Journal articles on the topic 'Piano music 19th century'
To see the other types of publications on this topic, follow the link: Piano music 19th century.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Piano music 19th century.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Cha, Hosung. "A Study on Intermezzo in 19th-century Piano music." Music Theory Forum 22, no. 2 (December 31, 2015): 57–80. http://dx.doi.org/10.15571/mtf.2015.22.2.57.
Full text
2
Cha, Hosung. "A Study on Intermezzo in 19th-century Piano music." Yonsei Music Research 22, no. 2 (December 31, 2015): 57–80. http://dx.doi.org/10.16940/ymr.2015.12.57.
Full text
3
Tudor, Brînduşa. "The Piano, A Perfect Musical Instrument – Beginnings and Evolution (18th – 19th Centuries)." Review of Artistic Education 17, no. 1 (March 1, 2019): 100–105. http://dx.doi.org/10.2478/rae-2019-0010.
Full textAbstract:
Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.
4
Atlas, Raphael. "Spelling in early 19th‐century piano music: A guide to performance." Journal of Musicological Research 10, no. 3-4 (December 1990): 199–237. http://dx.doi.org/10.1080/01411899108574635.
Full text
5
Glushkova, Svetlana. "PIANO WORKS OF THE POLTAVA COMPOSERS IN THE EDUCATIONAL REPERTOIRE OF THE MUSICAL INSTRUMENT." Aesthetics and Ethics of Pedagogical Action, no. 18 (September 9, 2018): 123–33. http://dx.doi.org/10.33989/2226-4051.2018.18.176330.
Full textAbstract:
The question of the formation of personality and professionalism of the future music teacher with national repertoire is analyzed. Peculiarities of development of musical art of different periods of the 19th-20th centuries are characterized. National educational value of piano works of Ukrainian national school of composers XІX – XX century; their didactic and cognitive potential reasonably allows you to include them, along with the works of Western European and Russian composers, into learning repertoire of students of music of higher educational institutions. Significant creative achievements, active educational activities of well-known and little-known figures of Ukrainian national composer school of Poltava region from the beginning of the 19th and the middle of the 20th century – A. Yedlychki, M. Lysenko, P. Shchurovsky, M. Kolachevsky, L. Lisovsky, S. Shevchenko is highlighted. Inclusion of their piano works in the modern educational repertoire of students of higher pedagogical educational institutions in the mastering of «Musical Instrument» course is considered. Their piano pieces are played in concerts, exams, performances. Study of the musical repertoire of the Ukrainian composers of Poltava region, understanding the characteristics of its various genres, creates ample opportunity for spiritual formation of the future music teachers.
6
Kokanović Marković, Marijana. "Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 120–33. http://dx.doi.org/10.31318/2522-4190.2022.133.257328.
Full textAbstract:
As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it was quadrilles and cotillions that enjoyed special popularity. On the other hand, in the young Principality of Serbia, the organisation of the balls began in the 1860’s, both at the prince’s court and in better hotels in Belgrade. In the 1860’s, the ball season in Belgrade was opened by Prince Mihailo Obrenović. The dancing repertoire included Serbian folk and civil dances, as well as modern European dances. Following the example of larger European cities, a trend of dancing in salons was as well widespread among the Serbs. Socialising could spontaneously grow into dancing, and sometimes dancing was the expected grand finale of the evening. In salons one could dance for family entertainment, without guests. In court and civil salons in Belgrade, the gatherings, almost as a rule, ended with dancing of popular international and Serbian folk dances. International salon dances make up about a third of the salon music repertoire for piano. The polka is one of the most frequent international dancing genres in the Serbian piano music of the 19th century. Besides the polka, there are other subtypes of this dance: the polka-mazurka, the polka française, the schnell polka, the polka tremblante, the galopp polka, the polka valse and the polka caprice. After the polka, the waltz is the most frequent international dance genre in the Serbian piano music. Besides the waltzes originally written for the orchestra, numerous waltzes were composed for the piano. The popularity of quadrilles in ballrooms is also reflected in the albums of salon music for the piano. This dance genre, which was composed in a potpourri manner, was especially suitable for having the melodies of popular folk and civil songs arranged in it. While in the first half of the 19th century melodies in the quadrilles were either transcribed from popular operettas or operas, or were originally written by composers, in the second half of the century composers mostly resorted to melodies of Serbian or Slavic folk and civil songs. In the second half of the 19th century, Serbian folk dances, such as kolos, took over the ballrooms and the albums of salon music alike. The approval of the Serbian identity was sought in the kolo, and the emphasis on national characteristics through music was politically dominant in the 19th century.
7
Nagode, Aleš. "Benjamin Ipavec‘s Solo Songs on German Texts: Slovenian Patriot to German Muse." Musicological Annual 54, no. 1 (June 29, 2018): 23–30. http://dx.doi.org/10.4312/mz.54.1.23-30.
Full textAbstract:
Benjamin Ipavec is deemed to be the key composer of Slovenian nationalistic movement in the 19th Century. But he also composed solo songs with piano accompaniment on German texts. He is typical representative of musical “biedermeier”. He attempted to achieve the synthesis of perfect form and profound emotional expression.
8
Ota, Mineo. "Bartók’s wrists and 19th-century performance practice: An essay on the historicity of piano technique." Studia Musicologica 53, no. 1-3 (September 1, 2012): 161–70. http://dx.doi.org/10.1556/smus.53.2012.1-3.12.
Full textAbstract:
Mária Comensoli, who studied under Bartók in the mid-1920s, reports that her teacher used “peculiar fingerings and peculiar wrist and arm technique.” Examining such comments and the recordings of the composer-pianist, it becomes clear that Bartók played the piano partly according to the 19th-century performance practice. He frequently played chords in arpeggio, even when there were no markings of arpeggio in the score, and he respected the tone color of each finger by relying on the technique of leaping. Contemporary documents suggest that one of Bartók’s technical advantages was the flexibility of his wrists. In Bartók’s case it may have been a fruit of a conscious training by István Thomán. The writings of the Liszt-pupil Thomán suggest that, like his master, he valued the “active” use of wrists, even though he basically supported the modern, “synthetic” piano technique propagated by Breithaupt, who consistently recommended the “passive” use of the wrists. It is likely that, through Thomán, Bartók learned many things from the 19th-century performance practice.
9
Roguska, Agnieszka. "Piano in the land of unsaid love – musical contexts of emotional lives of married female characters in Thomas Mann’s Buddenbrooks and Sándor Márai’s Embers." Notes Muzyczny 1, no. 15 (June 21, 2021): 125–39. http://dx.doi.org/10.5604/01.3001.0014.9693.
Full textAbstract:
In The Sorrows of Young Werther, an epistolary novel by J.W. Goethe, we can find a literary portrait of a beloved woman playing a keyboard instrument. This is the motif Adam Mickiewicz referred to in his Dziady, Part 4. Both texts describe unrequited love to a woman belonging to another man. Belles-lettres reflect repertoire issues – at the turn of the 19th century girls from a proper home performed simple pieces, often dances. Subsequent decades of the 19th century came with the development of piano methodics, and composers wrote pieces which today constitute part of concert canon, whereas the piano became the perfect musical tool. The plot of Thomas Mann’s Buddenbrooks is set in the second half of the 19th century. Music plays an important role in that novel. Mann depicts the problem of clashing views in the marriage of Thomas, who was fond of “pretty melodies”, and Gerda, a magnificent violin and piano player who performed ambitious compositions and showed no mercy in criticising her husband’s musical taste. An important motif is the appearance of a young officer who visits Gerda in order to perform chamber works together. Thomas fears the mysterious bond between his wife and the lieutenant on the one hand and people’s opinions on the other. The motif of music as a platform for communication between a man and a woman can also be found in the novel Embers by Sándor Márai. Here as well it is a connection unavailable to the husband of the main heroine. At the end of his life, Henri, Christine’s husband, refers to music as the “melodious and obscure language” which allows “certain people” to communicate. Both novels include the motif of the end of an era and death of the characters for whom music was extremely significant and who performed compositions of the highest artistic value. Texts by Mann and Márai reflect a decline of a certain stage in the history of culture. It is also the end of the typical ways how burgesses and aristocrats spent their leisure time, how they treated the sphere of emotions and communed with the widely understood art. The result of these changes is the dethronement of the piano, which no longer was one of the most important pieces of furniture in a drawing room nor the most important instrument – as it used to be in the 19th century culture.
10
Temperley, David. "The origins of syncopation in American popular music." Popular Music 40, no. 1 (February 2021): 18–41. http://dx.doi.org/10.1017/s0261143021000283.
Full textAbstract:
AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.
11
Radzetskaya, Olga V. "Educational and Methodical Literature for Piano in the Catalogues of Music Publishers of the Second Half of the 19th — Early 20th Century." Observatory of Culture 18, no. 6 (December 21, 2021): 628–37. http://dx.doi.org/10.25281/2072-3156-2021-18-6-628-637.
Full textAbstract:
In the second half of the 19th — early 20th century, the release of educational and methodical literature for piano showed significant circulation volumes and was primarily associated with the flourishing of the Russian performing school and the growing interest of the general population in the beautiful world of music. The foundation of the Imperial Russian Music Society in 1959, the opening of the St. Petersburg (1862) and Moscow (1866) conservatories largely determined the goals and objectives, as well as the repertoire concept of a number of leading Russian music publishers.Among them, the firm “P.I. Jurgenson” took a leading position in the production of educational and methodical literature for piano, along with other well-known producers such as “M. Bernard”, “A. Gutheil” and “V.V. Bessel and Co.” The catalogues of music publishers from the collections of the Russian State Library contain information about the structure and principles of forming special sections devoted to education, about the publication activities of individual authors, and their works in the field of piano pedagogy.Together, this material allows to create a primary idea of the volume of products intended for music schools of the country and to take cognizance that all major Russian publishing houses, with rare exceptions, collaborated with the Imperial Russian Music Society, not only in Moscow or St. Petersburg, but also in its provincial branches, honourably putting their names on the title pages of the catalogs. A characteristic feature is the issues devoted to piano literature, including playing schools, collections of exercises, pedagogical repertoire of various degrees of complexity, manuals, etc.The scale of this professional activity was a reflection of the important evolutionary processes taking place in the Russian musical culture of the second half of the 19th — early 20th century. That period in piano art and pedagogy indicated the need to consider historical, social, economic and other contexts that create the right research tone and volume.
