DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet 572138 bk Shostakovich 3/18/09 11:03 AM Page 20 Mark Fitz-Gerald with the string quartet. From left to right: Piotr Tarcholik, Kinga Tomaszewska, Beata Raszewska, Zdzisław Łapiński SHOSTAKOVICH WORLD PREMIÈRE RECORDINGS The Girlfriends (Complete) • Salute to Spain Rule, Britannia! • Symphonic Movement (1945) Acknowledgements We wish to thank the following people and organisations for their generous support of this recording: Pauline and Bob Fitz-Gerald, Ray and Elizabeth Harsant, Lesley Spence (on behalf of her late husband, Malcolm Spence), the Association Internationale ‘Dmitri Chostakovitch’, Anastasia Belina, David Coronel, Stephen Davis, Jonathan Del Mar, the DSCH Journal (www.dschjournal.com), the Farnborough Symphony Orchestra, Derek Hulme, Jacek Mentel, Geoffrey Paterson, Mariusz Szymanski/Kraków Industrial Society, the Polish Union of Performing Arts, John Riley, the Society of Friends of the Polish National Radio Symphony Orchestra, and Emmanuel Utwiller Polish National Radio Symphony Orchestra 8.572138 20 Mark Fitz-Gerald 572138 bk Shostakovich 3/18/09 11:03 AM Page 2 Podrugi (The Girlfriends), Op. 41(ii) 46:33 ¡ Natasha and Zoya are rescued – Allegro molto Stanisław Dziewior (Orchestra)* 1:42 1 Introduction (opening credits) – Moderato ™ Fanfare: Andrei and Senka arrive (2 trumpets)* 0:40 (String Quartet) 3:04 £ Andrei’s closing words – Adagio (Orchestra) 3:12 2 The Year 1914: The workers’ residential block and factory gates – Allegretto (String Quartet) 2:08 All tracks edited by Mark Fitz-Gerald to comply with 3 The families wait for the strikers to return – the original 1934 film soundtrack Allegretto (String Quartet, Trumpet, Piano) 3:38 * Reconstructed by Mark Fitz-Gerald 4 ‘The Inn of the Keys to Happiness’ – Allegretto moderato (String Quartet, Trumpet, Piano) 2:26 Polish National Radio Symphony Orchestra 5 The children attempt to sing their ‘poppy song’ – (1#¡£) Allegretto (Instrumental Ensemble)* 2:56 Members of the Polish National Radio Symphony 6 By the river: Revolutionary song ‘Zamuchen Orchestra: Zoya (Zoya Fedorova) tending the soldier (film still) tiazheloi nevolei’ (Tormented by a Lack of String Quartet: Piotr Tarcholik (Violin I), Freedom) – (Asya, Zoya, Natasha, Senka, Silych Kinga Tomaszewska (Violin II), Beata Raszewska (Solo voices))* 0:52 (Viola), Zdzisław Łapiƒski (Cello) (1-48^() 7 Fanfare (Trumpet solo)* 0:27 Instrumental Ensemble: Janusz Skramlik (Violin I), 8 The story of Silych’s son, Ivan – Allegretto Kinga Tomaszewska (Violin II), Zdzisław Łapiƒski (Trumpet, String Quartet, Harp and Piano) 2:16 (Cello), Małgorzata Otremba (Piccolo), 9 ‘Zamuchen tiazheloi nevolei’ (Tormented by a Aleksander Tesarczyk (E flat Clarinet), Lack of Freedom) (Male Chorus, Children)* 5:12 Stanisław Dziewior (Trumpet), Piotr Kopiƒski (Piano), 0 The Year 1919, Russian Civil War. Fanfare Piotr Połaniecki (Xylophone) (5) and Organ Voluntary (Three Trumpets, Organ)* 1:37 String Trio: Piotr Tarcholik (Violin), Beata Raszewska ! Internationale – The girls leave for war (Banda)* 2:03 (Viola), Zdzisław Łapiƒski (Cello) (%) @ The girls attend to the wounded soldiers on the Banda (!): Stanisław Dziewior, Benedykt Matusik, battlefield – Largo, Adagio Jan Bogłowski, Piotr Pyda (Cornets), Mariusz Zi∏tek, (Timpani, Harp, Organ)* 1:47 Rudolf Brudny (Tenor Tubas), Michał Mazurkiewicz # The town of Pushkin has been taken by (Euphonium), Jakub Urbaƒczyk, Łukasz Urbaƒczyk the enemy – Alla Marcia (Banda)* 1:09 (Tubas), Krzysztof Jaguszewski, Wojciech Morcinczyk, $ Internationale – The girls and the wounded Piotr Połaniecki (Percussion) soldiers retreat by train (Solo Theremin) 1:46 Banda (#): Stanisław Dziewior, Benedykt Matusik % Zoya in the snowy forest – Andante sostenuto (Cornets), Mariusz Zi∏tek (Tenor Tuba), (String Trio)* 1:47 Jakub Urbaƒczyk (Tuba), Krzysztof Jaguszewski, ^ ‘The Forester’s Hut’ – Andante Wojciech Morcinczyk, Piotr Połaniecki (Percussion) (Piano, String Quartet) 2:51 Trumpet: Stanisław Dziewior (3-47-80&-(™) & Fanfare: Andrei arrives with news from Trumpet: Benedykt Matusik (0&*™) the front (2 Trumpets, Sidedrum)* 0:29 Trumpet: Piotr Pyda (0) * Fanfare (2 Trumpets)* 0:46 Piano: Piotr Kopiƒski (3-48^() ( The girls find a chicken – Allegro (Piano, Piano: Antoni Brožek (4) Trumpet, String Quartet) (music not used in film) 1:56 Harp: Julia Ormicka-Gajda (8@) ) Natasha and Zoya sing a nostalgic song ‘Gde eti Organ: Sebastian Matyja (0@) tyoplie nochi (Where are those warm nights?) Timpani: Krzysztof Jaguszewski (@) (2 solo voices)* 1:49 Side drum: Wojciech Morcinczyk (&) 8.572138 2 19 8.572138 572138 bk Shostakovich 3/18/09 11:03 AM Page 18 › Salyut Ispanii Salute to Spain Solo voices: Agnieszka Bochenek-Osiecka (Soprano) Salute to Spain, Op. 44 10:52 (6)), Aleksandra Poniszowska (Soprano) (6), Vremya i zhizn’ toroplivo begut, Time and life are quickly passing, Elžbieta Starczynowska (Soprano) (6), Sabina º Fanfare I (Solo trumpets) 0:15 Mnogoe v zhizni nashey budet zabïto, Much from our lives will be forgotten, Myrczek (Alto) (6)), Adam Myrczek (Bass) (6), ⁄ March of the Officers – Allegro non troppo No nikogda ne zabudem mï But we will never forget Men’s Voices of Camerata Silesia – The Katowice City (Orchestra) 1:37 Imeni tvoego, Rosita, Rosita. Your name, Rosita, Rosita. Singers’ Ensemble (Anna Szostak: Artistic Director) ¤ Fanfare II (Solo trumpets) 0:10 (69 )) ‹ Anon.: ¡A las barricadas! (To the Barricades!) – Rosita, serdtse moyo bolit. Rosita, my heart is aching. Solo theremin: Celia Sheen ($) Con spirito (Male chorus) (text by Ispaniya krov’yu svoikh detey omïta. Spain is awash with the blood of her children. Tracks 1-48%and ( were prepared by Piotr Valeriano Orobón Fernández, 1901-1936)* 1:17 Ya videl, kak pogibali oni, I saw them dying, Tarcholik under the supervision of Mark Fitz-Gerald › Song of Rosita – Moderato I tï sredi nikh, Rosita, Rosita. And among them were you, Rosita, Rosita. (Solo Bass, Orchestra) 2:35 With the exception of track $, recorded in Oxshott, fi Fanfare III (Solo trumpets) 0:13 No tï ne dostalas’ zhivoy vragu, But your enemy did not get you, Surrey, England, on 23rd June 2008, all tracks were fl attrib. I. S. Aturov: Po dolinam i po vzgor’yam Serdtse tvoyo tvoeyu puley probito. Your heart was pierced by your own bullet. recorded in the Grzegorz Fitelberg Concert Hall, (Along the valleys and over the hills) – Net, nikogda ne zabudem mï No, we will never forget Katowice, Poland, from 27th to 30th August 2008, from Moderato con moto (Male chorus) (text by Imeni tvoego, Rosita, Rosita. Your name, Rosita, Rosita. 