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1
BILIR EYÜPOĞLU, Emine. "IDENTIFYING THE DIFFERENCES THE HARPSICHORD AND THE PIANO INTERPRETATION OF J. S. BACH'S BWV 1056 CONCERTO IN F MINOR." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (November 15, 2022): 100–114. http://dx.doi.org/10.31567/ssd.770.
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The Baroque period is a period in which the form and style of the renaissance period came to an end, religious and mythological subjects were dealt with in all branches of art, and the period between renaissance and classicism in art history and described as 'ornate art style'. In this article, the differences between the harpsichord interpretation of J.S.Bach's Bwv 1056 F Minor Concerto originally written and the modern instrument piano interpretation were determined. In the first parts of the study, the general features of the Baroque period, the baroque period in music, the most important composers of the baroque period, the instruments of the baroque period and the music forms of the baroque period are mentioned. Subsequently, the focus is on the journey from the past of the harpsichord to the modern piano, J.S.Bach's style and harpsichord concertos; In the last part, with the support of the Project* recordings the analysis of BWV 1056 F Minor Concerto’s piano and harpsichord interpretations were analyzed and evaluated. It is aimed that this article will be a pre-study tutorial and contribution to many musicians and commentators.
2
Cantet, R. J. C. "Statistical methods in animal breeding and Bach’s harpsichord concertos." Journal of Animal Breeding and Genetics 127, no. 5 (September 10, 2010): 334–35. http://dx.doi.org/10.1111/j.1439-0388.2010.00896.x.
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Górny, Tomasz. "Estienne Roger and his agent Adam Christoph Sellius: new light on Italian and French music in Bach’s world." Early Music 47, no. 3 (July 24, 2019): 361–70. http://dx.doi.org/10.1093/em/caz041.
Повний текст джерелаАнотація:
Abstract The article opens with a discussion of the Italian and Italianate concertos that Johann Sebastian Bach transcribed for the organ and harpsichord (bwv592–96, bwv972–87). Hans-Joachim Schulze has suggested that Bach encountered these Italian instrumental works as a result of a trip by Prince Johann Ernst of Saxe-Weimar to the Netherlands. This article suggests an alternative route for Bach to have gained copies of Italian concertos, namely via the Halle and Leipzig bookseller Adam Christoph Sellius. He traded in sheet music published by Estienne Roger in Amsterdam and also in French printed music, probably imported through his contacts in the Netherlands.
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Rogers, Victoria. "Thomas Goff, Four Harpsichords, J.S. Bach and the Royal Festival Hall." Royal Musical Association Research Chronicle 49 (2018): 50–67. http://dx.doi.org/10.1080/14723808.2017.1341204.
Повний текст джерелаАнотація:
During the 1950s and 1960s in London, in the Royal Festival Hall, an unusual series of concerts took place. These concerts stood apart from the usual offerings in London's post-war musical life. What they offered was early music, principally J.S. Bach's concertos for two, three and four keyboards, played not on the piano, as had hitherto been the case, but on the harpsichord. This article documents, for the first time, the facts, and the implications, of the Royal Festival Hall concert series: how it came about; the repertoire; the performers; and the performances. The article concludes that the Royal Festival Hall concerts were notable in the evolution of the early music movement in the UK, deepening its reach to a broader audience and nurturing an awareness of an issue that was increasingly to gain traction in the later decades of the twentieth century: the idea of historical authenticity in the performance of early music.
5
Maunder, Richard. "J. C. Bach and the Early Piano in London." Journal of the Royal Musical Association 116, no. 2 (1991): 201–10. http://dx.doi.org/10.1093/jrma/116.2.201.
Повний текст джерелаАнотація:
A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of piano first made in London, and what musical use did other composers and performers, as well as J. C. Bach, make of them?
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Okuneva, Ekaterina G. "The Instrumental Concerto in Bent Sørensen’s Musical Output." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 162–76. http://dx.doi.org/10.56620/2782-3598.2023.2.162-176.