12
Maszczyńska, Dominika. "Nannette and Johann Andreas Streicher - their role in shaping musical life in Vienna in the early 19th century." Notes Muzyczny 1, no. 13 (June 9, 2020): 49–80. http://dx.doi.org/10.5604/01.3001.0014.1937.
Full textAbstract:
Nannette and Andreas Streicher were important figures in the musical life of Vienna in the early 19th century. The article introduces their profiles, describes the history of their company, their social, cultural and teaching activity as well as different types of artistic activity. It also explains how keyboard instruments shaped sound and aesthetics-related piano ideals at the turn of the 19th century. The versatile activity of the Streichers, which first of all included instrument building, piano play- ing, composition, teaching and organisation of musical life, made a great contribution to Europe’s cultural heritage. We can notice their numerous connections with outstanding figures of musical life of that time, one that deserves particular attention is their acquaintance with Beethoven. Nannette Streicher was an extremely talented builder who not only coped with the typically masculine craft at that time, but she was also significantly successful in that field. Her instruments were popular, earning general recognition, and the innovative solutions introduced by her also influenced the work of other builders and further development of the piano. Their marriage became the basis for a very fruitful cooperation. Andreas’s numerous connections and his familiarity with the community became an important part of the activity of the company and contributed to its development. Nannette and Andreas shared their passion and passed it on to their son Johann Baptist, who successfully continued their piano making tradition and introduced further improvements, earning a great reputation as well. Social, cultural and teaching activities of the Streichers also played an important role in the musical life of Vienna. Andreas Streicher taught his students the secrets of piano technique and apart from that he shaped their musical and aesthetical awareness. His Kurze Bemerkungen are a valuable source of knowledge also for modern-time performers who can – thanks to this text – learn more about the piano playing aesthetics at the turn of the 19th century as well as a number of universal music and performance topics, which remain accurate to this day. Concerts organised in their house had an educational function too, on the one hand they shaped the tastes of music lovers and supported composers, allowing them to present their latest pieces, and on the other hand they contributed to the promotion of young performers for whom concerts there were often the first step leading towards Vienna’s professional musical stage. The development of the topic of the article in this issue of “Notes Muzyczny” is the trans- lation of the text by Andreas Streicher entitled: Some observations on the playing, tuning and maintenance of pianos built in Vienna by Nannette Streicher nee Stein.
13
Clark, Maribeth. "The Quadrille as Embodied Musical Experience in 19th-Century Paris." Journal of Musicology 19, no. 3 (2002): 503–26. http://dx.doi.org/10.1525/jm.2002.19.3.503.
Full textAbstract:
During the 1830s in Paris the quadrille, a five-movement figure dance, became musically omnipresent to the distress of many critics, who saw the genre as detrimental to French music and musical taste. Discussions of the dance in journalism and literature associate bourgeois women and girls and working-class men with promotion of the genre. As a figure dance with walking steps, the quadrille was enjoyed by respectable women who experienced it as a safe frame for civilized social interaction, although their male counterparts found the dance boring and uninviting. In contrast, working-class men were known for their engaging and energetic performances as cancanneurs, improvisatory dancers exhibiting a lack of control associated with political instability and revolution. Quadrilles were perceived to have a negative influence on musical education for girls, who resembled the cancanneurs in their mechanical and animalistic qualities, and who preferred quadrilles over more ambitious pieces for piano. More serious was the perceived damage that arrangements of operas as quadrilles inflicted on the original, reducing great works to the banal through simplification. By serving as an example of all that stands in opposition to art in French music, the quadrille contributed to the formulation of the concept of music as art.
14
Bashmakova, N. V., and K. V. Kravchenko. "CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)." Музикознавча думка Дніпропетровщини, no. 14 (January 21, 2019): 60–71. http://dx.doi.org/10.15421/221822.
Full textAbstract:
The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.
15
Gajdošíková, Jana. "European and Czech Salon Piano Music in the Second Half of the 19th Century." Musicologica Olomucensia 12, no. 1 (December 11, 2010): 95–100. http://dx.doi.org/10.5507/mo.2010.013.
Full text
16
Putri, Ni Made Ayu Dwara. "Karang Boma: Musical Composition Based on History, Painting and Kawi Dalang Art Creativity Theory." Jurnal Seni Musik 11, no. 1 (June 30, 2022): 86–91. http://dx.doi.org/10.15294/jsm.v11i1.54280.
Full textAbstract:
The emergence of experimental music is marked by the presence of the figure of John Cage in the 19th century which in music history is often referred to as the period of Modern Music. John Cage is a composer who is full of controversy because his works are experimental and out of the rules contained in music in previous eras such as baroque, classical and romantic eras. One of his most famous works is “4.33” this work is a piano piece complete with sheet music and performed live but the pianist does not play a single note, and only opens and closes the piano according to the direction of the sheet music. The presence of Cage's figure has inspired many people, especially myself. Inspired by experimental music composers, I decided to create a piece of music that combines music with Balinese painting called Karang Boma. This work will be realized in the form of sheet music and midi art. The method of creation used by the author in Karang Boma's musical works refers to the Panducita Subagaprana Theory, this theory is divided into four namely: Pandulame (imajination), Adicita (Idea), Subagalango (Art Compotition), and Pranayuga (External Trend/Tendency).
17
Yang, Fan, and Yu Shi. "Brief Analysis on the Present Situation and Future Development of Piano Education in China." Lifelong Education 9, no. 6 (September 28, 2020): 81. http://dx.doi.org/10.18282/le.v9i6.1305.
Full textAbstract:
Piano originated in Europe. It is a keyboard instrument invented by Italian Bartolomeo Cristofori in 1709, known as the king of musical instruments. It is often used in solo, accompaniment, ensemble and other performances. The piano came into China at the end of the 19th century and the beginning of the 20th century. At first, the appreciation and acceptance of the piano by Chinese people was not high. Later, foreign missionaries often used the piano in the church. As time went by, people’s acceptance of piano increased day by day. After the founding of new China, China’s pianists won many awards in international piano competitions. After the reform and opening up, China’s economy has developed rapidly, and it has also absorbed the culture from all over the world. More and more Chinese people begin to appreciate piano music and learn to play. Piano education has also entered the public’s vision. In higher education, many art colleges and universities have set up piano learning related courses. Piano is no longer a rare thing hundreds of years ago, but gradually integrated into Chinese culture. At present, China’s piano education has been orderly popularized, occupying a place in art education, but at the same time there are also some aspects worth thinking about the piano education in the cultivation of aesthetic and artistic accomplishment. From the current situation and development of China’s piano education this paper gives the corresponding countermeasures.
18
Utz, Christian. "Zur Poetik und Interpretation des offenen Schlusses." Die Musikforschung 73, no. 4 (September 22, 2021): 324–54. http://dx.doi.org/10.52412/mf.2020.h4.3.
Full textAbstract:
This article reviews the long historical process and changing significance of open endings in music from Haydn's mid-period symphonies of the 1760s to Helmut Lachenmann. Taking two case studies by Alban Berg (Lyric Suite, Wozzeck) as its starting point, the article demonstrates that open endings are often linked to ideas of cyclicity and the permanence of "objective time" as well as to a critique of social or political situations. Therefore, open endings challenge the aesthetic difference between the musical art-work and everyday experience, a tendency, that can be traced back to the emergence of self-reflexivity in early 19th-century music and aesthetics and even to Haydn's earlier listener-responsive musical writing. In later 19th-century and early 20th-century music, large-scale forms increasingly posed the problem of an inability to achieve closure. Further key examples elaborate the tendency of open endings toward musical self-reflexivity and the appearance of the composer-persona at the end of a cyclic work: Schubert's Der Leiermann from Winterreise, Schumann's Der Dichter spricht from Kinderszenen, Schoenberg's concluding piece from Six little Piano Pieces op. 19 as well as Lachenmann's "music with images" The Little Match-Girl. Finally, Schumann's and Schönberg's closing pieces are considered from the perspective of performance history and analysis, highlighting th performer's substantial impact on creating (or limiting) the impression of "openness".
19
Radzetskaya, Olga V. "Educational and Methodical Literature for the Clavier and Piano in the History of Russian Music Publishing of the Second Half of the 18th — Early 20th Century." Observatory of Culture 17, no. 6 (February 10, 2021): 657–68. http://dx.doi.org/10.25281/2072-3156-2020-17-6-657-668.
Full textAbstract:
The Russian piano school is a unique phenomenon in the global cultural space, a multifaceted and creative phenomenon, a source of creative insights and vivid interpretations. The history of Russian piano performance is deeply and comprehensively studied and is characterized by a wide semantic range. A special place in it is occupied by educational and methodical literature produced by major music publishers in Moscow and St. Petersburg during their formation and development.The appeal to this topic is connected with the need to create a primary idea of the activities of music publishers for the production of educational materials in the historical dynamics and perspective. This complex process can be perceived as a synthesis of European traditions and Russian experience — a multidimensional multifunctional landscape of the era, illustrative reflection of important events in the cultural life of the country.The specificity of the problem has an impressive demonstration volume. It includes the strategy and tactics of development of Russian music publishing companies, production of educational and scientific-methodical literature by Russian and foreign authors, stages in the development of piano art, increase in the production output, achievements of the Russian piano school and its unique pedagogical experience.“P. Jurgenson” company’s catalogues, stored in the Russian State library, reflect the trends and directions that were dominant in the educational literature for piano. They include well-established, tested methods of piano playing, collections of exercises, and anthologies that enriched the pedagogical repertoire with compositions to develop of the technical base of students and expand the arsenal of its expressive means. The study aims at a primary classification of “P. Jurgenson” publishing house’s educational resources recorded in its catalogues of the late 19th — early 20th century.
20
Popielska, Klaudia. "Sylwetka twórcza Aleksandra Zarzyckiego – zapomnianego kompozytora doby romantyzmu." Kwartalnik Młodych Muzykologów UJ, no. 46 (3) (2020): 23–39. http://dx.doi.org/10.4467/23537094kmmuj.20.010.12852.
