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Art Or Craft? – Significance of the Sociological Background in the Artistic Development of the Harmoniemusik
MUSICOLOGICA BRUNENSIA 47, 2012, 1 MIKOŁAJ RYKOWSKI ART OR CRAFT? – SIGNIFICANCE OF THE SOCIOLOGICAL BACKGROUND IN THE ARTISTIC DEVELOPMENT OF THE HARMONIEMUSIK Harmoniemusik phenomenon has emerged in the most important 18th and 19th century domains of the musical life. It were aristocratic court, church circle and military service where these ensembles containing usually 2 cl., 2 ob., 2 cr., 2 bs. where active. Geographically these musical practise was spread out among many countries, but their so called ‘homeland’ was Holy Roman Empire territory (altough Moravian emigrants applied this music to Bethlehem parish in North America). Stylistically, existing repertoire embodies wide range of Wind Harmo- ny pieces where often in one musical centre it possible to notice that at particular period of time performed simple, garden-like, background music and artistically significant examples of the concert music. A matter of whether Harmoniemusik presents more art or craft is is concerned more to provoke a discussion about its multicontextual functioning rather than expecting white-or-black answers. It is a very important origin of the entire development that its musical condition depended almost fully on sociological background. Artistic judgment of these music should be provided regarding the fact that Wind Harmony came into appearance in various sociological contexts. Moreover, a certain role in sociological sphere required usage of adequate formal devices such as march-like opening movement for army band or dance music as characteristic for music played in aristocratic chambers. It is interesting to ob- serve in which way all these environments influenced the complexity and content of Harmoniemusik repertoire. The 18th century patronage of the army, court and church and its influence ex- erted over the artistic picture of wind ensembles appeared with different intensity. -
Thomas D. Svatos and Twentieth-Century Czech Critical Culture
ex tempore A Journal of Compositional and Theoretical Research in Music Vol. XIV/2, Spring / Summer 2009 _________________________ A Clash over Julietta: the Martinů/Nejedlý Political Conflict - Thomas D. Svatos and Twentieth-Century Czech Critical Culture Dialectic in Miniature: Arnold Schoenberg‟s - Matthew Greenbaum Sechs Kleine Klavierstücke Opus 19 Stravinsky's Bayka (1915-16): Prose or Poetry? - Marina Lupishko Pitch Structures in Reginald Smith Brindle’s -Sundar Subramanian El Polifemo de Oro Rhythmic Cells and Organic Development: - Jean-Louis Leleu The Function of Harmonic Fields in Movement IIIb of Livre pour quatuor by Pierre Boulez Analytical Diptych: Boulez Anthèmes / Berio Sequenza XI - John MacKay co-editors: George Arasimowicz, California State University, Dominguez Hills John MacKay, West Springfield, MA associate editors: Per Broman, Bowling Green University Jeffrey Brukman, Rhodes University, RSA John Cole, Elisabeth University of Music, JAP Angela Ida de Benedictis, University of Pavia, IT Paolo Dal Molin, Université Paul Verlaine de Metz, FR Alfred Fisher, Queen‟s University, CAN Cynthia Folio, Temple University Gerry Gabel, Texas Christian University Tomas Henriques, Universidade Nova de Lisboa, POR Timothy Johnson, Ithaca College David Lidov, York University, CAN Marina Lupishko, le Havre, FRA Eva Mantzourani, Canterbury Christchurch Univ, UK Christoph Neidhöfer, McGill University, CAN Paul Paccione, Western Illinois University Robert Rollin, Youngstown State University Roger Savage, UCLA Stuart Smith, University of Maryland Thomas Svatos, Eastern Mediterranean Univ, TRNC André Villeneuve UQAM, CAN Svatos/A Clash over Julietta 1 A Clash over Julietta: The Martinů/Nejedlý Political Conflict and Twentieth-Century Czech Critical Culture Thomas D. Svatos We know and honor our Smetana, but that he must have been a Bolshevik, this is a bit out of hand. -
Harmony in the Heartland: a Concert for Peace - Program