Повний текст джерелаАнотація:
In the musical output of the modern Danish composer Bent Sørensen, the genre of the instrumental concerto occupies the leading position. The composer has written eight concertos, as well as a number of orchestral works in which particular solo instruments stand out. Based on their analysis, the article reveals the composer’s approach to this genre and the possibility of maintaining it. One of the characteristic features of Sørensen’s concerto works is the programmatic quality. The composer’s works are united by common themes of decay, disappearance, as well as reflection of musical culture, which leads to a saturation of the musical material by means of various stylistic allusions. The unified conceptual sphere gives rise to the phenomenon of connections between different musical works in the output of the Danish composer, while the stylistic juxtapositions, as well as the contrasts of the heterogeneous material in terms of timbre and texture embody the principle of dialogue, which is characteristic of the genre of the concerto. The programmatic quality determines the variety of compositional solutions of Sørensen’s concertos, in which connection, it is proposed to differentiate all of his compositions into two categories: one is represented by compositional models that preserve or revise the concerto form (for example, the Violin Concerto, the Clarinet Concerto, the Third Piano Concerto), and the other demonstrates models, each one focusing on an individual project (for example, the First Piano Concerto, the Accordion Concerto, the Harpsichord Concerto, etc.). In the latter case, elements of instrumental theater are often introduced into the concerto genre. One specific means of dramaturgy in Sørensen’s concerto opuses is the technique of transformation of the timbre and acoustics of the sound sphere, which involves changing the means of playing, the instruments or the sound sources (for example, a transition of the functioning of the orchestral musicians to singing and playing harmonicas in the Accordion Concerto, the transition from playing tremolo to creating sounds on sandpaper blocks in the composition Mignon — Papillons, the substitution of acoustic sound with tape recording in the Clarinet Concerto). The provided analysis allows us to arrive at the conclusion that the sphere of the instrumental concerto forms a single musical-semantic space in Sørensen’s musical output, which is endowed with its own personal characteristic features.
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Sheludiakova, Svitlana. "The genre of the piano concerto in John Adams’s work on the example of “Must the Devil Have All the Good Tunes?”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (April 29, 2024): 161–84. http://dx.doi.org/10.34064/khnum1-70.09.
Повний текст джерелаАнотація:
Statement of the problem. The genre of the instrumental concerto is an important part of the famous American composer John Coolidge Adams’s oeuvre. This is evidenced by the popularity of his concertos among performers and the ongoing interest of researchers in them. However, the composer’s piano concertos, especially the Third Concerto titled “Must the Devil Have All the Good Tunes?”, remains largely unexplored, which prevents the elucidation of the principles of interpreting the genre. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the genre and stylistic interaction in J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?”. For the first time the genre, stylistic, structural and dramaturgical features of this composition become the subject of analysis. The methods of structural and functional, genre and stylistic , and comparative analysis are used in the study. Research results and conclusion. The analysis of J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?” indicates a combination of classical principles with features of minimalism and elements of jazz (ragtime, swing and other) and rock and roll. The classical principles are evident in the three-part structure of the cycle, the use of sonata form in the first movement and variation form in the second, and the orchestration that predominantly adheres to academic traditions. At the same time, there are the features of music poem genre, an openness of forms that appeal to the late-Romantic tradition, alongside with fragmentation inherited in contemporary compositional approaches. These aspects are counterbalanced by timbre dramaturgy, which embodies the idea of continuous development through the gradual addition of new instruments and registers, from the lowest to the highest. Minimalist features are evident in the repetitiveness, the significant role of ostinato rhythms, in the structure of the theme of the second movement, and the use of variation form with the addition of new episode. They also interact with baroque stylistics, as evidenced by the use of short trill-like motifs reminiscent of ornaments found in French harpsichord music. Jazz features are embodied on the genre basis of ragtime, funk, and swing as the extensive use of syncopated formulas, accents, polyrhythmic combination of parts, quasi-improvised elements and the walking bass in the piano part, as well as the ensemble techniques borrowed from jazz-bands. The inclusion in the orchestra the bass guitar and the piano sampler with “Honky Tonk” timbre refers to the rock music, to the ragtime tradition and the honky-tonk bars’ music-making. The programmatic aspect of the Concerto is realized through the stylistic interaction between the Classical embodying tradition, balance, and restraint, and the “diabolical” embodying fearlessness, freedom, and boldness associated in the Concerto with jazz, rock, and pop elements. Therefore, these aspects define the stylistic and dramaturgical uniqueness of J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?”.
8
Kitchen, J. "Johann Sebastian Bach, Italian Concerto, French Overture; 4 Duetti, Chromatic Fantasy & Fugue Christophe Rousset (harpsichord), L'Oiseau-Lyre 433 054-2 (rec 1990); Italian Concerto, French Overture; 4 Duetti Kenneth Gilbert (harpsichord), Harmoma Mundi HMA 1901278 (rec 1988); Trio Sonatas, BWV525-30 John Butt (organ) Harmoma Mundi HMU 907055 (rec 1991); Antonio Vivaldi Concerto for 3 Violins; Johann Sebastian Bach; Concertos for 3 & 4 Harpsichords, Christopher Hirons, John Holloway, Monica Huggett, Catherine Mackintosh, Elizabeth Wilcock (violins), Christopher Hogwood, Davitt Moroney, Christophe Rousset, Colin Tilney (harpsichords), The Academy of Ancient Music, directed by Christopher Hogwood L'Oiseau-Lyre 433 053-2 (rec 1980, 1989, 1990)." Early Music XXI, no. 1 (February 1, 1993): 155–57. http://dx.doi.org/10.1093/em/xxi.1.155.