Full textAbstract:
The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era The second half of the 19th century in the history of Polish music is a neglected period, both in the aspect of performance and the aspect of research on this music. Unfortunately, works of many composers from this period have been forgotten. One of such composers is undoubtedly Aleksander Zarzycki (1834–1895), a composer, teacher, virtuoso pianist; the author of over 40 opuses and the composer of many solo songs with piano accompaniment, which were often compared to the songs of Stanisław Moniuszko. Similarly to the most famous Polish composer of songs, Zarzycki created two songbooks that are part of the trend of egalitarian songs. He was also renowned for his short piano pieces, written in a salon style with virtuoso elements. One of his most famous works was the Mazurka in G major, which was popularised by the Spanish virtuoso violinist Pablo Sarasate. Also noteworthy is his Piano Concerto in A flat major Op. 17, referring to the Piano Concerto in A minor by Fryderyk Chopin and the Concerto in G minor by Józef Wieniawski. Zarzycki’s works are characteristic of his era, including references to folklore, national style, virtuosity and the socalled "Romantic mood".
21
Wu, Di. "A Study of Clara Schumann's Piano Music Performance, Composition and Teaching under the Feminist Movement." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 22–27. http://dx.doi.org/10.54097/ehss.v5i.2878.
Full textAbstract:
The music of female composers has long been little studied, and the importance attached to female composers is far less than that of male composers. However, there are many excellent female composers in the history of music development, such as Clara Schumann. The 19th century, when Clara lived in the West, was a time of great talent, and poetry, literature, and music all developed tremendously, and some of the great works that have been passed down to the next generation were basically written in that era, and their authors are also remembered. This is another reflection of how difficult it was for a woman to occupy a place under male domination. In contrast, female musicians were somewhat underappreciated, due to the gender inequalities that society had given them, and their talents were buried. Clara's achievements as a multi-tasker, performer, composer, and educator have led the music world to reexamine the role of women in music history.
22
Petri-Preis, Axel. "EMILY HOWARD'S LOVELACE TRILOGY: A MUSICAL HOMAGE TO A MATHEMATICAL PIONEER." Tempo 67, no. 265 (July 2013): 28–36. http://dx.doi.org/10.1017/s0040298213000442.
Full textAbstract:
AbstractWithAda Sketches, for mezzo-soprano, flute, clarinet and percussion,Mesmerism, for solo piano and chamber orchestra, andCalculus of the Nervous System, for large orchestra, in 2011 the young British composer Emily Howard completed a triptych of works in which she drew decisively on the life and thoughts of Ada Lovelace for inspiration. Today, Lovelace is recognized as a pioneer of 19th-Century mathematics, who in her lifetime attempted to bring together art and mathematics in Charles Babbage's Analytical Engine. She was convinced of the power of mesmerism and believed that there was a possible mathematical calculation for the human nervous system. This article shows how Emily Howard took up and developed musically these central threads of Lovelace's work in her ‘Lovelace Trilogy’.
23
Megyery, Noémi. "A „Sárga zongoraszoba”. Rippl-Rónai zenei festészete." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 5 (2018): 291–312. http://dx.doi.org/10.26080/krrmkozl.2018.5.291.
Full textAbstract:
The 1910’s brought about the appearance of a number of pieces with the subject of music in Rippl’s oeuvre, which do not exhibit French impact from the perspective of painting only, but with regards to the approach to musical topics and music in general as well. The aforementioned pieces lend themselves to be observed from a new angle when considering the change of attitude which has developed in the areas of painting and music in the 19th century, and which influenced the approach of certain French circles towards music and so the approach of the Hungarian painter who used to foster active relations with these circles. Through the example of The Yellow Piano-Room, I wish to present – with the emphasis placed on the Róma-ville era – the way how the French interest towards music perceived by the painter in Paris during the 1890’s, has gained new and unique shape in his art in the 1910’s.
24
Stanisławska, Dorota. "The history of Polish viola literature – the 19th and 20th centuries." Notes Muzyczny 2, no. 16 (December 30, 2021): 101–16. http://dx.doi.org/10.5604/01.3001.0015.5493.
Full textAbstract:
After the Romanticism era, when virtuoso music was dominated by the violin, cello and piano, there was a noticeable tendency among composers to search for new and fresh sound inspired by instruments previously functioning mainly in an orchestra. One of the instruments which acquired a new glory back then was the viola. Even though Western European literature earned a permanent place in the repertoire of violists worldwide, Polish pieces representing this genre are lesser-known and performed not as often, except for a few compositions. The library of Polish 20th century viola works is quite rich, but many compositions did not stand the test of time and we would look for them in vain within the performance canon; others were not published in print or recorded, and their manuscripts are owned by private collections. Some autographs of compositions have gone missing and only their titles have been preserved to this day. The present article is an attempt to systematise the state of knowledge about Polish viola compositions written before the end of the 20th century.
25
Braasch, Jonas. "Why did wind instruments stop evolving?" Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011033.
Full textAbstract:
Adolphe Sax invented the last widely spread orchestral wind instrument in 1846, and the saxophone has hardly changed since its inception. Also, outside of classical music, wind instruments have not evolved with very few exceptions in popular music, like the melodica. The latter was popular in the mid 20th century, because it was one of the cheapest instruments with a piano-style keyboard before mass-produced electronic keyboards. Since its inception, jazz drew from traditional orchestral wind instruments that were invented long before jazz came up. They were easily available as they were widely spread in military ensembles. This presentation looks into the factors that stalled the evolution of mainstream wind instruments during the 19th century, such as instrument affordability, practice habits, conservatory education practices, standardization, and cultural identification. While individual instrument makers and musicians continue to develop fundamentally new wind instruments, they no longer exceed experimental status. Instead, widespread innovations now focus on electronic and digital musical instruments.
26
Lewandowski, Stephan. "Ambros Rieder (1771‒1855) and the Art of Preluding." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 101–11. http://dx.doi.org/10.31318/2522-4190.2022.134.269621.
Full textAbstract:
Ambros (or Ambrosius) Mathias Rieder (1771‒1855) is perhaps one of the most underrepresented personalities of the music centre Vienna in the late 18th and first half of the 19th century in contemporary musicological and music-theoretical discourse. Both his achievements as a composer and in the field of music theory are remarkable. In particular, Rieder is to be valued and appreciated as a preserver of the tradition of prelude playing, which became increasingly less important in the late 18th and early 19th centuries. In the course of his life, he not only wrote several theoretical-practical textbooks dealing with this tradition, but with his own compositions he also provided excellent examples for the implementation of the rules presented in his theory books. With his “fugal preludes”, Rieder furthermore made a weighty contribution to the development of the genre.
With the help of the music theory presented in Riederʼs Anleitung zum Präludiren auf der Orgel oder dem Piano-Forte, Op. 84, Vienna, undated [1826], this text examines the Präludien und Fughetten für die Orgel oder das Pianoforte, Op. 82, Vienna 1826 with regard to harmony, counterpoint and form-determining modulation processes. An almost striking, rarely found interlocking of theory and compositional practice is revealed. Further and more comprehensive studies on this topic are desirable.
27
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.
Full textAbstract:
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.
28
Ursachi, Doina Dimitriu. "9. The Romantic German Lied – An Overview." Review of Artistic Education 21, no. 1 (June 1, 2021): 71–77. http://dx.doi.org/10.2478/rae-2021-0009.
Full textAbstract:
Abstract The lied represents a fundamental form of expression of the cantability and of the relation of the melody with the poetic. And, although the model of the cultural lied could still be heard in the music of the 18th century in the compositions of the Viennese classical school - in Haydn folk songs and, especially, in forms somewhat akin to the aria of Mozart or Beethoven – the landmarks of this genre were established precisely by the romantics of the 19th century, representatives in most of the German school. Schubert, Schumann, Franz, Mendelssohn-Bartholdy, Wagner, Brahms, Wolf etc. transformed the song into a cultural art form, incorporating images of popular origin into literary-musical structures for voice and piano making use of technical possibilities and expressiveness specific to romanticism.
29
Грохотов, С. В. "Wilhelm von Lenz. Die großen Pianoforte-Virtuosen unserer Zeit aus persönlicher Bekanntschaft. Carl Tausig." Научный вестник Московской консерватории, no. 4(35) (December 19, 2018): 8–33. http://dx.doi.org/10.26176/mosconsv.2018.35.4.01.
Full textAbstract:
Первая публикация на русском языке главы из книги Вильгельма фон Ленца Die großen Pianoforte-Virtuosen unserer Zeit aus persönlicher Bekanntschaft: Liszt, Chopin, Tausig, Henselt (Берлин, 1872). Она посвящена Карлу Таузигу (1841–1871), одному из самых выдающихся фортепианных виртуозов XIX века, любимому ученику Листа, чье историческое значение в современных трудах о фортепианном искусстве недооценивается. Вступительная статья содержит биографические сведения об обоих —Таузиге и Ленце (1809–1883), русском музыкальном критике, авторе известных книг о Бетховене. The first Russian publication of the chapter from: Die großen Pianoforte-Virtuosen unserer Zeit aus persönlicher Bekanntschaft: Liszt, Chopin, Tausig, Henselt (Berlin, 1872) by Wilhelm von Lenz. It is devoted to Carl Tausig (1841–71) — one of the most prominent 19th century piano virtuosos, Liszts favorite apprentice, whose historical significance is still neglected in modern publications on piano playing. The introducing article contains biographical information on both — Carl Tausig and Wilhelm von Lenz (1809–83), Russian music critic, author of the notorious Beethoven studies.
30
Garipova, Ninel F. "Amateur Piano Music-Making and the Ufa Section of the Imperial Russian Musical Society." ICONI, no. 1 (2019): 73–82. http://dx.doi.org/10.33779/2658-4824.2019.1.073-082.
Full textAbstract:
The geographic position of Ufa, which in the early 19th century was a deep province, was not conducive to the development of musical culture. However, we must consider as an important element in its formation the active spread of household music-making and the wish of amateurs to participate in the city’s concert life. The “Society for Singing, Music and the Art of Drama” was founded in 1885 in Ufa following the wishes of the city residents. The twenty-year-long existence of the Society has left a considerable trace in the development of musical education and the exposure of the public to the academic genres of the art of piano performance; it played a significant role in the development of musical literacy and the musical hearing of the residents of Ufa. In virtue of a number of existing social reasons the Society was closed down, but following the request of the most educated part of the local nobility and intelligentsia the Ufa Section of the Imperial Russian Musical Society (IRMS). Having existed for only a few years, until the revolution of 1917, it was able to lead the art of music to a new, higher level. Professionals with a higher musical education were conducive to the further expansion of promotion of music with their concert performances and teaching lessons in the musical classes and enhanced the development of the art of professional music in Bashkiria.