Wright State University CORE Scholar Accords Ephemera Accords: Peace, War, and the Arts 10-25-2015 Harmony in the Heartland: A Concert for Peace - Program CELIA Follow this and additional works at: https://corescholar.libraries.wright.edu/celia_accords_ephemera Part of the History Commons Repository Citation CELIA (2015). Harmony in the Heartland: A Concert for Peace - Program. This Program is brought to you for free and open access by the Accords: Peace, War, and the Arts at CORE Scholar. It has been accepted for inclusion in Accords Ephemera by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. HARMONY IN THE HEARTLAND A CONCERT FOR PEACE SUNDAY, OCTOBER 25, 2015 7:30 P.M. BENJAMIN AND MARIAN SCHUSTER PERFORMING ARTS CENTER WRIGHT STATE UNIVERSITY SCHOOL OF MUSIC Program Wright State University Fanfare .......................................Steve Hampton Trumpet Ensemble WSU Alma Mater.....................Thomas Whissen/arr. William Steinohrt lyrics David Lee Garrison ETHOS and Chamber Orchestra Jubilant Song .............................................................................. Scott Farthing Combined Choirs and Chamber Orchestra HineReflections: ma tov ...........................................................................Twenty Years of the Dayton Peace Accordsarr. Neil Ginsberg Emily Watkins, flute Cappella .......................................................................................Gene Schear Peter Keates, baritone Lean Away ..........................................................arr. -
The Nineteenth Century, Part 2: Nationalism and Ideology
A-R Online Music Anthology www.armusicanthology.com Content Guide The Nineteenth Century, Part 2: Nationalism and Ideology Joseph E. Jones is Associate Professor at Texas A&M by Joseph E. Jones and Sarah Marie Lucas University-Kingsville. His research has focused on German opera, especially the collaborations of Strauss Texas A&M University-Kingsville and Hofmannsthal, and Viennese cultural history. He co- edited Richard Strauss in Context (Cambridge, 2020) Assigned Readings and directs a study abroad program in Austria. Core Survey Sarah Marie Lucas is Lecturer of Music History, Music Historical and Analytical Perspectives Theory, and Ear Training at Texas A&M University- Composer Biographies Kingsville. Her research interests include reception and Supplementary Readings performance history, as well as sketch studies, particularly relating to Béla Bartók and his Summary List collaborations with the conductor Fritz Reiner. Her work at the Budapest Bartók Archives was supported by a Genres to Understand Fulbright grant. Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This document is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this guide, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Nineteenth Century, Part 2 (Nationalism and Ideology) 1 ______________________________________________________________________________ Content Guide The Nineteenth Century, -
Teaching Post-Tonal Music to Twenty-First- Century Students Author(S): Miguel A
Department of Music Theory, Jacobs School of Music, Indiana University A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First- Century Students Author(s): Miguel A. Roig-Francolí Source: Indiana Theory Review, Vol. 33, No. 1-2 (Summer 2017), pp. 36-68 Published by: Indiana University Press on behalf of the Department of Music Theory, Jacobs School of Music, Indiana University Stable URL: https://www.jstor.org/stable/10.2979/inditheorevi.33.1-2.02 Accessed: 03-09-2018 01:27 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Indiana University Press, Department of Music Theory, Jacobs School of Music, Indiana University are collaborating with JSTOR to digitize, preserve and extend access to Indiana Theory Review This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 01:27:00 UTC All use subject to https://about.jstor.org/terms A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First-Century Students Miguel A. Roig-Francolí University of Cincinnati ost-tonal music has a pr problem among young musicians, and many not-so-young ones. Anyone who has recently taught a course on the theory and analysis of post-tonal music to a general Pmusic student population mostly made up of performers, be it at the undergraduate or master’s level, will probably immediately understand what the title of this article refers to. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