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Zhukova, Olena. "HARPSICHORD IN THE SOUND PICTURE OF THE XX CENTURY MUSIC, EXEMPLIFIED BY F. POULENC’S СONCERT CHAMPETRE". Scientific Journal of Polonia University 62, № 1 (8 липня 2024): 128–35. http://dx.doi.org/10.23856/6217.
Повний текст джерелаАнотація:
At the beginning of the XX century harpsichord went through a major revival. The builders’, performers’, and composers’ approach to reconstruction of this instrument and its sound characteristics have created a whole new system of artistic allusions. That system was unexpected in the context of the instrument’s history, yet logical, considering the aesthetic of the time. Original harpsichord pieces of the early–20th-century composers commonly embody mechanical or automatic movements, imitate life of a big industrial city, show evil underworld forces and at the same time allude to baroque aesthetics, the interest to which triggered the revival of the instrument. Paradoxically, the harpsichord in the beginning of XX century is seen as something new and fresh, something able to replace piano, which had already passed its high point. Yet, the harpsichord revival started thanks to the new generation's interest to the music of XVII–XVIII century. Poulenc’s harpsichord concerto, known also as Concert champêtre, written for Wanda Landowska and her unique Pleyel harpsichord, is treated here as one of the brightest examples of the multiplicity of meanings of the harpsichord sound in early 20th century.
10
Artola, Ines R. "“A composItIon wrItten wIthout creatIve lImItatIons” – Wanda Landowska and concerto for harpsichord and five instruments by ManueL de Falla (1923)." Notes Muzyczny 1, no. 15 (June 21, 2021): 67–107. http://dx.doi.org/10.5604/01.3001.0014.9691.
Повний текст джерелаАнотація:
The aim of the present article is the analysis of Concerto for harpsichord and five instruments by Manuel de Falla – a piece which was dedicated by the composer to Wanda Landowska, an outstanding Polish harpsichord player. The piece was meant to commemorate the friendship these two artists shared as well as their collaboration. Written in the period of 1923-1926, the Concerto was the first composition in the history of 20th century music where harpsichord was the soloist instrument. The first element of the article is the context in which the piece was written. We shall look into the musical influences that shaped its form. On the one hand, it was the music of the past: from Cancionero Felipe Pedrell through mainly Bach’s polyphony to works by Scarlatti which preceded the Classicism (this influence is particularly noticeable in the third movement of the Concerto). On the other hand, it was music from the time of de Falla: first of all – Neo-Classicism and works by Stravinsky. The author refers to historical sources – critics’ reviews, testimonies of de Falla’s contemporaries and, obviously, his own remarks as to the interpretation of the piece. Next, Inés R. Artola analyses the score in the strict sense of the word “analysis”. In this part of the article, she quotes specific fragments of the composition, which reflect both traditional musical means (counterpoint, canon, Scarlatti-style sonata form, influence of old popular music) and the avant-garde ones (polytonality, orchestration, elements of neo-classical harmony).
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Kobler, Linda, Antonio Vivaldi, and Igor Kipnis. "Concerto in A Major for Harpsichord (Keyboard) and Strings." Notes 47, no. 2 (December 1990): 559. http://dx.doi.org/10.2307/942014.
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Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 3 – Keyboard instruments in concert halls and in the high society." Notes Muzyczny 1, no. 11 (June 28, 2019): 43–64. http://dx.doi.org/10.5604/01.3001.0013.3521.
Повний текст джерелаАнотація:
The present text is the third and last part of the cycle of articles devoted to keyboard instruments with hammer mechanism in the 18th century published in subsequent issues of the magazine “Notes Muzyczny”. The first two parts primarily touched on the history of keyboard instrument making in the 18th century: first pianos and other original inventions. The third part is in turn devoted to the changing position of the piano in the musical life of that period, namely – concerts, publications and compositions. The crowning of this part is the chronological and topic-related list (in a form of a reference chart) of the most significant phenomena and events discussed in the whole cycle of articles. The first mentions of a wider presence of keyboard instruments with hammer mechanism on the music market and concert life date back to the 1760s. In the 1770s there was a fast growth in the popularity of these instruments in the life of the high society, first of all in England and France (table instruments), as well as in Germany, even though there it took slightly more time because of the domination of the traditional clavichord. Due to the imprecise nomenclature used as long as until the 1780s and 1790s, it is often hard to decide which keyboard instrument was meant in a given case, hence it is impossible to assess how popular a specific instrument was. Some academics suggest that the presence of instruments with hammer mechanism in the musical life of that period was much greater than in might seem. Probably both hammer and tangent pianos and their other variants were not opposed to harpsichords but were treated as a special type within the same group of instruments. In the 1780s musical pieces written for both keyboard instruments, i.e., “for harpsichord or piano”, became the norm. Despite the increase in popularity of pianos (as compared to harpsichords) in the 1790s, such designation would remain on title pages of compositions until the end of that century. The period between the 1780s and 1790s was also the time when the first piano playing textbooks appeared. Expanding expressive capacities of keyboard instruments was the response to the changing needs of the galant and Empfindsamkeit styles. On the other hand, the presence of pianos had a significant influence on the styles of specific compositions. In order to illustrate these processes, the annex presents the analyses of two representative cycles of works from the 1760s written for the new instrument: Sonatas op. 1 by Johann Gottfried Eckard and Sonatas op. 5 by Johann Christian Bach.