20th to 22nd September 2008, and on 23rd October Pyotr Semyonovich Parfenov, 1894-1943)* 1:08 2008 (tracks 6 and ) only) ‡ Reminiscence of the Song of Rosita – Andante (Orchestra) 0:56 fl Po dolinam i po vzgor’yam Along the valleys and over the hills Rule, Britannia! Op. 28 8:45 ° Lucia’s Funeral March – Andante (Orchestra) 2:42 Po dolinam i po vzgor’yam Along the valleys and over the hills ¢ Internationale (Chorus & Orchestra) 1:43 * Arranged from original sources by Mark Fitz-Gerald Shla diviziya vperyod, Marched the division forward, ∞ Infantry March – Allegretto (Orchestra) 1:50 Chtobï s boyu vzyat Primor’ye– To take in battle Primorye – § Along the Soviet Route (Orchestra) 1:07 Polish National Radio Symphony Orchestra Beloy armii oplot. The stronghold of the White Army. ¶ Protest – Allegro (Orchestra)* 2:28 (⁄›‡°) • Raising the Banner – Allegretto (Orchestra) 0:37 Men’s Voices of Camerata Silesia – Nalivalisya znamyona The banners were filled ª The Banners Flap in the Wind – Allegro The Katowice City Singers’ Ensemble Kumachom poslednikh ran, With the crimson of the last wounds, (Chorus & Orchestra) 1:00 (Anna Szostak: Artistic Director) (‹fl) Shli likhie eskadronï Marched the swift light squadrons Stanisław Dziewior, Benedykt Matusik, Priamurskikh partizan. Of the partisans of the Amur. * Reconstructed by Mark Fitz-Gerald Antoni Adamus, Piotr Pyda (Trumpets) (º¤fi) Polish National Radio Symphony Orchestra Kamil Barczewski (Bass) (›) English translations by Anastasia Belina Camerata Silesia (Anna Szostak: Artistic Director) Recorded in the Grzegorz Fitelberg Concert Hall, Recorded in the Grzegorz Fitelberg Concert Hall, Katowice, Poland, from 27th to 30th August 2008, Katowice, Poland, from 27th to 30th August 2008, from 20th to 22nd September 2008, and from 20th to 22nd September 2008 and on 6th January 2009 (›) · Symphonic Movement (unfinished) 6:42 (Symphony No. 9, 1st version, January 1945) Polish National Radio Symphony Orchestra Recorded in the Grzegorz Fitelberg Concert Hall, Katowice, Poland on 21st September 2008 8.572138 18 3 8.572138 572138 bk Shostakovich 3/18/09 11:03 AM Page 4 Dmitry Shostakovich (1906-1975) ‹ ¡A las barricadas! To the Barricades! Podrugi (The Girlfriends), Op. 41(ii) Mtsensk continuing to win the enthusiasm of audiences Negras tormentas agitan los aires, Black storms rock the skies, in both Moscow and Leningrad, Shostakovich must have nubes oscuras nos impiden ver; dark clouds obscure our view; By the time Shostakovich scored The Girlfriends he had been looking forward to the film’s opening. At the end of aunque nos espere el dolor y la muerte, though pain and death may await us, over half a dozen films to his name, but even though it January, however, Chaos Instead of Music, the notorious contra el enemigo nos llama el deber. duty calls us to face the enemy. was Lev Arnshtam’s first directorial credit, he was Pravda editorial condemning the opera, appeared and El bien más preciado es la libertad, Our most precious possession is liberty,
Load more

Recommended publications
  • EW Hollywood Orchestra Opus Edition User Manual
    USER MANUAL 1.0.6 < CONTENTS HOLLYWOOD ORCHESTRA OPUS EDITION INFORMATION The information in this document is subject to change without notice and does not represent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners. Solid State Logic (SSL) Channel Strip, Transient Shaper, and Stereo Compressor licensed from Solid State Logic. SSL and Solid State Logic are registered trademarks of Red Lion 49 Ltd. © East West Sounds, Inc., 2021. All rights reserved. East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA 1-323-957-6969 voice 1-323-957-6966 fax For questions about licensing of products: [email protected] For more general information about products: [email protected] For technical support for products: http://www.soundsonline.com/Support < CONTENTS HOLLYWOOD ORCHESTRA OPUS EDITION CREDITS PRODUCERS Doug Rogers, Nick Phoenix, Thomas Bergersen SOUND ENGINEER Shawn Murphy ENGINEERING ASSISTANCE Jeremy Miller, Ken Sluiter, Bo Bodnar PRODUCTION COORDINATORS Doug Rogers, Blake Rogers, Rhys Moody PROGRAMMING / SOUND DESIGN Justin Harris, Jason Coffman, Doug Rogers, Nick Phoenix SCRIPTING Wolfgang Schneider, Thomas Bergersen, Klaus Voltmer, Patrick Stinson