« a Window to the Soul »: the Moravian Folklore in Leoš Janáýek's Works
« A WINDOW TO THE SOUL »: THE MORAVIAN FOLKLORE IN LEOŠ JANÁýEK'S WORKS Ph. D. Haiganuú PREDA-SCHIMEK Musicologist, Vienna Born in 1971, graduate of the University of Music in Bucharest, professor Grigore Constantinescu’s class; after graduation, music editor at the Romanian Broadcasting Society (1993-1995 and July – December 1996), Ph. D. in musicology at the University of Music in Bucharest (2002). Established in Vienna since 1997, where she lives today. Between 1995-1997, she had a doctoral scholarship at Österreichischer Akademischer Austauschdienst (ÖAAD) and between 1999-2002 she was a scientific collaborator of the University of La Rioja (Logroño, Spain). As a researcher attached to the Institute of Theory, Analysis and History of Music of the University of Music in Vienna, she conducted research projects under the aegis of the Austrian Scientific Community (2004, 2005-2006, 2011), of the Commune of Vienna (2007) of the Ministry of Science and Research, Austria (2007-2010); in 2008, she was visiting researcher at the Centre Interdisciplinaire de Recherches Centre-Européennes (Paris, Université IV, Sorbonne). Participations in international conferences (Romania, Austria, United Kingdom, Ireland, Germany, France, Lithuania, Latvia, Poland, Serbia), studies published among others in the Musicologica Austriaca (Vienna), Österreichische Musikzeitschrift (Vienna), Musurgia. Analyse et pratique musicales (Paris), Musikgeschichte in Mittel- und Osteuropa (Leipzig); editorial debut with the volume Form and Melody between Classicism and Romanticism at Editura Muzicală (Bucharest, 2003). Scientific reviewer of the publications Musicology Today (University of Music, Bucharest) and Musicology Papers (Academy of Music, Cluj-Napoca). Since 2007, collaborator of the Radio România Muzical, as correspondent. Lectures delivered at the University of Music and Dramatic Arts in Vienna (2009) and within the Master’s programme of Balkan Studies (University of Vienna, Institute for the Danube Area and Central Europe - 2009, 2011). -
CHAN 3029 Book Cover.Qxd 24/7/07 4:32 Pm Page 1
CHAN 3029 book cover.qxd 24/7/07 4:32 pm Page 1 CHAN 3029 CHANDOS O PERA I N ENGLISH Sir Charles Mackerras PETE MOOES FOUNDATION CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 2 Leosˇ Janácˇek (1854–1928) Osud (Fate) Opera in three acts Libretto by Leosˇ Janácˇek and Fedora Bartosˇová English translation by Rodney Blumer AKG Míla Valková .............................................................................................................. Helen Field Zˇ ivn´y, a composer .............................................................................................. Philip Langridge Míla’s mother ...................................................................................................... Kathryn Harries Act I A poet, A student .................................................................................................... Peter Bronder Dr Suda ........................................................................................................................Stuart Kale First lady .............................................................................................................. Christine Teare Second lady ........................................................................................................ Elizabeth Gaskell Old Slovak woman ................................................................................................ Dorothy Hood Major’s wife .............................................................................................................. Mary Davies Councillor’s wife................................................................................................... -
Download Booklet