13
Harrison, B. "Eighteenth-century music for two keyboard instruments, Bernard Brauchli (harpsichord, clavichord), Esteban Elizondo (organ, clavichord), Titanic Records T1-185 (rec 1989); Joseph Haydn, Harpsichord Sonatas In C Minor (XVI 20), F Major (XVI:23), A Major (XVI 26), E Flat Major (XVI 28), B Minor (XVI 32), Shirley Mathews (harpsichord), Gasparo GSCD-284 (issued 1991); Wolfgang Amadeus Mozart, Concertos KV107 (After J. C. Bach's Keyboard Sonatas Op.5 Nos 2, 3 & 4); Leopold Mozart, Sonata Da Camera A Tre No.4; Johann Christian Bach, Sonata In D Major, Op.20 No 2, Keyboard Concerto In E Flat Major, Op.7 No 5, London Baroque, Harmonia Mundi HMC 901395 (rec 1990); Wolfgang Amadeus Mozart, Piano Sonatas K545 & K57O, Fantasie K475, Rondos K486 & K511, Andras Schiff (fortepiano), L'Oiseau-Lyre 433 328-2 (rec 1991)." Early Music XXI, no. 1 (February 1, 1993): 161–63. http://dx.doi.org/10.1093/em/xxi.1.161.
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Nex, Jenny, and Lance Whitehead. "A Copy of Ferdinand Weber's Account Book." Royal Musical Association Research Chronicle 33 (2000): 89–150. http://dx.doi.org/10.1080/14723808.2000.10540991.
Повний текст джерелаАнотація:
With a population of some 140,000 in 1760, Dublin was the second largest city in the British Isles. Although small in comparison to London, it had a thriving musical community which attracted the likes of George Frideric Handel (1685–1759), Thomas Arne (1710–1778), Niccolo Pasquali (c. 1718–1757) and the oboist Johann Fischer (1733–1800). Concerts took place at various venues across the city including Dublin Castle, Christ Church Cathedral and Fishamble Street Musick Hall. In addition, societies such as the Musical Academy (an aristocratic music society founded by the Earl of Mornington in 1757) supported charitable concerts such as those at the Rotunda, the concert venue attached to the Lying-in Hospital. Although instruments were imported from London throughout the century (John Snetzler, for example, supplied the organ for the Rotunda in 1767), there was a knot of local instrument builders working in the vicinity of Trinity College. However, in contrast to the concentration of keyboard instrument builders in the Soho area of London in the eighteenth century, the distribution of harpsichord makers in Dublin was more diffuse.
15
de Vries, Han, John Downey, Gary Karr, London Symphony Orchestra, and Geoffrey Simon. "John Downey: Declamations; Discourse for Oboe, Harpsichord and String Orchestra; Jingalodeon; Concerto for Double Bass and Orchestra." Musical Times 133, no. 1795 (September 1992): 466. http://dx.doi.org/10.2307/1002386.
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Roveda, Lyndia. "Le P.~Castel et l'ethos du mathématicien." Rhetorica 25, no. 2 (2007): 159–82. http://dx.doi.org/10.1525/rh.2007.25.2.159.
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Abstract The celebrated inventor of the “Ocular Harpsichord” is less well known as the author of Mathématique universelle, published in 1728. In this work, the Jesuit teacher develops a cheerful method of instruction in inspired by his desire to popularize a discipline hitherto marked with the seal of austerity. In order to clear away the illusory superiority of professional geometers, Father Castel makes argumentative breaks from tradition, aiming to devalue the ethos of contemporary mathematicians. Through textual analysis of certain rhetorical professions such as candid directness (aretè), ostentatious goodwill (eunoia) and, in a more general sense, the dissociation of appearance from reality, the present study seeks to place in evidence certain ethical concerns which were shaking Jesuite learned world in its confrontation with the new epistemology of the century of the Enlightenment.
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Galbraith, D. "Thomas Wright's innovative method for expressing tempos, as shown in his Concerto for harpsichord or piano forte (1797)." Early Music 39, no. 3 (August 1, 2011): 409–14. http://dx.doi.org/10.1093/em/car052.
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Debenham, Margaret. "Joseph Merlin in London, 1760–1803: the Man behind the Mask. New Documentary Sources." Royal Musical Association Research Chronicle 45 (2014): 130–63. http://dx.doi.org/10.1080/14723808.2014.888175.
