DOCSLIB.ORG

Upholding a Modernist Mentality

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Upholding a Modernist Mentality Upholding a Modernist Mentality Experimentalism and Neo-tonality in the Symphonies of Einojuhani Rautavaara Owen Burton PhD University of York Music March 2020 1 2 Abstract Einojuhani Rautavaara (1928-2016) is one of the most significant Finnish composers to emerge after Sibelius, and his music has been highly acclaimed for its originality and accessibility. After experimenting with modernism in the 1960s, his more approachable recent style has often been misunderstood. This thesis will consider this music, and re- consider terms describing it, such as “mystical”, “neo-Romantic” and “postmodern”, which are used in a variety of music criticism and in some biographical accounts. As such, it offers a new understanding of Rautavaara’s idiom, its larger significance, and its relationship with broader, historical trends within the Long Twentieth Century. This thesis addresses the larger, integrated role of modernism in Rautavaara’s music within the multi-stylistic context of contemporary composition. Modernism is examined both in technical, stylistic terms as well as a more general mentality of progress, arguing that both definitions have informed Rautavaara’s recent music more than has been acknowledged. After considering modernism in its broadest terms and in the more specific Finnish context, the thesis draws on the concepts of “reactive modernism” (J.P.E. Harper- Scott) and the “moderate mainstream” (Arnold Whittall) to argue that, in the late-twentieth century, Rautavaara continues an individualistic, critical approach that did not reject either “modern” or “anachronistic” techniques. Musical analyses focussing on the eight symphonies, several of which have received no previous detailed discussion, support a new contextualisation of Rautavaara’s entire symphonic cycle as a major pillar of his output. These analytical chapters work inwards from differing experiences of global form, to surface-level thematic processes, to melodic and harmonic processes, in particular how Rautavaara reconciles dodecaphonic and tonal thinking. Issues of symmetry and duality occur throughout. From these close readings, contextual discussion assesses Rautavaara’s legacy, focusing on his mentorship of younger Finnish composers, as well as determining common and recurring compositional features. 3 Contents Abstract……………………...……………………………………………………………………………3 Contents………………………………………………………………………………………..4 List of examples………………………………………………………………………………..8 Acknowledgements………………………………………………………………….………...13 Author’s declaration................................................................................................................14 1 Contexts and approaches.…………………………………………….....17 Aims and approaches……………………………………………………………18 Relationship to previous literature……………………………………….…….19 A symphonic focus……………………………………………………………………...22 Analytical counterparts………………………………………………………………..22 Approaching modernism…………………………………….………………......23 Moderate modernism in the late-twentieth century…………….……….………25 A dialectical view………………………………………………………………………30 Finnish musical modernism…………………………………………………….32 Three waves of Finnish modernism………………………………………………....33 The Symphony in Finland……………………………………………………………..36 2 Rautavaara’s stylistic features and compositional mentality…………40 Rautavaara and the symphony…………………………………………………..40 Serialism………………………………………………………………………...43 A 12-tone vocabulary…………………………………………………………...45 Symmetry…………………………………………………………….………….46 Neo-tonality……………………………………………………………………..54 Aleatoric writing…………………………………………………………….......57 Mysticism and accessibility……………………………………………………..58 A taste for the infinite……………………………………………………….......61 The rise of the individual………………………………………………………..62 3 Journeying in symphonic form…………………………………………63 Re-asserting linearity……………………………………………………………64 The Spiral……………………………………………………………………….67 The Journey…………………………………………………………………......72 Departure……………………………………………………………………………….76 Progress and reflection………………………………………………………………..85 Towards the “ever-lasting sea”………………………………………………………86 Teleological significance……………………….……………………………….89 Journeys and spirals………………………………………………………...