    [Show full text]
  • Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930S
    Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930s Ariel Mae Lambe Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Ariel Mae Lambe All rights reserved ABSTRACT Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930s Ariel Mae Lambe This dissertation shows that during the Spanish Civil War (1936–1939) diverse Cubans organized to support the Spanish Second Republic, overcoming differences to coalesce around a movement they defined as antifascism. Hundreds of Cuban volunteers—more than from any other Latin American country—traveled to Spain to fight for the Republic in both the International Brigades and the regular Republican forces, to provide medical care, and to serve in other support roles; children, women, and men back home worked together to raise substantial monetary and material aid for Spanish children during the war; and longstanding groups on the island including black associations, Freemasons, anarchists, and the Communist Party leveraged organizational and publishing resources to raise awareness, garner support, fund, and otherwise assist the cause. The dissertation studies Cuban antifascist individuals, campaigns, organizations, and networks operating transnationally to help the Spanish Republic, contextualizing these efforts in Cuba’s internal struggles of the 1930s. It argues that both transnational solidarity and domestic concerns defined Cuban antifascism. First, Cubans confronting crises of democracy at home and in Spain believed fascism threatened them directly. Citing examples in Ethiopia, China, Europe, and Latin America, Cuban antifascists—like many others—feared a worldwide menace posed by fascism’s spread.
    [Show full text]
  • The Spanish Civil War in the Work of Silvestre Revueltas Luis Velasco-Pufleau
    The Spanish Civil War in the work of Silvestre Revueltas Luis Velasco-Pufleau To cite this version: Luis Velasco-Pufleau. The Spanish Civil War in the work of Silvestre Revueltas. Gemma Pérez Zalduondo; Germán Gan Quesada. Music and Francoism, Brepols, pp.321-347, 2013, 978-2-503- 54899-9. hal-01773427 HAL Id: hal-01773427 https://hal.archives-ouvertes.fr/hal-01773427 Submitted on 24 Apr 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The Spanish Civil War in the Work of Silvestre Revueltas1 Luis Velasco Pufleau (Salzburg) he anti-fascist commitments of the Mexican composer Silvestre Revueltas (1899- 1940) to the Spanish Republic was part of the immense international movement Tin support of the republican cause after the coup d’état at the origin of the Spanish Civil War (1936-1939). In Mexico, this cause federated a large number of politicians, intellectuals and artists, most of them grouped together under the Liga de Escritores y Artistas Revolucionarios2 (LEAR) and the Mexican Popular Front3 (MPF). As dictated by the ideological line of the Comintern, in the eyes of the LEAR — Silvestre Revueltas presided over its Executive Committee between May 1936 and February 19374 — the 1.
