana Ducali Nesvisiensi) and pressmark (Loc. X, No 17). Hanowicz did not state usually the information about the place and year of publication, which makes the precise identification of the books very difficult. Therefore, one can only predict the exact number of the books (and volumes) preserved in the Nesvezh library at that time. It also happened that Hanowicz stated a title of this same book in both versions: once in the original Latin version and then in (abbreviated) Polish form. Among items included the catalogue one can also find manuscripts, maps, drawings and landed estate documents. Most the books were bound with white or red leather, less frequently with green, cherish, orange or red colored leather, and seldom with morocco leather or paper. The bibliographical descriptions provided in the footnotes should be considered only as suggestions, for only direct analysis of a given book (in visu) allows one to identify and link a book with the Radziwiłł Library. Some of the most precious books were kept in the castle treasury. The Nesvizh collections included also musical pieces, e.g. the libretto (?) of the first opera – Il ratto di Helena – performed on September 4th, 1636, in the theater of the lower ducal castle in Vilnius. The music of the famous opera was composed by an anonymous author, but the libretto was produced by Virgilio Puccitelli.The significance of the magnate families (e.g. that of the Radziwiłłs or the Sapiehas) as promoters and patrons of fine arts and literature was enormous and hard to over-estimate in the history of Grand Duchy of Lithuania. A further and detailed study on the content of the Nesvizh library of Duke Alexander Louis Radziwiłł in 1651 gives one the opportunity to present in full and broad contexts a truly European library collection of Baroque culture in the Grand Duchy of Lithuania.

The objectives of the research. The article is devoted to the study of the main parameters of the Marian theme embodiment in the art of music, with highlighting the aspects of history and genre stylistics. It is noted that the choice of the topic is related to the study of the works by the Kharkiv composer of Polish origin Konstanty Antoni Gorski, who worked in Kharkiv for many years (1880–1910) and belongs to the founders of his academic musical culture. The article lays the methodological basis for studying interpretation of the Marian theme in the works by this author, for that the analysis of the relevant sources (theological, musicological, etc.) has been carried out to derive the genre-stylistic classifications for this phenomenon (confessional, genre, national classifications). The results of the study. It is noted that the Marian theme in music can be classified as one of its central themes. This is due to the general ethical and natural content of the European music of the academic layer, which itself, as it is known, originated from the Church music and retained the features of high contemplation inherent in the cult genres, which determined the prospect line for the subsequent development of the Christian world music. The study emphasizes that the image of the Blessed Virgin Mary acts as a part and an important component of the New Testament, where two her main hypostases are presented. The Virgin Mary is honored and praised, firstly, as the Mother of the Son of God, who experienced suffering with him for the good of humanity, and secondly, as the intercessor and guardian of people who believe in her divine power and destiny. Here, the two interpretations of the Blessed Virgin’s image should be borne in mind, which are implemented at the confessional level – in the Catholic and Orthodox liturgical service. The whole branch of knowledge, called Mariology, is devoted to the study of these issues in the European theology and art history. The musical aspects of this field, presented in the monograph by O. Nemkova (2013), are closely related to religious teachings, as well as to their secular reflection at the level of the genre, style and stylistics of the musical works. The musical interpretation of the Blessed Virgin’s image, coming from Catholicism is based on the postulates of Her Divine destiny, which is reflected in the canonical texts in Latin, among which two main ones stand out – “Stabat Mater” and “Salve Regina”. These texts are realized in the cantata genre, the basis of which is the style of da chiesa, that is, the concerto itself in the church that accompanies the service in honor of Virgin Mary. The latter takes place in such holidays: Conception of Mary by Her mother Anna, Nativity of Mary, Presentation of Mary, Annunciation, Dormition of the Mother of God. The prayer “Ave Maria” is also very popular, and it has become for many European authors the basis of both applied religious and secular works, an example of which is the music of Early Baroque, Romanticism and Modern times. The secularization processes that began in the music of the Christian world on the turn of the Late Renaissance and Baroque (the watershed here is the 1600 year, the official year of the opera genre birth), called to life two groups of works on Marian themes: 1) the compositions nearby to the canonical original, as a rule, Latin texts (they were distributed among Catholics by religion and in Catholic countries); 2) the works modified, based on translations and free narrations of canonical texts given in the national languages and in suitable stylistics of one or another national culture (this is characteristic of Protestantism, as well as of Orthodoxy). There is also a deep line of interpretation of the Blessed Virgin’s image, personifying the eternal idea of motherhood and femininity, which is equally characteristic of many national musical cultures, in particular, the non-religious wave that manifested itself in Slavic music, first at the turn of the 19th – 20th centuries, and then – during the last two decades of the 20th century. It is noted that Gorski, remaining a devout Catholic by the nature of his activity in such interfaith cultural center as Kharkiv in the late 19th – the first two decades of the 20th centuries, embodied in his work the traditions and demands coming from the Polish (Catholic) as well as the Ukrainian (Orthodox) and French and German (Lutheran, Protestant) musical cultures. On this basis, three of his opuses devoted to Virgin Mary arose: the Catholic cantata “Salve Regina” (for voice, violin and organ), the concerto-cantata in French “Salutation a la Sainte Vierge” (for soprano accompanied by choir, organ, string quintet and two French horns), and the choral concerto for the Orthodox mixed choir “Zriaszcze mia bezglasna” on the Old Slavonic text. Each of these works is a special genre form, with which Gorski works as with a standard model equipped with a lexical layer of a certain musical stylistics, primarily national. The Polish song and romanza sources are traced in the first of the works, along with the obvious influence of the opera arias. In the cantata on the French text, echoes of not only opera scenes are heard, but also the elements of the programme music, story-telling, characteristic of French musical style. Finally, the Orthodox choral Concerto on the Old Slavonic text demonstrates the typical genre of the Ukrainian music – the large form intended for collective choral performance that was the equivalent of a symphony in the Western European musical culture. Conclusion. It is proved that, guided by the world experience, Konstanty Antoni Gorski embodies all these models in three Marian works – the canonical church cantata, the larger-scale secular cantata, the a cappella choral concerto, while remaining a composer with original and unique intonational thinking. Gorski in these three compositions appears as a neoclassic, subordinating the original genres to his own creative intentions, which makes the music of these compositions comprehensible and accessible to a wide audience. It was that for the purpose to popularize the opuses by Gorski this article has been written.