31
Szabó, Eszter. "Friendship of Well-known and Undeservedly Forgotten Masters in Late 19th and Early 20th Century Russian Piano Music. The Life and Work of Medtner, Rachmaninoff, and Scriabin." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 2021): 123–32. http://dx.doi.org/10.24193/subbmusica.2021.2.09.
Full textAbstract:
"In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin’s name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff’s widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner’s music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers’ contrasting popularity from the perspective of their life and work. Keywords: Russian composers, Russian music, Late 19th, and early 20th century, Rachmaninoff, Scriabin, Medtner "
32
Wald, Melanie. "„Ein curios melancholisches Stückchen“: Die düstere Seite von Haydns fis-Moll Sinfonie Hob. I:45 und einige Gedanken zur pantomime in der Instrumentalmusik." Studia Musicologica 51, no. 1-2 (March 1, 2010): 79–90. http://dx.doi.org/10.1556/smus.51.2010.1-2.6.
Full textAbstract:
Haydn’s symphony no. 45, especially the final Farewell -Andante, has been looked at puzzlingly twofold: More recent understandings emphasize the wit and humour of the finale, while reports of the late 18th and early 19th century tend to notice a gloomier, even melancholic tint. This perception here is taken as a starting point for an interpretation of that symphony in terms of the 18th-century notion of melancholy as noble suffering of princes, intellectuals, and artists. Since musical works of melancholy are normally for piano or a soloist to allow for an identification of the player and the melancholic, a symphony leads us to ask anew for the melancholy persona of that orchestral piece. Answers are tried that highlight the respective roles of the orchestra, Haydn, and his most eminent listener, Prince Esterházy, within that game of deciphering melancholy. In addition, the different anecdotes concerning the Farewell -finale are analysed as tokens of an aesthetic irritation that try to tame the bewildering musical language of that symphony by linking it with extra-musical narratives. Finally, the often mentioned pantomimic aspect of the finale is taken into account and is interpreted as an important aspect of Haydn’s effort to produce meaning in the instrumental genres.
33
Desai, Boman. "The Boy Brahms." 19th-Century Music 27, no. 2 (2003): 132–36. http://dx.doi.org/10.1525/ncm.2003.27.2.132.
Full textAbstract:
During the late twentieth century, the veracity of a particular aspect of Johannes Brahms's boyhood came under challenge. Had he played the piano in Hamburg's dockside bars as many of his biographers had recorded, or had he not? The two sides of the story were debated in the spring 2001 issue of 19th-Century Music. Jan Swafford, Brahms's definitive biographer in English, provided the case for the status quo, citing all the known instances of times when Brahms himself had mentioned the story to friends and biographers. Styra Avins, a translator of many of Brahms's heretofore untranslated letters into English, provided evidence to the contrary by saying all the friends and biographers were mistaken. Swafford's inventory of sources is complete, but there remained more to be said. In "The Boy Brahms" I have attempted to show how Avins's evidence is strictly circumstantial and speculative. At this remove from the incidents in question it can be nothing more. I have attempted to refute the conclusions she has drawn from the young Brahms's handwriting, the testimony of neighbors, and the laws governing attendance in the bars, among other things. I have also attempted to show inconsistencies in Avins's arguments that throw into question her thesis and support the veracity of the original story.
34
Oleh, Klendii. "The Semantics of Virtuosity in Genre-Stylistic System of C. Saint-Saëns’s Album for Piano op. 72." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 38–52. http://dx.doi.org/10.34064/khnum1-52.03.
Full textAbstract:
Background. In recent decades an intensive development of art semiotics, which contributes to the investigation of the concept of musical compositions and their functioning in performance practice, has been observed. Music semantics and performance texture are closely interrelated, since texture elements as semantic signs are able to convey the semantic expression of the language of music. Texture depends on a lot of factors. There is a strong semantic interrelation between an individual music genre and its typical texture, which has established itself in music practice and has become its distinctive feature. The typical examples are chant chords, which is a typical accompaniment of a waltz, and toccata martellato as an articulation technique. There is an interdependence of music styles and texture elements at historical, national and individual composer’s levels. For example, there is exquisite embellishment in French clavecinists’ works and Alberti bass in Viennese classics’ works. An unexpected outburst of virtuoso style in performance art has become a cultural heritage of Romantic era. In the 19th century the semantics of virtuosity, which is evident in the choice of the mediums of expression in piano works, was of significant importance more than ever before. Texture was in focus and tempo-rhythm, articulation, dynamics and agogics created tonal variations (clarity of Chopin’s jeu perlé, bravura octaval passage works by Liszt). Together with the main meaning-making mechanisms of genre and style in piano works of the 21st century, there is program music. In Baroque era it was closely connected with oratory and the theory of affects. Romanticists gained a better understanding of the potential of music art as a universal language. As a result, during the last two centuries, a “dictionary” of texture semantic signs connected with program music was in the process of its creation. Its demonstrative and wide-spread example is the onomatopoeia of bells (indexical sign by V. Kholopova), which provided for using chords, a broad range of registers and polyrhythm (F. Liszt, O. Borodin, S. Rachmaninoff, C. Debussy). C. Saint-Saëns is one of the most brilliant representatives of French piano school, who personifies the phenomenon of a “composer-virtuoso”. That is why, among all the kinds of conceptual-music and conceptual-word signs (by V. Kholopova), which make up the texture of C. Saint-Saëns’s piano music, virtuosity signs are of great importance and their scientific apprehension reveals the principles of his piano style better. Album for piano op. 72 was written in the years of C. Saint-Saëns’s intensive creative work as a performer and as a composer and it emphasizes the main trends in mature pianoforte mentality. Objectives. The paper covers the determination of the style basics of C. Saint-Saëns’s piano music in terms of the influence of a virtuoso performance practice, which was developed in Western European art. Methods. Research methodology is based on the unity of style, genre, intonation and system analysis types, which highlight the significance of the piano music heritage of the great artist for contemporary performers. Results. A genre and stylistic system of the miniature cycle of Album for piano op. 72 is complex and various. There is a principle of genre interrelation, which manifests itself in the use of folk genres of Italian music culture as a national tradition of this country and the combination of prelude genres of Baroque and Romantic eras (Baroque principles of composition in creating a romantic character). The composition of Album can be roughly divided into two “small cycles”, which are characterized, first of all, by the presence of motor (motor-dance) genres in the final parts and, secondly, by the contrast in the middle part, namely a sound representing one and a cantilena one. The first cycle contains Prélude, Carillon, and Toccata and the second one includes Valse, Chanson Napolitaine and Finale. As for the virtuosity, three main semantic complexes, through which it is manifested, can be distinguished. Their differentiation depends on the dominating expressive means. A high tempo, loud dynamics (ff, fff) and a high level of articulation clarity (non legato, marcatissimo, rinforzando) are the most significant ones in the first cycle. The second cycle is characterized by a multilayer texture with a complex metro-rhythm organization and the elements of a polyphonic notation, which compensates a medium tempo. The third complex represents the semantic values, which are opposite to the first one. They are reached due to a clear light texture, fine finger action combined with articulatory leggiero and dynamics (p, pp). C. Saint-Saëns’s Album for piano op. 72 requires the performer to have the whole set of technical skills. The works of this cycle contain not only a creative synthesis of the piano music of Baroque, Classicism and Romantic era, which is heritable for the artist, but also new ideas of a thematic organization followed by the appearance of music impressionism stylistics in future. Conclusions. C. Saint-Saëns’s piano music style combines the fundamentals of common European instrumental music and mental evidences of French national tradition. The main principles of the composer’s pianoforte mentality include polygenre, stylization, onomatopoeia in program music and virtuosity that were brilliantly embodied in the original authenticated forms of piano music. The virtuosity signs, which were determined in the process of the semantic analysis of Album, bring French instrumental miniature to the whole new level of artistic music creation. Being a virtuoso, C. Saint-Saëns further developed miniature poetics, and thus, contributed to the understanding of the virtuosity style of piano music performance.
35
Bailey, Candace. "Noel Lester, Piano Portraits from 19th-Century America. Centaur 2250, 1995./Maria Ferrente and Lincoln Mayorga, Best Kept Secrets: A Treasury of Passionate American Song Heard in 19th Century American Salons and Concert Venues. Massachusetts: Maria Ferrante, 2007." Journal of the Society for American Music 8, no. 2 (May 2014): 270–73. http://dx.doi.org/10.1017/s1752196314000157.
Full text
36
Barut, Adil Koray. "M. DE FALLA, M. PONCE VE J. RODRIGO’NUN ESERLERİNDE BULUNMUŞ ORTAK TEMATİK MOTİFİN İNCELENMESİ." e-Journal of New World Sciences Academy 15, no. 4 (October 31, 2020): 242–57. http://dx.doi.org/10.12739/nwsa.2020.15.4.d0264.
Full textAbstract:
The Iberian Peninsula has been home to different societies for centuries. With the arrival of Andalusia Umayyads to these lands (711), Eastern culture started to flourish in this geography. Andalusia's architecture, music, literature and popular culture have been able to preserve its traditional structure until today. Towards the end of the 19th century, Spanish piano music started its golden age, and composers used Andalusian folkloric elements in their own musical language. In this study, the characteristics of Spanish music are mentioned, and these musical features are supported by giving examples from the works of Spanish composers. The focus of the study is the common thematic motif which was found in three separate works composed by Manuel de Falla (1876-1946), Manuel Ponce (1882-1948), and Joaquin Rodrigo (1901-1909). These works are respectively En los Jardines de la Cierra de Cordoba part of Noches en las Jardines de Espana, the first movement of Concierto del Sur (Allegro moderato) and the last movement of Concierto para una Fiesta (Allegro moderato). The thematic motif in the mentioned works has the same sound material and rhythmic structure. Distinctive aspects of this motif specific to Andalusia have been investigated.
37
Waszak, Zbigniew. "Franz Liszt – a world citizen or a Hungarian patriot? Hungarian Rhapsodies as an example of implementing the concept of national music." Notes Muzyczny 1, no. 9 (June 20, 2018): 107–22. http://dx.doi.org/10.5604/01.3001.0012.9901.