    [Show full text]
  • DSCH Journal No. 24
    DOCUMENTARY III VARIANT AND VARIATION[1] IN THE SECOND MOVEMENT OF THE ELEVENTH SYMPHONY Lyudmila German The Eleventh Symphony, form, as it ‘resists’ develop- named Year 1905, is a pro- mental motif-work and frag- ach of Shostakovich’s gram work that relates the mentation. [2]” symphonies is unique in bloody events of the ninth of Eterms of design and January, 1905, when a large Indeed, if we look at the sec- structure. Despite the stifled number of workers carrying ond movement of the sym- atmosphere of censorship petitions to the Tsar were shot phony, for instance, we shall which imposed great con- and killed by the police in the see that its formal structure is strains, Shostakovich found Palace Square of St. Peters- entirely dependent on the nar- creative freedom in the inner burg. In order to symbolize rative and follows the unfold- workings of composition. the event Shostakovich chose ing of song quotations, their Choosing a classical form such a number of songs associated derivatives, and the original as symphony did not stultify with protest and revolution. material. This leads the com- the composer’s creativity, but The song quotations, together poser to a formal design that rather the opposite – it freed with the composer’s original is open-ended. There is no his imagination in regard to material, are fused into an final chord and the next form and dramaturgy within organic whole in a highly movement begins attacca. the strict formal shape of a individual manner. Some of The formal plan of the move- standard genre.
    [Show full text]
  • The Romantic Trumpet Part Two
    110 HISTORIC BRASS SOCIETY JOURNAL THE ROMANTIC TRUMPET PART TWO Edward H. Tarr Continued from Historic Brass Society Journal, volume 5 (1993), pages 213-61. The two-part series is an expansion of an article written for Performance Practice Encyclopedia. We thank Roland Jackson, editor of this forthcoming reference work, for permission to we this material in HBSJ. For a Conclusion to Part One, containinga list oferrata, please see followingthe endnotes for the current installment. Summary of Part One In Part One, the author first attempted to show the various types of trumpets, cornets, and flugelhorns, both natural and chromaticized, that existed before the advent of valves, together with their literature. Before there were valved trumpets, for example, natural trumpets, etc., were made chromatic by the technique of hand-stopping or by being fitted with slides or keys. He then showed how the first valved brass instruments—in particular trumpets, and to a lesser extent, comets—were accepted into musical circles. Introduction to Part Two In Part Two, it is the author's aim to raise the flag on a forgotten figure in brass history— one who was reponsible not only for the development ofboth the Vienna valve and the rotary valve, but also for the creation of the first solo compositions for the newly invented valved trumpet: Josef Kail (1795-1871), the first professor of valved trumpet at the Prague Conservatory (served 1826-1867). For this reason, the central part of this study will be devoted to works hitherto unknown, written for the trumpet (and to a lesser extent the cornet, flugelhom, horn, and trombone) during his time.