Повний текст джерелаАнотація:
Joseph Merlin (1735–1803), ‘Ingenious Mechanick’, musical-instrument maker and flamboyant showman, is perhaps best remembered for his Museum in Princes Street, London, with its scintillating displays of automata and extraordinary inventions. Two newly identified sets of Court documents, Nicholl v. Merlin, 1779 and Merlin v. Celsson, 1779–81, now provide insights into previously unknown aspects of his business dealings and personal life. The former concerns a dispute over a house that Merlin commissioned to be built in 1776, the latter a violation of his 1774 combined harpsichord-pianoforte patent rights. Material relating to Lavigne Verel, his musical instrument foreman from 1773 to 1781, is also reported. Amongst other novel findings, perhaps the most surprising is Merlin's marriage in 1783. Contemporary primary-source material consulted includes original manuscripts held at The National Archives, UK, the Scone Palace Archives, Parish Registers, Land Tax and Apprenticeship records and numerous contemporary newspaper advertisements and notices.
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Krasnogorova, O. A. "THE SOUND OF THE "GOLDEN AGE": PROBLEMS IN PERFORMING ENGLISH VIRGINAL ART." Arts education and science 1, no. 3 (2020): 104–14. http://dx.doi.org/10.36871/hon.202003013.
Повний текст джерелаАнотація:
The main objective of the article is to investigate the problems of performing compositions by English composers of the XVIth – XVIIth centuries and the history of their sound incarnation. The author analyzes the appeal to the musical art of the "Golden Age" by A. G. Rubinstein, who included in the piano "Historical Concerts" and lectures works by W. Byrd, O. Gibbons, H. Purcell. Considering the specifics of the clavier texture, different types of variations and their influence on the development of instrumental techniques are distinguished. Based on the comparison of the pavane, the article draws conclusions about the stylistic features of various composers. As one of the key problems in creating an interpretation, the author notes the solution to the question of choosing a musical instrument (both between harpsichord and piano and between historical instruments), which has a decisive influence on sound quality. The article examines the experience of A. B. Lyubimov in performing works by English virginalists. Interpreted by G. Gould, the pianist emphasizes the new contemporary hearing of compositions by W. Byrd and O. Gibbons, performed in the same program with the works of A. Schoenberg, A. Webern, A. Berg, which reveals the dialogue of eras.
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Kodenko, I. I. "Concepts of Early Music Re-creation in Wanda Landowska’s Work." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 261–79. http://dx.doi.org/10.34064/khnum2-17.17.
Повний текст джерелаАнотація:
Background. The XIX century presented the world with many wonderful musicians, among them there is Wanda Landowska (1879–1959), a researcher of the musical culture of the past. She is considered as one of the founders of the authentic movement in academic musical art, a representative of the first generation of “historical performers” who returned long-forgotten ancient music to their contemporaries. Landowska’s creativity, whose concerts with historical programs in the early XX century enjoyed extreme popularity, was covered in the press of that time, and, after, in special literature, although, given the world fame of the artist, clearly not enough. The name of W. Landowska is mentioned in passing by her contemporary A. Schweitzer in his famous monograph “J. S. Bach” (Schweitzer, 1965, transl. from German Ya. Druskin, p. 259); the review articles by famous Russian musicians and scientists A. V. Ossovsky (1971) and A. Maikapar (1991) are devoted to her. However, the fundamental studies of all aspects of W. Landowska’s activity are still lacking both in foreign and in domestic musicology. Ukrainian scientists have already taken certain steps in the study of the work of an outstanding Polish artist. G. Kurkovsky (1983) highlights the performances of a harpsichordist in Kiev, analyzing her repertoire. As a participant in concerts of the Imperial Russian Music Society, between 1907 and 1911 W. Landowska performed with constant success in Ukraine, not only in Kiev, but also in Odessa and Kharkiv. The researches by N. Svyrydenko, which appeared in the last decade (2010a, 2010b, 2017), gives a due assessment of the activity of the outstanding Polish musician in promoting ancient music. However, in general, in publications devoted to the artist, an analysis of the features of her performing style was not given enough attention, as well as her research works and notes. Objectives. This article aims to identify features of the concepts of W. Landowska regarding the performance of ancient music. The research material was, first of all, the notes of the outstanding harpsichordist collected by her student D. Restout; Russian translation by A. Maikapar (Landowska, W., 1991). The results of the study. Landowska is one of the firsts who was involved in the formation of the phenomenon of “early music”. She draws attention to the fact that few of her contemporaries carefully studied the music of the Middle Ages, Renaissance, Baroque. Meanwhile, the musical practice of these eras lays the foundation for the formation of styles and Viennese classicism, and Romanticism, and new music. Working on the interpretation of ancient works, Landowska, first of all, proceeded from the historical context of the era and the general musical meaning. She emphasized the importance of playing music on the instruments of the exact era for which they were written. In her works, Landowska focused on the problems of reproducing ancient music on the harpsichord, namely, on such performance parameters as tempo, dynamics, registration, phrasing, ornamentation. In particular, Landowska presents and parses the tables of F. Couperin, J. Ph. Rameau and J. S. Bach with decipherments of ornamentations, touching in this connection also to issues of improvisation. Landowska laid the foundations of historically informed performing, emphasizing the need for musicians to study the treatises of Р. F. Tosi-J. F.Agricola, J.J. Quantz, F. Couperin, J. Ph. Rameau, L. Mozart, G. Frescobaldi, F. W. Marpurg, С. Ph. E. Bach. Relying