Full textAbstract:
The article is an attempt to determine the attitude of Franz Liszt to Hungary – the country where the composer was born, which in the 19th century was part of the Austrian Empire. The artist was shaped in accordance with the Western European culture model. That in combination with contacts with the intellectuals and the world of art deeply transformed Liszt’s worldview and shaped his artistic profile. This cosmopolitan attitude changed at a certain stage of his life when he returned to his home country. In Hungary, a process began, which allowed Liszt to notice the meaning of his country’s culture. This tendency was expressed in the composer’s interest in Gypsy music and national folklore. The article characterises the music of Hungarian Roma people as well as folk dances (verbunkos, czardas). The influence of the aforementioned elements is noticeable in Liszt’s compositions from that period, especially in the nineteen Hungarian Rhapsodies. The cycle includes clear references to Gypsy music, the sound of a Roma band in particular. A reference to folklore is the form of the pieces and the stylistic means taken from verbunkos, among others. The Rhapsodies are a masterly combination of virtuoso technique with the capacities of the piano (imitation of the cimbalom or glockenspiel). The composer incorporated new harmonic qualities, such as a Gypsy scale or imitation of folk bass. At the same time, the cycle remains in accordance with the rules of classical harmony. Liszt’s searching for new composition possibilities and sound qualities gave an impulse for the development of ethnomusicology, exploring and formulating new concepts in the art of piano playing (e.g. by Béla Bartók).
38
Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.
Full textAbstract:
Background. The name of Amanda Maier (married – Röntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. Röntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-Röntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert Röntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. Röntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.
39
Cvejić, Žarko. "From men to machines and back: Automata and the reception of virtuosity in European instrumental art music, c.1815-c.1850." New Sound, no. 48-2 (2016): 65–80. http://dx.doi.org/10.5937/newso1648065c.
Full textAbstract:
In most histories of Western music, the 1830s and 40s are typically described as "the age/era of virtuosity and/or virtuosi". Indeed, major contemporary sources, including leading musical journals of the time, teem with reports on the latest exploits of Liszt and his rivals and in much of this body of criticism, piano and violin virtuosi were commonly celebrated for pushing the limits of humanly conceivable excellence in musical performance. However, a significant number of these critical responses were also negative, critiquing individual virtuosi for playing not like humans, but like automata. My claim in this article, documented with a detailed perusal of contemporary music criticism, is that this line of anti-virtuosic critique was part of the larger 19th-century suspicion of virtuosity as super but also, perhaps, non-humanly accomplished, automatic technique, devoid of all emotion, expression, that is, of human presence and content. Also, I propose to interpret this line of criticism with reference to the even broader 19th-century anxiety over the issue of human subjectivity, that is, its freedom, evident not only in contemporary philosophy (Schelling, Schopenhauer, Novalis, etc.), but also in literature. Such narratives and, as I argue in this paper, much of contemporary criticism of virtuosity were shaped by the uncanny feeling that the human subject, too, like automata and "automatic" virtuosi, may not be free, contrary to the Enlightenment view of the human subject in Rousseau, Kant, and others, but actually under the power of mechanisms beyond itself, operating automatically and not of its own accord. In contemporary criticism of virtuosity, the elusive notions of expression, expressivity, expressive playing and the like, which were deliberately kept under-explained, were then marshalled to preserve the supposedly ineffable or at least ineffably human core of musical performance, in line with the contemporary Romantic view of music as the only means of expressing what is otherwise inexpressible, that is, ineffable.
40
Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.
Full textAbstract:
Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distortion of the ingrained ideas about it. This theme is mainly reflected in the publications of Italian experts in the second half of the 20 century D. Carpitella, E. De Martino, R. De Simone, and in the 21 century R. Di Mauro (2013). Interest in this genre intensified in the musical science of China also. This is due to the extraordinary melody of Neapolitan songs, which is consonant with Chinese samples. Chinese singers increasingly include the popular canzone Napoletana in their repertoire. In the musical science of China, this topic has been developed since the last decades of the 20th century in the studies of Song Jing (1985), Wu Shikai (1997), Pei Yisi (2011), Liu Shanshan (2007), Fang Yahong (2011), Chang Jinge (2018). However, many scientific works are of the same type, which is caused by the lack of direct access to the study of musical, poetic, bibliographic material. In the same time, the 19th century deserves attention as a period of the rapid spread of Neapolitan folk songs in the musical art of Europe. The outstanding role in these processes belongs to the representatives of the creative dynasty – Teodoro Cottrau (1827–1879), the author of the famous “Santa Lucia”, and his father Guillaume-Louis Cottrau (1797–1847). Given the current lack of knowledge on this topic, as the research goal of this article, we consider it necessary to get acquainted with the creative figure of G.-L. Cottrau, which contributed to the spread of Neapolitan folk songs in the European music of the 19th century. For the first time in the musical science of Ukraine and China, the collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments” is used as an object of research compiled by G.-L. Cottrau, as well as selected fragments of operatic works by G. Paisiello and D. Cimarosa. In this work, the historicalcomparative and biographical research methods are used, as well as generally accepted models of musicological and performing analysis of music. Results. When studying the Canzone Napoletana, the research problem lies in the difficulties of reconstructing song samples of the 16th–19th centuries. It is necessary to restore their exact chronology, authorship, conduct a comparative analysis of numerous editions, and comprehend the processes of historical evolution. This situation is known to most ethnological scholars, who are actually engaged in musical archeology and bring back almost lost samples of the past from oblivion. Thanks to the processes of national self-determination that swept Italy in the second half of the 20th century, a decisive breakthrough was made in ethnomusicology in the study of the musical and poetic heritage of the Neapolitan region. This is a strong help for any researcher dealing with this topic. The composer and music publisher Guillaume-Louis Cottrau belonged to a famous surname in France. Hisfather served Joachim-Napoléon Murat, Napoleon Bonaparte’s son-in-law. As a child, he ended up in Italy, in Naples, forever falling in love with this land and its culture. Subsequently, Guillaume-Louis adopted Neapolitan citizenship. Being engaged in the affairs of the music publishing house and composing, Guillaume-Louis made up and published in 1824 a collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments”. This includes 104 Canzone Napoletana. Afterwards, the number of songs in different issues was increasing slightly (up to 113), the authorship of some fragments was clarifying, but the main block of tunes remained unchanged. This collection gained immense popularity in the music salons of France. It has been reprinted several times. According to R. di Mauro (2013), about sixty of the 104 songs in the first edition were written by G.-L. Cottrau, the rest are the result of processing of folk originals or songs by other authors. The essence of the undertaken arrangement consisted not only in recording musical and poetic texts (often in several versions), not only in creating a piano accompaniment part in the style of salon music-making. The composer personally collected these cantos and lyrics to them, communicating with servants, peasants, merchants, artisans, direct bearers of the oral musical tradition from different parts of the Neapolitan region. It includes old peasant songs, epic ballads, fragments from operas by G. Paisiello, D. Cimarosa, and other composers of the 18th century, which became truly people’s. This article compares the composer and folk versions of the Serenade of Pulcinella by Paisiello and Cimarosa, which were included in the first edition of the collection under the folk guise. Conclusions. The publication of the Neapolitan songs collection “Passatempi musicali” by G.-L. Cottrau played the role of actualizing this song genre in the musical space of the Romantic era. Its popularization outside Italy, repeated reprints made it possible to “legalize” the song South Italian folklore in the European musical space.
41
Yaroslava, Serdiuk. "Evolution of Amanda Maier’s chamber music work." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 124–43. http://dx.doi.org/10.34064/khnum1-63.07.
Full textAbstract:
Statement of the problem. In modern performance and musicological practice, there is a clear tendency to revite the works of little-known or forgotten authors, in particular, female composers. The study of their work in modern discourse, mainly English-speaking, is mostly of an overview nature. The work of female composers is often considered from the standpoint of gender inequality and gender psychology. A certain lack of actually musicological studies of the works by female composers is observed. One of such little-known figures is Amanda Maier Röntgen – a Swedish violinist and composer, a graduate of the Royal Academy of Music in Stockholm and the Leipzig Conservatory, the first woman received the title of “Musik Direktor” and was actively toured in Europe, whose work is practically not studied in Ukrainian musicology. Analysis of recent publications. The figure of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), in the studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler Brahms-Kongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The most meaningful study dedicated to A. Maier is J. Martin’s dissertation (2018), but it focuses on the biographical moments and the position of female artists in the 19th century in general, omitting the actual musicological consideration of the composer’s works. Analysis of recent research and publications. The figure of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler Brahms-Kongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The most meaningful study dedicated to the creative personality of A. Maier is the dissertation of J. Martin, but the researcher focuses on biographical moments and the position of female artists in the 19th century in general, omitting the actual musicological consideration of the composer’s works. The purpose of this article is to characterize A. Maier’s chamber work, to prorose its periodization and to trace the specifics of evolution of the composer’s chamber-instrumental style. The scientific novelty. For the first time in Ukrainian musicology, a comprehensive study of A. Maier’s chamber-instrumental work is carried out. Methodology of the research. The research results is based on such scientific and culturologic methods as historical and biographical; historical and genrestylistic; also the analytical musicological methods were used when considering A.Maier’s chamber instrumental works. Conclusions. The main phases of A. Maier’s professional development as a composer are the early and mature periods. Taking into account both, the biographical and purely musical stylistic factors, we regarde it inappropriate to talk about the late period of the artist’s work. We consider the early period to be the study time at the Royal Academy of Music in Stockholm. The mature period begins after its end with the creation of the Sonata for violin and piano (1873). The mature period of the composer’s creativity is also subject to internal differentiation, since the time period from 1873 to 1880 (the year of marriage) was marked by much more active creative searches, a greater variety of genres and instrumental compositions, than the later years of A. Mayer’s life (in addition to chamber instrumental works, the Concerto for violin and orchestra, the chamber and vocal pieces were written). In the mature period, such notable opuses as Piano Trio, String Quartet, cycles of miniatures for piano and violin were created. The analysis of A. Maier’s scores revealed the main trends in the development of the composer’s chamber-instrumental style: an aspiration to symphonize the chamber music; the expansion of the imagery palette (the dominance of lyricodramatic impulses in the first mature works, the synthesis of lyrico-dramatic, lyrico-epic, epico-heroic, folklore-genre imagery spheres in the laters ones); active search for an individual solution to the violin miniature genre, in which the Swedish national musical traditions are most vividly embodied.