…..91 4 Moving forwards, looking back…………………………………………………92 4 Visual and spatial influences on form……………………….………….93 Cross-relations between music and visual influences……………………….......93 Musical paintings and non-linear narrative………………………………….......94 Paintings and the question of autonomy…………………………………………….98 Transitions and continuity………………………………………………………..….103 Memory and flux………………………………………………………………………108 Contrasting light………………………………………………………………..108 Opposition or cohesion?...................................................................................111 Imagery and genre…………………………………………………………………....114 Symphonic dialogue…………………………………………………………....115 5 Developing themes……………………………………………………....117 Themes and theory……………………………………………………………..117 Developing variation………………………………………………………………....117 Musical narrative…………………………………………………………………..…118 The process of “Becoming”………………………………………………………....119 Rautavaara and development…………………………………………………..120 Non-symphonic works……………………………………………………………..…115 The early symphonies……………………………………………………………..….121 The late symphonies……………………………………………………………..…...123 The movement of the sea…………………………………………………..…..124 Rhythm and motivic metamorphosis…………………………………………..……132 Reimagining Brucknerian symphonism…………………………………………....133 Melody and narrative…………………………………………………………..134 Processes of “becoming”…………………………………………………….....141 Motivic DNA………………………………………………………………………..…144 Developing themes…………………………………………………………..…146 6 Self-quotation and Rautavaara’s symphonies………………………...147 Musical “narcissism”?.........................................................................................147 Nature versus design…………………………………………………………...148 Self-quotation or similarity?.............................................................................. 151 “Fragmentos de Agonía” and Symphony No. 7………………………………..151 The Gift of the Magi and Symphony No. 7……………………………………..…..152 Canto IV and Symphony No. 7………………………………………………..…..…154 Compositional branches around Symphony No. 7………………...………...…159 Thomas and Symphony No. 5………………………………………………………..160 Thomas and Symphony No. 8………………………………………………………..162 5 A common root in opera……………………………………………………………..162 Repetition versus dynamism…………………………………………………………162 String Quintet No. 1 and Symphony No. 8…………….………..…………………164 Nirvana Dharma and Symphony No. 8………………………….……….………...165 Cancion de nuestro tiempo and Symphony No. 8…………………..………….....169 Symphony No. 3 and Angels and Visitations…………………..……………….....172 Contexts of musical borrowing………………………………………………...175 7 Continuations of dodecaphony…………………………………………178 An accessible network…………………………………………………………178 Symphonies and serialism……………………………………………………..179 Serialism and motivic development…………………………………………...182 Non-serial dodecaphony…………………………………………………….…186 Modal middleground…………………………………………………………..190 A kaleidoscopic view of harmony……………………………………………..194 Navigating harmonic vistas……………………………………………………199 The series returns……………………………………………………………...204 Modal dodecaphony…………………………………………………………...205 Rows as pigments……………………………………………………………...209 A new equilibrium……………………………………………………………..211 8 Neo-tonality and harmonic resonance………………………………...213 Terminology……………………………………………………………………214 Rautavaara and the piano…………………………………………………...….214 Harmony, sound properties and duration…………………………………...….215 Renewing the triad…………………………………………………………..…218 Pantonal voice leading………………………………………………………....221 Voice leading and serialism……………………………………………………..…..224 Voice leading and symmetry……………………………………………………..….229 Consonance and dissonance…………………………………………………....233 Harmonic “planing”………………………………………………………………....238 Perceptions of modality………………………………………………………..239 Non-tonal prolongation……………………………………………………..….242 Stasis and motion…………………………………………………………..…..245 Further limiting aleatoricism…………………………………………………..…...245 Journeying towards stasis…………………………………………………………...248 Harmonic resonance……………………………………………………………250 6 9 Rautavaara’s legacy…………………………………………………...252 Rautavaara as a teacher………………………………………………………...252 Paavo Heininen (b. 1938)………………………………………………………255 Dialectical processes…………………………………………………………………256 Kalevi Aho (b. 1949)…………………………………………………………...256 A prolific symphonist………………………………………………………………...257 Aho and modernism………………………………………………………………..