In summer 1931 a correspondence between Carl Nielsen and the German author Hans Henny Jahnn (1894-1959) started. Jahnn was organ builder and publisher of music in unison. He knew the 29 little preludes and the Commotio op. 58 for organ, Nielsen had sent him. He was willing to publish them for Germany. Because of Nielsen’s death at the beginning of October 1931 this plan failed. Jahnn, as an organ builder one of the masterminds of german organ movement and an expert in organ music of the baroque, refused to accept any other contemporary composers than Strawinsky and Nielsen. Likely because of their close relationship to baroque compositions. Therefore Nielsen would have been the only contemporary in Jahnns publishing programme – besides masters of the baroque. Jahnn was fascinated by Nielsen’s anti-romantic position, which used to be also an essential part of the organ movement. For that reason it’s natural to compare Nielsens 29 little preludes, published in Copenhagen in 1930, to commensurable works of younger composers in conjunction with the organ movement. Good examples are the Kleine Orgelchoral-Bearbeitungen op. 8/3 (1938) by Hugo Distler (1908-1942) and the Kleine Orgelbuch (1941) by Ernst Pepping (1901-1981). In spite of the fact that their personal style is very different, there are interesting congruities to be found in their works: strong composition of form, transparent and reverts partially to modal elements. These correspondences testify in no case an influence on another. It’s rather an example for a kind of climate that crosses/oversteps borders – this kind of climate that includes as well the organ movement and the composers close to it.