42
Vartanov, Sergei. "The “from despair to immortality of soul” concept in the interpretation of Beethoven’s Sonata op.111." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 85–104. http://dx.doi.org/10.7256/2453-613x.2020.4.33070.
Full textAbstract:
The research subject is Beethoven’s view of life of the late period - the topical issue for a performing musician: without understanding of the fundamental changes in his style, it is impossible to adequately interpret the late piano sonatas. The last of them - Sonata op.111 - has been an object of discussion not only among musicians, but also among writers for almost two centuries. The author detects the following types of dialogue in Sonate op.111: a) a dialogue with Beethoven’s previous compositions; b) a dialogue - within the latest period - with Ninth Symphony op.25 and Missa Solemnis op.123; c) a dialogue with the music of predecessors; d) an imaginary dialogue of Beethoven and Goethe (of the period of “Faust” completion); e) a dialogue op.111 with the world culture. The author arrives at the following conclusions: whilst the formation of the concept of interpretation is usually related to the performance activities of romanticists - Paganini and List, the prerequisites of the phenomenon of interpretation can be found already in the works and ideas of Beethoven - he is a precursor of romanticists of the 19th century. Each of his works is individualized, and doesn’t contain patterns or cliches. To play his compositions outside of the concept means to be not able to adequately convey the spirit of Beethoven’s music. With all their strict architectonics, Beethoven’s works appeal to spontaneity of self-expression - a pianist, as an actor, should experience this music “in the here and now”.
43
Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.
Full textAbstract:
Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for the creation of this study was the desire to increase interest in the work of Gershwin as a “serious” composer and to draw the attention of domestic academic pianists to the value of his piano works, presented not only the “Rhapsody in Blue”, which has been mostly played lately. The purpose of our research is to prove the relevance of the performance of Gershwin’s instrumental works in the academic concert environment as the music of the classical tradition, tracing the formation of specific features of the composer’s instrumental creativity and their reflection in the cycle of “Three Preludes for Piano” in 1926. Studies of the life and work of G. Gershwin, illuminating a special path in music and the unusual genius of an outstanding musician, were created mainly in the 50–70s of the XX century. D. Ewen – the author of the most detailed biography of the composer (first published in 1956, the Russian translation – in 1989) – was personally acquainted with the great musician and his family, took numerous interviews from the composer’s relatives, friends and teachers, had access to his archives (Ewen, 1989: 3–4). The author of the book enters into the details of the life and creative work of the genius and creates a portrait of the composer as a person “in relationships” – as a son, brother, friend. A separate chapter devoted to the music of Gershwin is in the fundamental work of V. Konen (1965) “The Ways of American Music”, an extremely useful study of the folklore origins and musical foundations of jazz. Cognitive is the “popular monograph” by V. Volynskiy (1988) about Gershwin, carefully structured chronologically and thematically. The Internet-pages of A. Tikhomirov (2006–2020) on the resource “Classic Music News.ru” are also very valuable, in particular, thanks to retrospective photographs and audio recordings posted there. From the point of view we have chosen, the piano Preludes by G. Gershwin have not yet been considered by domestic researchers. Research methodology is based on comparative analysis and then synthesizing, generalization and abstraction when using data from biographical literature, and tested musicological approaches when considering musical samples and audio recordings of various versions of the Preludes (including the author’s playing). The results of reseaching. G. Gershwin, despite his Jewish-Slavic family roots (his parents emigrated to America from the Russian Empire at the end of the 19th century), is undoubtedly a representative of American culture. Outstanding artists have almost always turned to the folklore of their country. In Gershwin, this trait manifested itself in a special way, since American folklore, due to historical and political circumstances, is a very motley phenomenon. Indian, English, German, French, Jewish, African, Latin American melodies surrounded Gershwin everywhere. Their rhythms and intonations, compositional schemes were melted, transformed in professional music (Konen, 1965: 231–246). The first musical teacher of Gershwin was the sound atmosphere of New York streets. This is the main reason that the style of his musical works is inextricably linked with jazz: Gershwin did not encounter this purely American phenomenon, he grew up in it. Among the numerous other teachers of Gershwin who significantly influenced on the formation of his music style, one should definitely name the pianist and composer Charles Hambitzer, who introduced his student to the music of Bach, Beethoven, Chopin, Liszt, Debussy, Ravel (Ewen, 1989: 30–32). The most part of Gershwin’s creativity consisted of working on musicals, a typically American genre. The work with the musicals gave the composer the basis for writing his first jazz opera “Blue Monday“, 1922 (other name – “135th Street”), which became the predecessor of the famous pearl of the new genre, “Porgy and Bess” (1935). Following the production of “Blue Monday”, Gershwin began collaborating with the Paul Whiteman Orchestra, who was impressed by the piece. On the initiative of the latter, Gershwin created his masterpiece, “Rhapsody in Blue” (1924), which still remains a unique musical phenomenon, since the composer brought jazz to the big stage, giving it the status of professional music (Ewen, 1989: 79–85; Volynskiy, 1988: part 4). V. Konen (1965: 264–265) believes that Gershwin is a representative of symphonic Europeanized jazz, since he uses it in musical forms and genres of the European tradition. However, we cannot agree that Gershwin “used” jazz. For him, jazz was organic, inseparable from the author’s style, and this is what makes his music so attractive to representatives of both classical and pop traditions. For Gershwin, due to life circumstances, turning to jazz is not an attempt at stylization, but a natural way of expression. “Three Preludes for Piano” are significant in the composer’s work, because it is the only known concertо work for solo piano published during his lifetime. At first, Gershwin planned to create a cycle of 24 Preludes, but only seven were created in the manuscript, then the author reduced the number of works to five. A year after the creation of the Piano Concerto, in 1926, Gershwin presented this new opus. The pieces performed by the author himself sound impeccably technically and even austerely-strictly (audio recording has been preserved, see ‘Gershvin plays Gershvin 3 Preludes’, video on You Tube, published on 2 Aug. 2011). It can be noted that Gershwin is close to the European pianistic style with its attention to the accuracy of each note. The cycle is built on the principle of contrasting comparison: the first and third Preludes are performed at a fast pace, the second – at a slow pace (blues-like). The analysis of the cycle, carried out by the author of the article, proves that “Three Preludes” for piano reflect the main features of Gershwin’s creative manner: capriciousness of syncopated rhythms, subtle modulation play, improvisational development. Breathing breadth, volumetric texture, effective highlighting of climaxes bring the cycle closer to the composer’s symphonic works. Jazz themes are laid out at a high professional level, using traditional European notation and terminology. Thus, although Gershwin was a brilliant improviser, he made it possible for both jazz pianists and academic performers to master his works. Conclusions. The peculiarities of Gershwin’s development as an artist determined the combination of the jazz basis of his works with the compositional technique of European academic music. The versatility and musical appeal of the Preludes are the key to their long stage life. Plays are well received both in cycles and singly. Their perception is also improved by the fact that the original musical speech is combined in them with the established forms of academic music. The mastery of the Preludes by pianists stimulates the development of technical skill, acquaints with jazz style, sets interesting rhythmic problems. The pieces are bright and winning for concert performance. Thus, the presence of the composer’s piano pieces and other his instrumental works in the programs of classical concerts seems appropriate, useful and desirable.
44
Burel, O. V. "About compositions for piano and orchestra by Ch.-M. Widor. Background." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 45–60. http://dx.doi.org/10.34064/khnum2-13.04.
Full textAbstract:
Ch.-M. Widor (1844–1937) inscribed his name in the history of French music primarily as an author of organ works (10 Organ Symphonies, 1872–1900, in particular). But other genre branches of his creativity (symphonic, chamber-instrumental, chamber-vocal, operatic, choral) remains less famous for wide public. This quite vast layer is mostly not studied in musical science. However, at the recent time the interest is somewhat growing both among musicologists (A. Thomson, E. Krivitskaya, M. R. Bundy), and among the performers, which confi rms the relevance of this article. The objectives of this study are to consider compositions by Ch.-M. Widor (Piano Concerto No.1, Fantasy, Piano Concerto No.2) both in terms of features of individual creator style and context of concert branch history in France. Information about works is supplemented by the analysis of the basic musical text parameters. Ch.-M. Widor graduated the Brussels Conservatory, where he was studied from 1859 to 1863 – in classes of organ (J.-N. Lemmens) and composition (F.-J. Fetis). At 1860s, the young man was visiting Paris. Soon he was acquainted with C. Saint-Saens, which infl uenced Ch.-M. Widor not only in terms of his executive career turn, but also was etalon of instrumental writing. It seems that the writing of instrumental Concertos for violin (ор. 26, 1877), cello (ор. 41, 1877), and piano (ор. 39, 1876) in many ways is owed by C.Saint-Saens and the impulse to French music of the 1870s given by him. Piano Concerto No.1 f-moll by Ch.-M.Widor was well appreciated by the contemporaries of the composer. In fi rst movement (Allegro con fuoco) the active narrative is combining with predominantly lyrical mood. It passes in constant pulsation without any whimsical tempo deviations, as well as without cadenza using. Contemplative and philosophical meditations are concentrated at the second movement (Andante religioso). The exposition of ideas is embodied in oppositions of characters, concentrated and depth in front of light and joyous. By the way, a little similar can be found in Andante sostenuto quasi adagio of Piano Concerto No.1 (published in 1875) by C. Saint-Saens. The cycle is crowned with a lively scherzo fi nal with elegant dotted rhythm using. On the whole we can say that the Piano Сoncerto No.1 by Ch.-M. Widor purposefully continues the traditions of C. Saint-Saens. This is noticeable in the clarity of the structure, emphatic melody, and also in some specifi c features – the avoidance of long-term solo cadenzas and the absence of expanded orchestra tutti’s, as well as the laconicism of development section at the fi rst movement. Echoes of F. Liszt and C. Franck can be heard in Fantasy As-dur op. 62 for piano and orchestra (1889, dedicated to I. Philipp). Ch.-M. Widor shows interest in this genre type as many other French authors at 1880–1890s. In work there are many counterpoint and variation elements, which is due to author’s mastery of organ-polifonic writing. In our opinion, eclectic combinations of the main subject in the spirit of F. Liszt – R. Wagner with oriental saucy theme at the end of composition are quite in the style of C. Saint-Saens. Piano Concerto No.2 c-moll (1905) is standing out with its clear attachment to the late-romantic line. It is somewhat out of the general context of genre existence in France, especially when comparing with signifi cantly more traditional Piano Concertos by B. Godard (No.2, 1894), C. Saint-Saens (No.5, 1896), T. Dubois (No.2, 1897), A. Gedalge (1899), J. Massenet (1902). This manifests itself in appeal to fateful gloomy spirit, abundance of dark paints in the sound, the complication of the tonal-harmonic language, increased expressivity, psychologization. Here are found more fi ne-tooth application of timbre orchestral potential (in comparison with the Piano Concerto No.1), as well as increasing of orchestra importance upon the whole. This is paradoxical, but its performing tradition has developed not in the best way, so that nowadays this remarkable work is very rarely heard at concert halls. In our time, the author’s creativity is a real terra incognita that encompasses a lot of hidden masterpieces. Results of the research bring to light that examined works by composer are outstanding illustrations of French romantic music. Ch.-M. Widor is an example of original talent that continues the late Romanticism line in France at the end of 19th and fi rst third of the 20th century, together with other authors – L. Vierne, V. d’Indy, A. Magnard, F. Schmitt. His works for piano and orchestra quite deserve to become on a par with recognized masterpieces, included in the concert repertoire of pianists and orchestras by different countries of the world. The perspectives of the further research are defi ned in more detailed analytical labors, including the extension of analysis over Violin Concerto op. 26 and Cello Concerto op. 41 by author. The learning of these works will allow to complement the history of the concert genre of French Romanticism with new details, that will enable to see the evidence of succession and the vitality of traditions.