…259 Continued vitality……………………………………………………………………..261 Magnus Lindberg (b. 1958)………………………………………………….....261 Lindberg and modernism…………………………………………………………....263 Symphonic inheritance……………………………………………………………….265 Stylistic similarities………………………………………………………………..…268 Saying different things in the same way…………………………………………...275 Esa-Pekka Salonen (b. 1958)…………………………………………………..275 Conductor or composer?..................................................................................276 Salonen and modernism……………………………………………………………...276 ‘Deep’ formal processes…………………………………………………………..…278 Visual elements……………………………………………………………………..…282 Beyond dogma………………………………………………………………………...285 Renewable revolutionaries…………………………………………………..…285 10 Conclusions……………………………………………………………..287 An original composer…………………………………………………………..288 Belief in symphonic writing……………………………………………………290 Modernist or postmodernist?..............................................................................290 Saturation point………………………………………………………………...293 Some suggestions for future research…………………………….……………295 List of primary sources..………...…………………………………………………………………296
Load more

Recommended publications
  • PROGRAM NOTES Witold Lutosławski Concerto for Orchestra
    PROGRAM NOTES by Phillip Huscher Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra Lutosławski began this work in 1950 and completed it in 1954. The first performance was given on November 26, 1954, in Warsaw. The score calls for three flutes and two piccolos, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, four trombones and tuba, timpani, snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, bells, celesta, two harps, piano, and strings. Performance time is approximately twenty-eight minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lutosławski's Concerto for Orchestra were given at Orchestra Hall on February 6, 7, and 8, 1964, with Paul Kletzki conducting. Our most recent subscription concert performance was given November 7, 8, and 9, 2002, with Christoph von Dohnányi conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on June 28, 1970, with Seiji Ozawa conducting. For the record The Orchestra recorded Lutosławski's Concerto for Orchestra in 1970 under Seiji Ozawa for Angel, and in 1992 under Daniel Barenboim for Erato. To most musicians today, as to Witold Lutosławski in 1954, the title “concerto for orchestra” suggests Béla Bartók's landmark 1943 score of that name. Bartók's is the most celebrated, but it's neither the first nor the last work with this title. Paul Hindemith, Walter Piston, and Zoltán Kodály all wrote concertos for orchestra before Bartók, and Witold Lutosławski, Michael Tippett, Elliott Carter, and Shulamit Ran are among those who have done so after his famous example.
    [Show full text]
  • Einojuhani Rautavaara(B. 1928)
    1020 booklet 22.4.03 13:35 Sivu 2 Einojuhani Rautavaara (b. 1928) True & False Unicorn 46:41 III Snare and Delusion A Tapestry of Voices (1971/2000) 12 12. In the heart of the desert the silence is pearcing 3:02 Poems by James Broughton 13 13. The Unicorn, wounded 5:04 I Before the Arras IV “Mon Seul Désir” 14 14. The Unicorn reaches a temple in a clearing 1:53 2 1 1. The Unicorn questions the nature of the chase 1:40 3 2 2. The Lion, reading 3:28 15 15. Sigmund of Vienna 1:41 3 3. Sigmund of Vienna 3:24 16 16. The Lion 2:57 44. The Unicorn 2:07 17 17. The Unicorn 1:51 18 18. Tom Fool 0:44 II Horn and Hounds 19 19. The Virgin’s Lullaby 1:48 5 5. Entering the wilderness the Unicorn is beset by voices 1:32 20 20. The Unicorn 3:44 6 6. Young Sagittarius 1:30 © Schirmer 7 7. A Virgin, waiting 2:36 8 8. The Empress of Byzantium 1:12 Finnish Radio Chamber Choir 99. Queen Victoria 2:28 Finnish Radio Symphony Orchestra 10 10. His Honor the Mayor 1:10 Timo Nuoranne, conductor 11 11. Big Black Sambo 2:40 Reciters: Jaakko Kortekangas, baritone (3, 15), Säde Rissanen, alto (8), Petteri Salomaa, baritone (10) 1020 booklet 22.4.03 13:35 Sivu 2 Einojuhani Rautavaara (b. 1928) True & False Unicorn 46:41 III Snare and Delusion A Tapestry of Voices (1971/2000) 12 12. In the heart of the desert the silence is pearcing 3:02 Poems by James Broughton 13 13.