In 1891, squire Viggo de Neergaard (1837–1915) from Fuglsang on Lolland and hisyoung wife Bodil (1867–1959), who was the daughter of composer Emil Hartmannand granddaughter of J.P.E. Hartmann, met the German-Dutch composer, pianist andconductor Julius Röntgen (1855–1932) and his family on a trip in Norway. When theyparted, they agreed to visit one another in Amsterdam and at Fuglsang respectively.It was the start of a unique life of music at the manor on Lolland from the Röntgenfamily’s first visit the following year and up until Bodil Neergaard’s death as a widowin 1959. Almost every year up until the outbreak of the First World War in 1914, JuliusRöntgen along with this wife and children, who were all musicians, spent the month ofAugust at Fuglsang, where he was the driving force in a cornucopia of house concerts.There was chamber music with a varied program every single evening. Julius Roentgenplanned “the season” as they called it before he left Holland and wrote programs eachyear for every single concert. These programs, which cover the years 1893, 1897–1914,1916, 1923, 1931, 1940, 1944, 1946–1958 and 1978, were recently found among thesurviving papers of presiding judge Fritz Michael Hartmann (1909–2000). In 2012they were donated to the Royal Danish Library by the Hartmann family. These programsprovide an excellent insight into what was played, and form the basis of thisarticle that covers the period from 1893 to 1931, which was the last time Julius Röntgenwas at Fuglsang before his death the following year. The music was performed partlyby the Röntgen family and partly by members of the Hartmann family and the otherguests, who came to Fuglsang during the summer. Among these were Carl Nielsen,who in 1906 performed his string quartet in F-major, opus 19 for the very first time atFuglsang. During these years, the program consisted of music by 113 different composers,music ranging from Baroque and up to what at the time was contemporarymusic. Because even though the main emphasis was on music by the classics, especiallyBeethoven, 47 of the composers were still alive at the time of performance.

ABSTRACTSuite as a musical form was composed by many Baroque composers. It was built and based on dances which is popular in the Renaissance or Baroque eras. This paper tries to understand the way composers adapt one form of art to another form, that is from dance to music, which is widely known as ecranisation. To grasp it in depth, this paper firstly describes what dance musics consist in suite. Secondly, it describes the dances which form the dance music. To make it clear, it also describes the essence of dance that makes it possible the transformation from dance to music. The result shows that the transformation does happen because of the abstract essence in dance was transformed into notes in music. This process is revealed by using the method of phenomenology of Maurice Merleau- Ponty.Keywords: music, dance, suite, ecranisation, inspiration, transformation, movement, noteABSTRAKMusik suita yang banyak digubah pada era musik Barok dibangun dari sejumlah gerakan musik yang berasal-usul dari tari-tari yang populer di era Renaisans/ Barok. Tulisan ini berusaha memahami bagaimana komponis mengalihwahanakan seni yang ada: dari tari ke musik. Untuk memahami kejadian itu, penulis memaparkan gerakan musik apa saja yang terdapat di dalam suita, setelah itu dipaparkan tari-tari yang menjadi sumber inspirasi komponis. Setelah didapatkan gambaran lengkap mengenai musik dan tari yang relevan, perlulah dipahami apa yang terdapat di dalam tari sehingga bisa diserap oleh komponis untuk kemudian dikeluarkan kembali dalam bentuk musik. Dari paparan itu terlihatlah bahwa transformasi dari tari ke musik hanya mungkin karena adanya transformasi gagasan abstrak yang terdapat di dalam tari untuk kemudian diekspresikan dalam bentuk nada-nada, dan hal itu semua hanya bisa dipahami dengan menggunakan metode fenomenologi dari Maurice Merleau-Ponty.Kata kunci: musik, tari, suita, alih wahana, inspirasi, transformasi, gerakan, nada

In the 16th and at the beginning of the 17th century, church and secular, vocal as well as instrumental music was present in Slovenia and in the Duchy of Carniola. We can see this on the basis of material provided during the first decade of the 17th century, i.e. immediately before the first procession of the Škofja Loka Passion play (1721). Among the composers we can mention Tomaž Hren and the Ljubljana Jesuits, although we do not know of any composer at the beginning of the 17th century who may have been anchored as a creator at home. Yet we can find them among emigrants: Gabriel Plavec Carniolus (Plautz, Plautzius) in Mainz/Germany (1641), Daniel Lagkhner from Maribor/Slovenia (in Loosdorf/Austria; 1607) and Isaac Posch (in Carinthia). He died in 1621 or 1622 and he was known above all for the variation suite. Plavec and Lagkhner made the transition from the Late Renaissance to the Early Baroque, while Posch explicitly by the monody, i.e. in the early Baroque. The music and the musicians mentioned above were important in this period of more than one hundred years, even if not always and everywhere alike. The music grew from humble beginnings and, within the Slovenian territory, did not diverge from all which was modern west of the Slovenian ethnic borders.