on the old treatises, she sought to find a practical solution to the problems of interpreting ancient music precisely on authentic instruments, since the technique and character of the performance largely depend on the construction of the latter. Landowska studied in detail the clavier works of the outstanding harpsichordists F. Couperin and J. Ph. Rameau, and also paid great attention to the issue of the influence of French music on German music. Landowska believed that in order to find the right tempo, high-quality sound, it is necessary to thoroughly study the mechanism of the instrument. We can talk about the “sense of rhythm”, “accuracy and articulation of sound” about “spatial representations” only from the position of the harpsichordist, since the latter can have just different principles of intonation on the instrument and completely different decisions for fingering, than the pianist, due to the different construction of the harpsichord and piano (for example, without the passing of one finger under another). Landowska deals with the main key to ancient music – rhetoric. Increased attention in interpretation should be given to phrasing and breathing, which plays a major role, since each pause, caesura logically share a melodic line. At the same time, rhythmic freedom should not become synonymous with arbitrariness – Landowska’s playing was always distinguished by rhythmic accuracy, with which it conveyed the duration of sounds. “Some phrases within the play require rhythmic changes, while others – do not,” notes the artist (1991, p. 373). Thus, Landowska insisted on a completely different approach to the interpretation of music of past eras compared to what reigned in her time. She believed that turning to the music of masters of the past gives the musician the opportunity to develop a good musical taste and aesthetic feeling, and studying of the theoretical sources of ancient eras – to create a full-fledged idea of ancient music. In order to embody his vision of music in sounds, the performer should have good taste, Landowska insists on this, but it must be connected with knowledge of the material, styles of the past and historical context. Studying old treatises, Landowska made certain conclusions: the technology of playing an instrument is more complex and multifaceted than simply polishing “complex passages”, as it is considered today, and “coordination of thought and fingers” was called “technology” in that time (ibid., p. 150). In general, the artist puts “ears” and “consciousness” above just good finger coordination. The task of an authenticist is more difficult – it’s not enough to have good technique, you need to be able to combine all other performance components: touché, rhythm, breath, agogics, ornamentation, rhetoric, symbolism, sound, timbre, etc. Conclusions. W. Landowska positioned herself primarily as a harpsichordist, popularizing this instrument, although the sound of her harpsichord is still quite far from the sound of a “historical harpsichord”, for example, G. Leonhardt. Nevertheless, the sound of the harpsichord recreated by Landowska made a stunning impression on his contemporaries. As a result, it completely changed the then performer’s and listener’s ideas about ancient music, giving a powerful impetus to a complete revision and rethinking of generally accepted manners of performing and romantic cliché of hearing. Fifty-year-old practical experience of Landowska-harpsichordist is very important for modern performers of ancient music, who strive for its most accurate reproduction, that open the perspectives for further in-depth study of the creative heritage of an outstanding artist.
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Vandagriff, Rachel S. "An Old Story in a New World." Journal of Musicology 35, no. 4 (2018): 535–66. http://dx.doi.org/10.1525/jm.2018.35.4.535.
Повний текст джерелаАнотація:
During the Cold War, American private foundations subsidized American modernist composers, supporting their work through commissions, underwriting recordings and concerts, and promoting their ideas in radio programs and periodicals circulated at home and abroad. From its establishment in 1952, the Fromm Music Foundation (FMF) acted as an important player in this field. Using archival material and interviews with people who worked with the founder Paul Fromm, I show how Fromm’s involvement in his foundation, and his reliance on professional advice, constituted a unique patronage model that enabled select composers to participate actively in the promotion of their music. Fromm’s relationship with Elliott Carter provides an especially complex example of a mutually beneficial and successful partnership. Fromm’s goal was to integrate contemporary music into American musical life by supporting the production and dissemination of new compositions. Fromm sought to play the role of patron, fostering close relationships with composers who received funds and acted as his artistic advisers. Fromm’s partnership, and consequent friendship with, Carter illustrates the many ways the FMF served composers. In 1955 Fromm commissioned what became Carter’s Double Concerto for piano, harpsichord, and two chamber orchestras (1961). Fromm’s subsequent help, administered through his Foundation and personal connections, enabled Carter to secure high-quality premieres of this piece and other difficult-to-perform repertoire, helped facilitate repeat performances and recordings of these compositions, and allowed Carter, together with his wife Helen, to establish a system to fund musicians who performed his music—and also reap tax benefits. Among the recipients who benefited from Fromm’s largesse were Charles Rosen, Paul Jacobs, and Jacob Lateiner. Fromm’s actions spawned a familiar fable. Carter’s career and the way he talked about it reinforced many persistent falsehoods about an artist’s relationship, or lack thereof, to potential listeners and audiences—a source of financial support for artists since the advent of public concert life. Fromm’s financial support and Carter’s ability to supplement it helped buttress the late-Romantic myth of creative autonomy. The details of this partnership—the words exchanged, the other figures involved, and its variegated benefits—harbor broad implications for the study of Cold War-era patronage networks and for our view of Carter’s career.