45
Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.
Full textAbstract:
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).
46
Shchetynsky, O. S. "Musical iconography of Annunciation: personal experience." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 74–89. http://dx.doi.org/10.34064/khnum2-17.05.
Full textAbstract:
Background. The objective of the article is to analyze the interaction, for sake of artistic unity of a work, of the musical, textural and theatrical structures and solutions in the contemporary opera as in a synthetic genre. The author uses his chamber opera “Annunciation” as an example of these processes and shows the ways certain dramatic and theatrical ideas determine musical solutions. Although since the middle of the 19th century composers sometimes wrote an opera text themselves, the common case was still a collaboration of two (sometimes more) creators: a composer and a librettist, each of them being an expert in their own particular field. Their collaboration and mutual flexibility are of great importance, especially at the initial phase of creation, when a composer makes a decision concerning fundamental features and structures of a future work. Since an opera libretto often consists of the fragments borrowed from previously created texts, a composer should comprehend the libretto in its new integrity. Understanding dramatic intentions of a librettist is extremely important, too. On the other hand, a good libretto should contain some elements of incompleteness (let’s call it “dramatic gaping”) to ensure the composer’s freedom in building musical forms and to encourage him / her to elaborate self-own personal solutions both in musical and dramatic (theatrical) fields. The results of the research. The text of Alexander Shchetynsky’s chamber opera, “Annunciation”, is inspired by the dialogue described in Chapter 1 of St. Luke’s Gospel between the Virgin Mary and the Angel Gabriel, who announced about future birth of Jesus Christ the Son of God. Gradual transformation of Mary who prepares to become the mother of God forms the action. Since both characters are positive and no conflict is developed between them, dramatic tension appears basing on the contrast between Mary’s happiness, when she hears the message, and the presentiment of her own and her Son’s future tragedy. Instrumental scoring (piano, celesta and metal percussion) is in no way the klavier variant, but the only possible version for performance of this opera. Percussion instruments, played by the pianist and partly by the singer, symbolize the Heaven. The pianist plays the grand piano, which stays at the stage. He is not a common accompanist but the second character (the Angel Gabriel) taking a direct part in the stage action, so the sounds of the piano is Angel’s secret speech. The idea to shape two characters with totally different means was suggested by the librettist Alexey Parin. His concept of putting the speech of the Angel not into a human voice but into the wordless “voice” of an instrument looked extremely promising and innovative. This “secret utterance” of the Angel, then, became the starting point of the opera and the source of its genre definition: the stage dialogues without accompaniment. The structure of the work is as follows (all the episodes go one after another without a break). Episode 1. “Presentiment” (aria). Mary is occupied with the spinning wheel. The Angel has not yet come, only the tinkling of percussion instruments hints at grace descending upon Mary. Episode 2. “Whiff “(recitative). The Angel is entering. The mood is strange, unreal, as if in a dream, when the common logic of action is broken. Episode 3. “Good Word” (scene). The first dramatic climax. The piano part is resembling a choir singing, which Mary is understanding and answering to it. The general mood of the music is tragic: it is the presentiment of a terrible ordeal and human grief awaiting Mary. Episode 4. “Ecstasy” (aria). The Immaculate Conception. The climax is of lofty, lyrical substance. There is free soaring of the voice and feeling of the miracle and happiness. Episode 5. “Fear” (scene). The second dramatic climax: Mary has been realizing her future. The vocal style is unstable; recitation and Sprechgesang follow cantabile closely. Episode 6. “Farewell” (aria). Happiness mixed with bitter presentiments. At the very end the music resembles a lullaby. The musical language of the opera does not contain any elements of traditional Church music. This is spiritual music intended for the theatre or concert performance, without any allusion to Divine Service. In style the work tends toward musical modernism and 20th century avantgarde, with their attributes of atonality and modality, rhythmical complication, emancipation of timbre component and dissonances. The latter were used both in atonal and modal context. Both horizontal and vertical elements of the texture have their common roots in several micro-thematic interval structures, exactly, in the combinations of a triton and minor second (including octave transpositions, the major seventh and minor ninth). These structures form the common basement of all musical components and lead to thematic unity of the opera. Despite the modernistic orientation, cantabile style prevails in the soprano part, making use of various types of singing such as recitation, arioso, parlando, Sprechgesang, whisper, and others. Conclusion. The musical solutions in “Annunciation” appear as a consequence and elaboration of the dramatic concept of libretto. Analysis of its peculiarities led to forming their musical equivalents, which helped to achieve the integrity of all the main components of the work.
47
Lian, Yuanmei. "“Zwei Venetianische Lieder” by R. Schumann in the tradition of Austro-German romantic song." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 73–88. http://dx.doi.org/10.34064/khnum2-18.05.
Full textAbstract:
Introduction. Given article considers R. Schumann’s “Zwei Venetianische Lieder” / “Two Venetian Songs” (ор. 25, №17–18) on poems by T. Moore, in F. Freiligrath translation. Often the creation of the Venice ambience in art works was due to trips and impressions on this city. In 1829, R. Schumann, as a student of Heidelberg University, went on a trip to Switzerland and Italy during his study vacation. One of the cities on the travel map was Venice. R. Schumann “resurrected” the city ambience only eleven years after in the “Zwei Venetianische Lieder” (“Two Venetian Songs”), which became part of the song cycle “Myrthen” (1840). How do these two vocal miniatures, that are one of the first in the composer’s vocal creativity, reflect the individual style of his writing? Do they correlate with the nature of the “true” Schumann, who is known for his famous works, such as the cycle “A poet’s Love”? Objective. The purpose of the article is to comprehend composer methods of Venice image embodiment in “Zwei Venetianische Lieder” in the context of creative tradition of the Austro-German romantic song. Methods used in the research: 1) historical method, allowing to comprehend the selected material in the perspective of the development of Austro-German song of the 19th century; 2) intonational method, which involves the study of vocal melody in terms of melodic reactions to figurative content; 3) genre method, caused by the features of chamber vocal lyrics; 4) stylistic method, corresponding to a specific opus consideration in the general context of the composer’s creative work. The results of the study. “Zwei Venetianische Lieder” were grown up in the artistic climate of its era. The popularity of traveling in the circles of well-educated youth was a practical realization of spiritual impulses and the inner need to push the boundaries of the information space for awareness of the nature of self-own identity through a meeting with a different culture and worldview. Italy, and the entire Mediterranean areal, as the cradle of the Christian humanist culture, was a center of attraction for the German romantics. The creation of the artistic and aesthetic archetype of Italy and Venice by J. W. Goethe in “Italian Travels” and “Epigrams” has created a tradition of perception these themes not only in German literature, but also in music. R. Schumann was one of the first to respond to this creative idea. He was also the first among German composers to turn to the “poetic” Venice of the Englishman Thomas Moore and initiated the appearance of a series “Venetianische Lieder” in Austro-German music of the 19th century. A number of authors were involved in the creation of this series – F. Mendelssohn Bartholdi, A. Fesca, С. Dekker, and others. The melancholic mood of the many “Venetianisches Gondellied” written by German composers was the result of the process of mythologizing the image of Venice. The creative people (poets, writers, composers, painters) were involved in this process. They perceived this city through the prism of artistic relations, associations, and sought in its canonical symbols (channels, gondolas, sea, mirror, mask) new semantic dimensions, means of the expression of self-reflection. “Zwei Venetianische Lieder” from the song cycle “Myrthen” by R. Schumann stand apart on this list as not only the first, but also as the works distinguished by its originality. 1840 year is considered as the “song year” in the composer’s work. In this year 138 songs and the best of song cycles were written by the composer: “Liederkreis” ор. 24, “Myrthen” ор. 25, “Liederkreis” ор. 39, “Frauenliebe und Leben” ор. 42, “Dichterliebe”, ор. 48. After the “piano decade” (1829–1839) Schumann’s appeal to the song came a surprise, in particular, for the author himself. This led to the change in his musical aesthetics, to the revision of the hierarchy entrenched in the consciousness, about the primacy of music over other arts and the instrumental music over the vocal. Although the cycle “Myrten” op. 25 (1840) is one of the first in the vocal works by R. Schumann, it is distinguished by the maturity of style writing. R. Schuman’s psychological sensitivity to the poetic word is conveyed in the intonational nature of the songs, careful selection of harmonic means, finely tuned tonal plans that can emphasize both, contemplation and rebelliousness. Musical and poetic integrity is also ensured by the increased importance of the accompaniment and the piano part in whole that include the expressive instrumental introductions and postludes aimed at revealing of an image. Conclusion. The study of R.Schumann’s “variations” on Thomas Moore’s “Venice” as a separate scientific topic makes it possible to realize the scale of the creative competition established by the outstanding composer in his “Zwei Venetianische Lieder” from the vocal cycle “Myrthen”.