    [Show full text]
  • Hilbert Circle Theatre
    HILBERTCIRCLETHEATRE KRZYSZTOFURBAŃSKI MUSIC DIRECTOR | JACKEVERLY PRINCIPAL POPS CONDUCTOR Vadim Gluzman Plays Bruch Bronfman Plays Beethoven Sibelius Symphony No. 5 Music of U2 Side-by-Side The Sounds of Simon & Garfunkel MARCH | VOLUME 5 Jump in, IT’SJump PERFECT in, From diving into our heated pool to joining neighbors for a day trip From divingIT’S into our heated PERFECTpool to joining neighbors for a day trip Careful planning, talent and passion are on to taking a dance class, life feels amazingly good here. Add not-for- Fromto taking diving IT’Sa dance into our class, heated life feels PERFECTpool amazingly to joining goodneighbors here. for Add a day not-for- trip pro t ownership, a local board of directors, and CCAC accreditation, display at today’s performance. proFromto t takingownership, diving a danceinto a our local class, heated board life feels pool of directors,amazingly to joining andgood neighbors CCAC here. forAddaccreditation, a daynot-for- trip and Marque e truly is the place to be. proto ttaking ownership, a dance a local class, board lifeand feels ofMarque directors,amazingly e and trulygood CCAC ishere. the accreditation, Add place not-for- to be. pro t ownership, a local board of directors, and CCAC accreditation, At Citizens Energy Group, we understand the value of working hard and Marque e truly is the place to be. behind the scenes to deliver quality on a daily basis. We strive to To learn more, call, visit our websiteand Marque or stop e truly by isour the community. place to be. replicate that ensemble effort in our work and are proud to support To learn more, call, visit our website or stop by our community.
    [Show full text]
  • The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
    THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music.
    [Show full text]
  • Berkeley Symphony 2012-13 Season
    % #!"$ ! % ! ! $ Berkeley Symphony 2012-13 Season 5 Message from the Music Director 7 Message from the Executive Director 9 Board of Directors & Advisory Council 10 Orchestra 13 Program 15 Program Notes 29 Music Director: Joana Carneiro 31 Guest Artists 37 Berkeley Symphony 41 Music in the Schools 43 Under Construction 45 Young People’s Symphony Orchestra 47 Contributed Support 66 Advertiser Index Season Sponsors: Kathleen G. Henschel and Official Wine Sponsor of Berkeley Symphony: Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change. Berkeley Symphony, 1942 University Ave., Ste. 207, Berkeley, CA 94704 510.841.2800 • Fax: 510.841.5422 E-mail: [email protected] Web site: www.berkeleysymphony.org To advertise: 510.652.3879 March 28, 2013 3 SAVE THE DATE Friday, May 10, 2013 The Claremont Hotel Berkeley Symphony’s Defiantly Original Benefit Gala Held at the historic Claremont Hotel, this year’s Gala promises to be an unforgettable event with new surprises and special guests! The night includes an elegant wine and hors d’oeuvres reception, world class cuisine, live music and entertainment, and exciting silent and live auctions with a bevy of unique items available. Be sure to keep an eye out for the 2013 Auction catalog to be available online soon! For more information, visit www.berkeleysymphony.org/support/ special-events.