    [Show full text]
  • Download Booklet
    SUOMI – FINLAND 100 A CENTURY OF FINNISH CLASSICS SUOMI – FINLAND 100 A CENTURY OF FINNISH CLASSICS CD 1 74:47 FINNISH ORCHESTRAL WORKS I Jean Sibelius (1865–1957) 1 Andante festivo (1922, orch. Jean Sibelius, 1938) 3:44 Helsinki Philharmonic Orchestra & Leif Segerstam, conductor Robert Kajanus (1856–1933) 2 Overtura sinfonica (1926) 9:10 Helsinki Philharmonic Orchestra & Leif Segerstam, conductor Leevi Madetoja (1887–1947) 3 Sunday Morning (Sunnuntaiaamu) from Rural Pictures (Maalaiskuvia), Op. 77 (1936) [From music to the filmBattle for the House of Heikkilä] 4:20 Tampere Philharmonic Orchestra & John Storgårds, conductor Ernest Pingoud (1887–1942) 4 Chantecler (1919) 7:33 Finnish Radio Symphony Orchestra & Sakari Oramo, conductor Väinö Raitio (1891–1945) 5 Fantasia poetica, Op. 25 (1923) 10:00 Finnish Radio Symphony Orchestra & Jukka-Pekka Saraste, conductor 2 Uuno Klami (1900–1961) 6 Karelian Rhapsody (Karjalainen rapsodia), Op. 15 (1927) 14:24 Finnish Radio Symphony Orchestra & Sakari Oramo, conductor Erkki Melartin (1875–1937) Music from the Ballet The Blue Pearl (Sininen helmi), Op. 160 (1928–30) 7 II. Entrée avec pantomime 4:00 8 VIII. Scène (Tempête) 2:32 9 XIV. Pas de deux 3:07 Finnish Radio Symphony Orchestra & Hannu Lintu, conductor Aarre Merikanto (1893–1958) 10 Intrada (1936) 5:40 Helsinki Philharmonic Orchestra & Leif Segerstam, conductor Uuno Klami (1900–1961) 11 The Forging of the Sampo (Sammon taonta) from the Kalevala Suite (1943) 7:24 Helsinki Philharmonic Orchestra & John Storgårds, conductor Einar Englund (1916–1999) 12 The Reindeer Ride (Poroajot) (1952) Music from the filmThe White Reindeer (Valkoinen Peura) (1952) 1:24 Helsinki Philharmonic Orchestra & Leif Segerstam, conductor 3 CD 2 66:42 FINNISH ORCHESTRAL WORKS II Heikki Aaltoila (1905–1992) 1 Wedding Waltz of Akseli and Elina (Akselin ja Elinan häävalssi) (1968) 3:53 Music from the filmUnder the North Star (Täällä Pohjantähden alla) Tampere Philharmonic Orchestra & John Storgårds, conductor Aulis Sallinen (b.
    [Show full text]
  • The Chamber Music Society of Lincoln Center
    Concerts from the Library of Congress 2013-2014 THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC THE CHAMBER MUSIC SOCIETY oF LINCOLN CENTER Thursday, April 10, 2014 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building THE DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC Endowed by the late composer and pianist Dina Koston (1929-2009) and her husband, prominent Washington psychiatrist Roger L. Shapiro (1927-2002), the DINA KOSTON AND ROGER SHAPIRO FUND FOR NEW MUSIC supports commissions and performances of contemporary music. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Presented in association with: The Chamber Music Society’s touring program is made possible in part by the Lila Acheson and DeWitt Wallace Endowment Fund. Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Thursday, April 10, 2014 — 8 pm THE DINA KOSTON AND ROGER SHAPIRO fUND fOR nEW mUSIC THE CHAMBER MUSIC SOCIETY oF LINCOLN CENTER • Gilles Vonsattel, piano Nicolas Dautricourt, violin Nicolas Altstaedt, cello Amphion String Quartet Katie Hyun, violin David Southorn, violin Wei-Yang Andy Lin, viola Mihai Marica, cello Tara Helen O'Connor, flute Romie de Guise-Langlois, clarinet Jörg Widmann, clarinet Ian David Rosenbaum, percussion 1 Program PIERRE JALBERT (B.