48
Linnik, M. S. "Refl ection of the scientifi c-critical position of R. Genika in his letters to N. Findeisen." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 14–26. http://dx.doi.org/10.34064/khnum2-13.02.
Full textAbstract:
Background. The present article is devoted to the consideration of the critical activity of R. Genika, one of the most prominent creative personalities in the musical life of Kharkov during the period of the turn of the 19th and 20th centuries, the founder of the Kharkov professional music school. The present study is based on the material of the correspondence between R. Genika and his long-term mentor N. Findeisen – the chief editor of the Russian Musical Newspaper, the publisher of historical essays. The system of R. Genika’s critical views, his assessment of the intonation situation of the musical era represented by him have been analyzed; we have stated his critical position toward the creative work of composers of the past and present. Formulation of the problem. In the musical life of Kharkov, the period of the turn of the 19th and 20th centuries, Rostislav Vladimirovich Genika (1859–1942?) was one of the brightest creative personalities. His activities were distinguished by the scale and versatility, and the creative achievements of this outstanding musician in the spheres of this kind of activities are an invaluable contribution to the national musical art. Through the prism of the achievements of R. Genika as one of the founders of the Kharkov professional music school, not only the panorama of the concert life of Kharkov during the considered period is revealed, but also the weighty and relevant scientifi c, organizational, pedagogical, artistic and creative directions regarding the complex of problems associated with history and perspectives of the musical art of Kharkov as one of the leading centers of musical life, the fi rst capital of Ukraine. The object of the research. The creative heritage of R. Genika, a universally gifted person is covered in the existing publications mainly in the information and source fi eld. R. Genika’s research and musical-publicistic activities were not fully covered. Only recently, the author of the present article has got an access to the archived materials which made it possible to conduct a comprehensive analysis of the role and importance of the personality of this outstanding Kharkov musician in the context of the musical art of the region and Ukraine as a whole. All of this combined to form the subject of the comprehensive review and the relevance of this article. The material of the study was the archival letters of R. Genika to N. Findeisen. The goal is to point out the position of R. Genika in the selection of the material for his research by highlighting and analyzing some letters from this correspondence. Methodology. The creative work of any music critic and reviewer, a music writer who is interested in the history of music, in particular, pianism and piano art, is assessed primarily by the material to which he/she refers. Here the source of conclusions about the direction of the search of R. Genika in all these areas can be his correspondence with a prominent fi gure of the Imperial Russian Musical Society (IRMS), one of the leading musical writers and critics of Russia of the late 19th – early 20th centuries, Nikolai Fyodorovich Findeisen (1868–1928). The correspondence with N. Findeisen testifi es to the process of R. Genika’s work on a number of his key scientifi c researches. The author of this study was able to find in the archives these short letters, where the requests of the Kharkov musician to this venerable musicologist and critic about the literature and music notes he needed for his work could be found. And the very list of requests made by R. Genika makes it possible to systematize the range of his creative interests. For example, in one of the letters R. Genika asks N. Findeisen to send him books about F. Liszt. The detailed article about F. Liszt was included into the second volume of the essays on “The History of Music” – the main capital work on which R. Genika had been working for almost all his life. The focus of this study is rather popularizing, addressed to various categories of listeners, primarily, to educated “good listeners” who want to get acquainted closer with the styles and circumstances of the life and creative work of the leading representatives of the world music art. In the fi eld of musicological studies R. Genika was, above all, a historian. This profi le of his research activities was the closest to the tendency that can be defi ned as a popularization or educational one. In his historical research he had clear preferences. This is evidenced by a number of his rather subjective statements about contemporary composers, to whom he preferred the classics of the older generation. R. Genika, as a historian, was well aware of the retrospective necessary for historical musicological studies, and therefore avoided writing in an estimate about authors contemporary to him. He, as a high-class musician, does not consider it possible to express his personal subjective judgments in his historical concept, and so he omits the section on “modern music” in his historical essays. Results. In the two-volume essays on “The History of Music” there are other thoughts that reveal the course of the scientist’s work on various parts of his book. Extremely interesting, besides the already mentioned above R. Genika’s attitude to the “contemporaries”, is his steady interest in the tradition, which he himself called the “Romanesque”. He treated his national school with a natural reverence, considering it to be underestimated in foreign, fi rst of all, German “histories of music”. Such a position is extremely indicative of his work as a music historian. It is the “national”, original, bright and unique that attracts his attention in the styles of the national schools of Europe of that time – the Scandinavian, the Czech, the Polish and, especially great, in his opinion, the Russian. He ends his essays on “The History of Music” (the main text) with the chapter on P. Tchaikovsky, and the modern authors of other schools are covered in review supplement articles. The question of national schools for that period was quite open and controversial even within the framework of generally accepted classifi cations. At that time, the schools of the classical type were considered key, and “nationalist teachings” (“national schools”) were considered “supplementary”, secondary and insignifi cant in the general processes of the world musical history. Here there is a thought, indicative of the very process of the new periodization of the essays on “The History of Music”, which, according to R. Genika, should have differed from the existing German samples. Conclusion. R. Genika’s letters to N. Findeisen make it possible to follow the course of the process of writing the capital essays on “The History of Music”. The very fact that the Kharkov musicologist turned to the global problems of the world music history testifi es to the importance of the creative fi gure of R. Genika in the context of musical and historical research of the last decade of the 19th century – the fi rst two decades of the 20th century. R. Genika was among the fi rst domestic music historians to create his own concept of periodization and artistic evaluation of the most important phenomena of the European musical history, which is the proof of the encyclopedic and universal nature of his many-sided musician talent. These qualities manifest themselves in all directions and the results of his activities, prompting the modern musicologistresearcher to systematize R. Genika’s critical heritage in a special way.
49
Hinson, Maurice, R. Larry Todd, and David Burge. "Nineteenth-Century Piano Music." Notes 48, no. 3 (March 1992): 913. http://dx.doi.org/10.2307/941733.
Full text
50
Kuzmina, O. A. "Opera for children-performers in the work of contemporary choir conductors." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 281–98. http://dx.doi.org/10.34064/khnum1-56.18.
Full textAbstract:
Background. Operas for children-performers emerged almost two centuries ago. The first authors who began creative experiments in this field were amateur composers. In the second half of the 19th century opera for childrenperformers attracted the attention of music teachers who by education were often choir conductors. These authors created their works considering capabilities and needs of their students. The 20th century operas intended for children performance mainly were composed by professional composers, whose works have finally crystallized and sustained characteristic features of this genre. In the 21st century, professional composers are turning to the opera genre for children-performers as actively as their predecessors. At the same time, this area again attracts the attention of authors who are practitioners in choir conducting and are not composers by education but work closely with children groups and write operas based on practical experience with such choirs. The objective of this study is to introduce little-known operas by Ye. Karpenko and P. Stetsenko (both are choir conductors) for children-performers into the scientific discourse and to define their genre features. The methodological ground of the article is a complex approach that involves the following analytical methods: systemic, structural, comparative, historical. Research results. In 2006, Yevhen Karpenko created the opera “Sribna Divchynka” (“Silver Girl”; the libretto by Serhiy Diachenko after the fairy tale by Tamara Khvostenko). The work has the author’s genre designation “opera-fairy tale for children”, which specifies both, the target audience and the team of performers. There are four characters that have solo sayings. The opera features a personalized choir divided into groups, and the mimic character. The composition consists of two acts divided into completed separated numbers (8 in the first act and 7 in the second one). Between them are spoken scenes of varying length, which in this context perform a function similar to recitative in the traditional operatic model. The main form of solo, ensemble and choral expression in “Sribna Divchynka” is a song. The vocal parts do not fall outside of children voices diapason, except for the solo of Zirnytsa (the adult personage, the mother of Silver Girl) and completely correspond to their possibilities. The melody in the solo and in the ensemble-choral numbers is performed in unison allowing to absorb the material of the opera faster even for children without prior musical preparation. The piano part at “Silver Girl” is multi-functional; its level of complexity makes it possible to involve as accompanists even middle and high school students in music schools or studios. Yevhen Karpenko created the opera for children-performers, which organically combines established genre traits with modern genre and style techniques. “Sribna Divchynka” is the work of universal nature, because it can be performed by children without prior musical training, as well as by those who already have some musical and stage experience. “The Three Hermits” (2016; libretto by Tandy Martin based on the story by L. Tolstoy) by Paul Stetsenko reflects contemporary processes in the field of opera with moral and ethical coloring for children-performers. The author attributes the work to the genre of church opera. That affects both the nature of the drama collisions and the location of the action. The central part of the work retains all the main characters of the story. In Prologue, P. Stetsenko added the new personages: Teacher and the Children. The composer does not prescribe the timbre specialization of the protagonists giving freedom to choose within the available voices. The opera consists of six scenes, framed by Prologue and Finale (Stetsenko chooses a scene as a compositional and dramaturgical unit). The scenes are separated from each other in key and completed musically. Representing the heroes of the opera, the composer gravitates more to the dialogic scenes, where the plot develops, than to the solo statements. In “The Three Hermits”, the choir plays an important role. It is personified and participates in the action representing the Children in the Prologue, the Pilgrim in the main part and the Finale, and also functions as a commentator. The opera contains three leitmotifs: “motive of prayer”, “theme of the Bishop”, “motive of the waters”. The composition of the work has an arched construction that connects two spaces of action – the “real” one and the “parable” one. Stetsenko’s “The Three Hermits” proves that with the simplicity of the typological features of the opera genre for children-performers (relatively small length, piano accompaniment, the range of vocal parts that corresponds to the age of the performers) it is capable of embodying deep ideas, wisdom of a parable, stable characters, to involve children to the spiritual and religious experience of the past and eternal moral truths. Conclusions. Thanks to the practical experience of Ye. Karpenko and P. Stetsenko, their collaboration with real children’s groups (in particular, the Children Music Theater “Dzvinochok” in Sumy, Ukraine, and the choir of Westminster Presbyterian Church, Alexandria, Virginia, USA) operas created by them meet the capabilities and needs of young performers: parts have the appropriate for children’s voice range; the tunes are simple and easy to remember; the action develops dynamically, there are no stretched conversation scenes; there are a sufficient number of actors; the duration of the works is approximately 30–35 minutes. Thus, these two operas for children-performers are a clear result of the fruitful collaboration between children’s groups and choir conductors who have the composer vocation.