    [Show full text]
  • 5. Calling for International Solidarity: Hanns Eisler’S Mass Songs in the Soviet Union
    From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 i v ABSTRACT From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Yana Alexandrovna Lowry 2014 Abstract Group songs with direct political messages rose to enormous popularity during the interwar period (1918-1939), particularly in recently-defeated Germany and in the newly- established Soviet Union. This dissertation explores the musical relationship between these two troubled countries and aims to explain the similarities and differences in their approaches to collective singing. The discussion of the very complex and problematic relationship between the German left and the Soviet government sets the framework for the analysis of music. Beginning in late 1920s, as a result of Stalin’s abandonment of the international revolutionary cause, the divergences between the policies of the Soviet government and utopian aims of the German communist party can be traced in the musical propaganda of both countries.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • Performing Group
    NSBA Performances 1 Title Composer/ Arranger Publisher Grade Performing Group Director(s) Year Unknown 43rd Army Band John Rogers 1977 Themes from "Silverado" Broughton/Oliver 43rd Army Band Jeffrey Klintberg 2006 Northwind March Chambers, arr. Bourgeois 43rd Army Band Jeffrey Klintberg 2006 Symphonic Gershwin Gershwin/Barker 43rd Army Band Jeffrey Klintberg 2006 Fairest of the Fair John Philip Sousa 43rd Army Band Jeffrey Klintberg 2006 Overture to "Colas Breugnon" Kabalevsky/Hunsberger 43rd Army Band Jeffrey Klintberg 2006 Eagle Squadron March Kenneth Alford 43rd Army Band Jeffrey Klintberg 2006 Star Spangled Banner Key/Army Band 43rd Army Band Jeffrey Klintberg 2006 O Magnum Mysterium Lauridsen/Reynolds 43rd Army Band Jeffrey Klintberg 2006 Concerto for Clarinet Mozart/Casteel 43rd Army Band Jeffrey Klintberg 2006 Bolero Ravel/Lake 43rd Army Band Jeffrey Klintberg 2006 Star and Stripes Forever Sousa 43rd Army Band Jeffrey Klintberg 2006 The Gallant Seventh Sousa/Fennell 43rd Army Band Jeffrey Klintberg 2006 Patriotic Opener arr. Eric Richards 43rd Army Band Dr. Brian Anderson 2012 The Seal Lullaby Eric Whitacre 43rd Army Band Dr. Brian Anderson 2012 The Star Spangled Banner Francis Scott Key 43rd Army Band Dr. Brian Anderson 2012 Cousins Herbert L. Clark/arr. Cramer 43rd Army Band Dr. Brian Anderson 2012 Valdres Johannes Hanssen/Glenn C. Balnum Boosey & Hawkes 5 43rd Army Band Dr. Brian Anderson 2012 Hail to the Spirit of Liberty John Philip Sousa 43rd Army Band Dr. Brian Anderson 2012 The Stars and Stripes Forever John Philip Sousa 43rd Army Band Dr. Brian Anderson 2012 Cathedrals Kathryn Salfelder 43rd Army Band Dr. Brian Anderson 2012 Four Scottish Dances Malcolm Arnold/arr.
    [Show full text]
  • ACTA UNIVERSITATIS UPSALIENSIS Studia Iranica Upsaliensia 28
    ACTA UNIVERSITATIS UPSALIENSIS Studia Iranica Upsaliensia 28 Traces of Time The Image of the Islamic Revolution, the Hero and Martyrdom in Persian Novels Written in Iran and in Exile Behrooz Sheyda ABSTRACT Sheyda, B. 2016. Traces of Time. The Image of the Islamic Revolution, the Hero and Martyrdom in Persian Novels Written in Iran and in Exile. Acta Universitatis Upsaliensis. Studia Iranica Upsaliensia 28. 196 pp. Uppsala. ISBN 978-91-554-9577-0 The present study explores the image of the Islamic Revolution, the concept of the hero, and the concept of martyrdom as depicted in ten post-Revolutionary Persian novels written and published in Iran compared with ten post-Revolutionary Persian novels written and published in exile. The method is based on a comparative analysis of these two categories of novels. Roland Barthes’s structuralism will be used as the theoretical tool for the analysis of the novels. The comparative analysis of the two groups of novels will be carried out within the framework of Foucault’s theory of discourse. Since its emergence, the Persian novel has been a scene for the dialogue between the five main discourses in the history of Iran since the Constitutional Revolution; this dialogue, in turn, has taken place within the larger framework of the dialogue between modernity and traditionalism. The main conclusion to be drawn from the present study is that the establishment of the Islamic Republic has merely altered the makeup of the scene, while the primary dialogue between modernity and traditionalism continues unabated. This dialogue can be heard in the way the Islamic Republic, the hero, and martyrdom are portrayed in the twenty post-Revolutionary novels in this study.
    [Show full text]