The article examines the groundbreaking work of the German flutist, oboist, educator, composer and conductor Johann Joachim Quantz (in particular, The Experience of Instructions for Playing the Transverse Flute, Berlin, 1752), which provides a theoretical understanding of important aspects of the instrumental culture of the Baroque era. J.J. Quantz's arguments about the orchestra, formulated in the treatise, not only allow to form ideas about the types of performing groups of the Baroque period, but also reflect the aesthetics of ideas about the optimum of orchestral writing, acoustic, timbre and dramaturgical patterns of orchestral groups and textured layers. Even taking into account the personal creative priorities of the composer-performer, on the examples of concerts for solo woodwinds (two flutes and flute and oboe) from his own creative work you can get an idea of the use of small orchestral composition in the contemporary compositional and performing tradition. musician baroque instruments. It is obvious that the orchestra is interpreted as a means of accompaniment to soloists, taking on leading functions only in short episodes of introductions to individual thematic constructions, orchestral connections in caesuras of solo parts or final cadence constructions of individual parts. The main functions of the orchestra's voices are clearly divided, depending on the drama of the deployment and the ratio of the soloists' parts, accompanying them or duplicating them in the function of ripieno. The accompaniment can be interpreted as basso continuo, as a complementary chord complex of middle voices or as an interval duplication of close instruments in terms of tenure and timbre.

The article discusses Johann Kuhnau’s fourth keyboard sonata, Der todtkranke und wieder gesunde Hiskias (The Mortally Ill and Then Restored Hezekiah), from his last volume of six keyboard sonatas published in Leipzig in 1700, known popularly as “Biblical Sonatas.” Titled as Musicalische Vorstellung einiger biblischer Historien (Musical Representation of Several Biblical Stories), the set presents a remarkably thorough and detailed musical depiction of selected scenes from the Old Testament. This is also a rare collection of keyboard music to provide a detailed narrative commentary, consisting of verbal synopses of selected stories in German, which preface each sonata, and commentaries in Italian written into notation, which underline portrayed situations, events and affections. To examine the plot-based narrative underlying the storyline of this particular sonata, some authentic discourses have been taken into consideration for analytical purposes. These included the composer’s foreword to the collection of his “Biblical Sonatas,” synopsis of the story depicted in the fourth sonata, and a comprehensive theory of musical rhetoric and the doctrine of the affections found in various 17th and 18th century sources. In this article, the author specifies distinct musical-rhetorical figures that resemble (by analogy) or refer to certain extra-musical objects or phenomena and serve as vehicles for creating different moods and establishing the atmosphere. Depending on which narrative element – action or affections – is brought into focus in each of the six sonatas, the author distinguishes between two types of sonatas, namely ‘action sonatas’ and ‘affective sonatas.’ Affections and shifts in mood experienced by Hezekiah make an important narrative element in the storyline of the fourth sonata. Hence this particular sonata falls under the category of ‘affective sonatas.’ The analysis of this sonata revealed that the narrative is constructed therein in several layers. Firstly, there is a verbal layer: to depict the story in detail and with much consistency, the composer thought it necessary to accompany notation with the synopsis of the story and verbal commentaries. Moreover, quotations from the Protestant chorale Ach Herr mich armen Sünder (Ah Lord, poor sinner that I am) imply verbal connotations of their verses. Secondly, it contains a musical-affective layer: musical devices (such as musical-rhetorical figures, key, rhythm, metre, and the like) are employed there to convey the indicated affections, such as wailing (lamento) or, in other words, sorrow, confidence (confidenza) and joy (allegrezza). The author observes that many compositional choices made by Kuhnau adhere to the standard methods of expressing affects as they were defined in the Baroque treatises. Thirdly, there is an associative layer: certain fragments and elements resemble (by analogy) and refer to extra-musical objects and/or phenomena, such as Belshazzar’s face turning pale and his limbs trembling in terror, the sesquialtera ratio (3:2), which symbolizes the numerical proportion of steps on Ahaz’s sundial and the years of Hezekiah’s life. The alternating musical textures, normally associated with sadness (adagio) and merriment (allegro), can be also mentioned as a characteristic narrative feature in this sonata. Although Kuhnau claimed to have depicted Biblical stories according to his own imagination, the analysis revealed that his writing in this sonata does not veer away from the typical musical vocabulary of the Baroque era, which nowadays requires a more sensitive ear and keener insight into compositional conventions of the period.