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Bauer, Amy. "Richard Steinitz, György Ligeti: Music of the Imagination (London: Faber and Faber, 2003), ISBN 0 571 17631 3 (hb)." Twentieth-Century Music 2, no. 2 (September 2005): 302–9. http://dx.doi.org/10.1017/s1478572206220292.
Повний текст джерелаАнотація:
Hungarian composer György Ligeti has not lacked for attention since coming into contact with Europe’s new music scene in the early 1960s. In 1966 he was featured in Moderne Musik I: 1945–65, and by 1969 Erkki Salmenhaara had published a dissertation on three major works. Although periodic illness and a painstaking approach to composition slowed his progress, Ligeti continued to refine and expand his style in the 1970s, producing everything from intimate solo works for harpsichord to the suitably grand opera Le Grand Macabre (1974–7, revised 1996). His turn towards traditional orchestral forms and a quasi-diatonic language in the 1980s brought him new prominence, and the voluble composer has seemed ever ready to provide ripe commentary on his work and the state of new music. The numerous awards and publications that followed Ligeti’s seventieth birthday in 1993 support his status as probably the most widely fêted and influential composer of the latter half of the twentieth century. And if that degree of timely recognition was not enough, the composer has entered his ninth decade with no noticeable decline in compositional energy or ideas. Ligeti continues to fashion brilliant revisions of the tried but true genres of concerto, solo étude, song cycle, choral work, and character piece. His compositions bear the weight of extramusical influence as well as that from beyond the Western canon, yet each innovation affirms his inimitable voice and his singular musical journey from the mid-twentieth to the twenty-first century.
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Andriuţa, Viorica. "3. Pianist Aurelia Simion - Talent, Creativity, Performance." Review of Artistic Education 25, no. 1 (March 1, 2023): 16–21. http://dx.doi.org/10.2478/rae-2023-0003.
Повний текст джерелаАнотація:
Abstract Coming from a family of musicians, the descendant of a dynasty that traces its roots back to the 19th century, had Lia Oxinoit as a teacher at the pre-university cycle and Ludmila Vaverco at the Gavriil Musicescu State Conservatory from Chisinau. The artistic career of the pianist Aurelia Simion is impressive, ascending, marked by important professional successes realized in concerts and solo recitals or in collaboration with soloists, teachers, students and pupils, with participation in the Musical Olympics, in national and international competitions as an accompanist, member or president of the juries. It is particularly important to highlight the fact that Aurelia Simion, in her artistic ascent, performed on concert stages in the Romania and abroad (Ukraine, Belgium, Germany, Italy, Switzerland, France, Holland, Austria, Russia etc). Inquisitive spirit, always concerned with learning something new, she also played the harpsichord, celesta, marimbaphone and vibraphone, learned to play the portable organ with pedals, and in the moments when she had to complete the timbral color of the scores as part of the Percussion Ensemble Alternances, led by Constantin Stavrat, played claves, guiro, maracas and other small percussion instruments. Her compositional creation materialized in scores for solo piano, solo instruments with piano accompaniment, arrangements for percussion ensemble. For her academic and artistic achievements, she was awarded numerous awards, medals and diplomas of merit, honor and excellence awarded by various cultural and educational institutions.
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Rickards, Guy. "Icarus Soaring: the music of John Pickard." Tempo, no. 201 (July 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.
Повний текст джерелаАнотація:
Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.
Повний текст джерелаАнотація:
Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.
Повний текст джерелаАнотація:
Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Карелина, Е. К. "The World of Shamanic Practice in the Work of Khuresh-ool Damba." Научный вестник Московской консерватории 15, no. 1(56) (March 27, 2024): 86–113. http://dx.doi.org/10.26176/mosconsv.2024.56.1.05.