    [Show full text]
  • Building Cultural Bridges: Benjamin Britten and Russia
    BUILDING CULTURAL BRIDGES: BENJAMIN BRITTEN AND RUSSIA Book Review of Benjamin Britten and Russia, by Cameron Pyke Maja Brlečić Benjamin Britten visited Soviet Russia during a time of great trial for Soviet artists and intellectuals. Between the years of 1963 and 1971, he made six trips, four formal and two private. During this time, the communist regime within the Soviet Union was at its heyday, and bureaucratization of culture served as a propaganda tool to gain totalitarian control over all spheres of public activity. This was also a period during which the international political situation was turbulent; the Cold War was at its height with ongoing issues of nuclear armaments, the tensions among the United States, the Soviet Union, and the United Kingdom ebbed and flowed, and the atmosphere of unrest was heightened by the Vietnam War. It was not until the early 1990s that the Iron Curtain collapsed, and the Cold War finally ended. While the 1960s were economically and culturally prosperous for Western Europe, those same years were tough for communist Eastern Europe, where the people still suffered from the aftermath of Stalin thwarting any attempts of artistic openness and creativity. As a result, certain efforts were made to build cultural bridges between West and East, including efforts that were significantly aided by Britten’s engagements. In his book Benjamin Britten and Russia, Cameron Pyke portrays the bridging of the vast gulf achieved through Britten’s interactions with the Soviet Union, drawing skillfully from historical and cultural contextualization, Britten’s and Pears’s personal accounts, interviews, musical scores, a series of articles about Britten published in the Soviet Union, and discussions of cultural and political figures of the time.1 In the seven chapters of his book, Pyke brings to light the nature of Britten’s six visits and offers detailed accounts of Britten’s affection for Russian music and culture.
    [Show full text]
  • 11 JANUARY WEDNESDAY SERIES 9 Helsinki Music Centre at 7 Pm
    11 JANUARY WEDNESDAY SERIES 9 Helsinki Music Centre at 7 pm Sakari Oramo, conductor Jukka Harju, horn József Hárs, horn Markus Maskuniitty, horn Esa Tapani, horn Magnus Lindberg: Al largo 25 min Robert Schumann: Konzertstück in F Major for Four Horns and Orchestra, Op. 86 21 min I Lebhaft II Romance (Ziemlich langsam, doch nicht schleppend) III Sehr lebhaft INTERVAL 20 MIN Felix Mendelssohn: Symphony No. 4 in A Major, Op. 90, “The Italian” 30 min I Allegro vivace II Andante con moto III Con moto moderato IV Saltarello (Presto) Interval at about 7.55 pm. The concert ends at about 9 pm. Broadcast live on YLE Radio 1 and the Internet (yle.fi/rso). 1 MAGNUS LINDBERG up and present us with the next, equal- ly dazzling landscape. Structurally, Al lar- (1958–): AL LARGO go falls into two broad sections, “that both begin very vigorously and end as slow mu- The avoidance of anything slow was for a sic”. Dominating the first half are numerous long time a fundamental feature of the mu- brass fanfares that vary in their details, sup- sic of Magnus Lindberg. Even if the tempo ported by a seething brew in the rest of the marking was somewhat on the slow side, orchestra. After a big climax the music sud- the texture would seethe and bubble like denly becomes introspective, borne alone a piping-hot broth and, what is more, with by a delightful string texture. The return of an energy little short of manic. In this res- the fanfares leads to a new build-up and ul- pect it is exciting to hear what awaits in the timately to a mighty oboe solo on which the orchestral work he wrote last year, for as music muses for a good while.
    [Show full text]
  • RCM Clarinet Syllabus / 2014 Edition
    FHMPRT396_Clarinet_Syllabi_RCM Strings Syllabi 14-05-22 2:23 PM Page 3 Cla rinet SYLLABUS EDITION Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. The Royal Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery.
    [Show full text]
  • Comparison and Contrast of Performance Practice for the Tuba
    COMPARISON AND CONTRAST OF PERFORMANCE PRACTICE OF THE TUBA IN IGOR STRAVINSKY’S THE RITE OF SPRING, DMITRI SHOSTAKOVICH’S SYMPHONY NO. 5 IN D MAJOR, OP. 47, AND SERGEI PROKOFIEV’S SYMPHONY NO. 5 IN B FLAT MAJOR, OP. 100 Roy L. Couch, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2006 APPROVED: Donald C. Little, Major Professor Eugene Migliaro Corporon, Minor Professor Keith Johnson, Committee Member Brian Bowman, Coordinator of Brass Instrument Studies Graham Phipps, Program Coordinator of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Couch, Roy L., Comparison and Contrast of Performance Practice for the Tuba in Igor Stravinsky’s The Rite of Spring, Dmitri Shostakovich’s Symphony No. 5 in D major, Op. 47, and Sergei Prokofiev’s Symphony No. 5 in B flat major, Op. 100, Doctor of Musical Arts (Performance), May 2006, 46 pp.,references, 63 titles. Performance practice is a term familiar to serious musicians. For the performer, this means assimilating and applying all the education and training that has been pursued in a course of study. Performance practice entails many aspects such as development of the craft of performing on the instrument, comprehensive knowledge of pertinent literature, score study and listening to recordings, study of instruments of the period, notation and articulation practices of the time, and issues of tempo and dynamics. The orchestral literature of Eastern Europe, especially Germany and Russia, from the mid-nineteenth century through the mid-twentieth century provides some of the most significant and musically challenging parts for the tuba.