Повний текст джерелаАнотація:
Тува является одним из регионов мира, где хорошо сохранились традиции шаманизма. Перейдя в скрытые формы, шаманская практика не прекращалась и в советский период истории Тувы. Статья посвящена влиянию звуковой культуры шаманства на творчество тувинского композитора Хуреш-оол́а Дамба ́(1943–1993). Рассмотрение формы фортепианной пьесы «Танец шамана» Х. Дамба через отражение в ней структуры шаманского камлания первой предложила И. Цыбикова- Данзын. Эту идею продолжили А. Монгуш и А. Чымба при анализе Концерта для литавр, клавесина и камерного оркестра Х. Дамба. Рассмотрение в данном ракурсе симфонической поэмы «Моя Тува» Х. Дамба определяет научную новизну предлагаемого исследования. Анализ поэмы показал, что важный фрагмент формы, в котором дирижеры делали купюры, выстроен в логике шаманского камлания, что подчеркивается также тембровым планом. Триада названных опусов, созданных Дамба в 1967–1972 годах, в период учебы в Новосибирской консерватории, демонстрирует постепенный отказ их автора от прямых ассоциаций с образами шаманства. Высокий уровень художественной убедительности этих сочинений объясняется тем, что композитор не столько создавал музыкальную картину шаманского танца, сколько передавал внутренний мир — состояние шамана во время обряда. В контексте шамановедческих исследований и мнений носителей традиции рассмотрены факты биографии Хуреш-оола Дамба, воспоминания его родственников и современников, что позволяет высказать гипотезу о связи болезни композитора с его тяготени- ем к отражению звуковой культуры шаманства в музыкальных произведениях. Результатом взаимодействия древнейшей обрядовой формы и профессиональной композиторской традиции новоевропейского типа, относящихся к совершенно разным культурным парадигмам, становятся оригинальные авторские концепции и решения в творчестве Х. Дамба. Исследование осуществлено в рамках проекта «Музыкальное наследие “Симфония Эне-Сая”» Президентского Фонда культурных инициатив (ПФКИ-23-1-011801). Tuva is one of the world regions where the traditions of shamanism are well preserved. Shamanic practice did not stop during the Soviet period of Tuvinian history, having passed into hidden forms. The article deals with the influence of the sound culture of shamanism on the work of the Tuvan composer Khuresh-ool Damba (1943–1993). I. Tsybikova-Danzyn was the first to propose the analysis of the piano piece “Shaman’s Dance” by Kh. Damba through its reflection of the structure of shamanic ritual. This idea was continued by A. Mongush and A. Chymba in regard to Kh. Damba’s Concerto for timpani, harpsichord and chamber orchestra. Consideration of the composer’s symphonic poem “My Tuva” (1972) from this perspective, determines the scientific novelty of the present research. Analysis of the symphonic poem showed that an important fragment of its form, in which the conductors made cuts, is built in the logic of shamanic ritual, which is also emphasized by the timbre plan. The triad of the said opuses, created by Damba in 1967–1972, during his studies at the Novosibirsk Conservatory, demonstrates the author’s gradual refusal from direct associations with the images of shaman- ism. The high level of artistic persuasiveness of these works can be explained by the fact that the composer did not so much create a musical picture of the shamanic dance as convey the inner world — the state of the shaman during the ritual. In the context of shamanic studies and opinions of tradition bearers, the facts of the composer’s biography, the memories of his relatives and contemporaries are considered, which allows us to express a hypothesis about the connection of the composer’s illness with his tendency to reflect the sound culture of sha- manism in musical works. The result of the interaction of the most ancient ritual form and the professional composer’s tradition of the New European type, belonging to completely different cultural paradigms, are original author’s concepts and solutions in the work of Kh. Damba. The research was carried out within the framework of the project “Musical Heritage ‘Symphony, Ene-Saya” of the Presidential Fund for Cultural Initiatives (PFKI-23-1-011801).
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Webber, Geoffrey. "Bach’s keyboard concertos on harpsichord and piano." Early Music, January 20, 2022. http://dx.doi.org/10.1093/em/caab077.
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Soloviova, O. "JOHANN BACH’S HARPSICHORD CONCERTOS IN THE CONTEXT OF THE DEVELOPMENT OF BAROQUE INSTRUMENTAL GENRES." European Journal of Humanities and Social Sciences, November 9, 2020, 51–55. http://dx.doi.org/10.29013/ejhss-20-5-51-55.
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"ANTHONY HART writes:." Eighteenth Century Music 12, no. 2 (August 24, 2015): 259–60. http://dx.doi.org/10.1017/s1478570615000160.
Повний текст джерелаАнотація:
Early-music performances were a rarity in Malta until a few years ago. Slowly, over the years, harpsichords started to appear in concerts and a retired doctor began to build clavichords. During a series of fundraising concerts for the restoration of one of Valletta's oldest churches, a male-voice choir was formed to sing renaissance polyphony. This fervent activity led a local artist, Kenneth Zammit Tabona, to dream of a baroque music festival in the island's capital, Valletta. January 2013 saw the first Valletta International Baroque Festival, with concerts held in several of Valletta's baroque edifices, including the magnificent Manoel Theatre (built in 1731 and one of the oldest working theatres in Europe) and the awe-inspiring St John's Co-Cathedral, the church of the Knights of Malta. The first year was a resounding success and augured well for the future, as was confirmed in the second year of the festival.