    [Show full text]
  • Solo and Ensemble Concert Mae Zenke Orvis Auditorium July 17, 1967 8:00 P.M
    SOLO AND ENSEMBLE CONCERT MAE ZENKE ORVIS AUDITORIUM JULY 17, 1967 8:00 P.M. SOLO AND ENSEMBLE CONCERT Monday, July 17 Mae Zenke Orvis Auditorium 8:00 P.M. Program Ernst Krenek Piano Sonata No.3 (1943) Peter Coraggio, piano Allegretto piacevole Theme, Canons and Variations: Andantino Scherzo: Vivace rna non troppo Adagio First Performance in Hawaii Neil McKay Sonata for French Horn and Willard Culley, French horn Piano (1962) Marion McKay, piano Fanfare: Allegro Andante Allegro First Performance in Hawaii Chou Wen-chung Yu Ko (1965) Chou Wen-chung, conductor First Performance in Hawaii John Merrill, violin Jean Harling, alto flute James Ostryniec, English horn Henry Miyamura, bass clarinet Roy Miyahira, trombone Samuel Aranio, bass trombone Zoe Merrill, piano Lois Russell, percussion Edward Asmus, percussion INTERMISSION JOSe Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion and Men's Voices First Performance in Hawaii Jose Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion Charles Higgins and Men's Voices William Feltz First Performance in Hawaii Brian Roberts voices San Do Alfredo lagaso John Van der Slice l Takefusa Sasamori tubes Bach Mai Huong Ta buzzers ~ Ruth Pfeiffer jaw's harps Earlene Tom Thi Hanh le William Steinohrt Marcia Chang zithers Michael Houser } Auguste Broadmeyer Nancy Waller scrapers Hailuen } Program Notes The Piano Sonata NO.3 was written in 1943. The first movement is patterned after the classical model: expo­ sition (with first, second, and concluding themes), development, recapitulation, and coda. However, in each of these sections the thematic material is represented in musical configurations derived from one of the four basic forms of the twelve-tone row: original, inversion, retrograde, and retrograde inversion.
    [Show full text]
  • Magnus Lindberg 1
    21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
    [Show full text]
  • Magnus Lindberg Al Largo • Cello Concerto No
    MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985).
    [Show full text]
  • Analysing the Brand-Building of Einojuhani Rautavaara from the 1950S to 2010S
    How to Build a Brand for a Composer: Analysing the Brand-building of Einojuhani Rautavaara from the 1950s to 2010s Joel Valkila Bachelor’s Thesis Degree Programme in International Business… 2020 Abstract 20 May, 2020 Author(s) Joel Valkila Degree programme International Business Report/thesis title Number of pages How to Build a Brand for a Composer: Analysing the Brand-build- and attachment ing of Einojuhani Rautavaara from the 1950s to 2010s pages 95 The aim of this study was to analyse the brand building of Einojuhani Rautavaara (1928– 2016), one of the most successful names in Finnish music exports of the last decades. The purpose is to collect a resource on how composers, publishers, record companies and other affiliates can support the personal branding and promotion of music artists and com- posers. For this qualitative study, Rautavaara’s own writings were used as primary data and com- bined with secondary data from archival and documentary research. Interviews with indi- viduals from the music industry were also conducted. This information enables us to see in detail the marketing efforts on Rautavaara’s music that intensified since the 1990s, and how they affected the composer’s brand. The analysis of the composer’s brand also in- cludes, besides various branding theories, the composer’s sonic and visual branding. This study can be a helpful resource for artists, composers, recording companies and pub- lishers in enabling them to identify features that can be of benefit in marketing and brand- ing efforts. Key findings of this study suggest that building a brand for an artist, such as a composer, is a long-term process that requires time and effort.
    [Show full text]