Classics Contemporaries of Mozart Collection COMPACT DISC ONE Franz Krommer (1759–1831) Symphony in D major, Op. 40* 28:03 1 I Adagio – Allegro vivace 9:27 2 II Adagio 7:23 3 III Allegretto 4:46 4 IV Allegro 6:22 Symphony in C minor, Op. 102* 29:26 5 I Largo – Allegro vivace 5:28 6 II Adagio 7:10 7 III Allegretto 7:03 8 IV Allegro 6:32 TT 57:38 COMPACT DISC TWO Carl Philipp Stamitz (1745–1801) Symphony in F major, Op. 24 No. 3 (F 5) 14:47 1 I Grave – Allegro assai 6:16 2 II Andante moderato – 4:05 3 III Allegretto/Allegro assai 4:23 Matthias Bamert 3 Symphony in G major, Op. 68 (B 156) 24:19 Symphony in C major, Op. 13/16 No. 5 (C 5) 16:33 5 I Allegro vivace assai 7:02 4 I Grave – Allegro assai 5:49 6 II Adagio 7:24 5 II Andante grazioso 6:07 7 III Menuetto e Trio 3:43 6 III Allegro 4:31 8 IV Rondo. Allegro 6:03 Symphony in G major, Op. 13/16 No. 4 (G 5) 13:35 Symphony in D minor (B 147) 22:45 7 I Presto 4:16 9 I Maestoso – Allegro con spirito quasi presto 8:21 8 II Andantino 5:15 10 II Adagio 4:40 9 III Prestissimo 3:58 11 III Menuetto e Trio. Allegretto 5:21 12 IV Rondo. Allegro 4:18 Symphony in D major ‘La Chasse’ (D 10) 16:19 TT 70:27 10 I Grave – Allegro 4:05 11 II Andante 6:04 12 III Allegro moderato – Presto 6:04 COMPACT DISC FOUR TT 61:35 Leopold Kozeluch (1747 –1818) 18:08 COMPACT DISC THREE Symphony in D major 1 I Adagio – Allegro 5:13 Ignace Joseph Pleyel (1757 – 1831) 2 II Poco adagio 5:07 3 III Menuetto e Trio. -
Complete Piano Music Rˇák
DVO COMPLETE PIANO MUSIC RˇÁK Inna Poroshina piano QUINTESSENCE · QUINTESSENZ · QUINTESSENZA · QUINAESENCIA · QUINTESSÊNCIA · QUINTESSENCE · QUINTESSENZ · QUINTESSENZA · QUINAESENCIA · QUINTESSÊNCIA Antonín Dvorˇák 1841-1904 Complete Piano Music Theme and Variations Op.36 (1876) Two Furiants Op.42 (1878) Six Mazurkas Op.56 1. Theme 1’21 26. No.1 in D major 5’33 51. No.1 2’50 76. No.4 in D minor, poco andante 2’46 2. Variation 1 1’09 27. No.2 in F major 7’38 52. No.2 2’28 77. No.5 in A minor, vivace 3’04 3. Variation 2 1’12 53. No.3 1’58 78. No.6 in B major, poco allegretto 2’56 4. Variation 3 2’56 Eight Waltzes Op.54 (1880) 54. No.4 2’57 79. No.7 in G flat major, poco lento 5. Variation 4 0’41 28. No.1 in A major 3’39 55. No.5 2’37 e grazioso 3’26 6. Variation 5 1’00 29. No.2 in A minor 4’05 56. No.6 2’35 80. No.8 in B minor, poco andante 3’22 7. Variation 6 1’36 30. No.3 in C sharp minor 2’55 8. Variation 7 0’58 31. No.4 in D flat major 2’52 57. Moderato in A major B.116 2’10 81. Dumka, Op.12/1 (1884) 4’00 9. Variation 8 3’53 32. No.5 in B flat major 3’00 33. No.6 in F major 5’05 58. Question, B.128a 0’27 82. -
Season 2020|2021 2021 | Season 2020
65th Concert Season Season 2020|2021 2021 | Season 2020 . A word from the Filharmonie Brno Managing Director Dear music lovers invite you to a social gathering over a glass Paľa. Leoš Svárovský is preparing for C. M. you! I am very happy that we enter the new of wine, from 6pm before the concerts at von Weber’s celebrated Bassoon Concerto season with the support of our exceptional You are holding in your hands our brand Besední dům (Filharmonie at Home series), with the virtuoso Guilhaume Santana and volunteers for the second time now, who new catalogue for the 2020/2021 sea- where you can learn plenty of interesting Roussel’s Le festin de l’araignée – with this help us with concerts and education – son: this time, it is not just the content that is facts about the programme and meet the concert, the former chief conductor of our thank you, everyone! new – the format is, too. We’ve aimed to evening’s artists in person. orchestra will celebrate an important anni- I am writing these words at a time when make the navigation easier, and to high- The new season is the work of the Filhar- versary in his life. Gerrit Prießnitz will focus we are all paralysed by the coronavirus light the unique characteristics of our sub- monie Brno chief conductor and artistic on the emotional topic of Hamlet in the pandemic and are not yet sure what the ul- scription concerts – each of them offers a director Dennis Russell Davies and the pro- works of Tchaikovsky and Walton. -
Decca Classics Will Release the Recording of Janáček's Glagolitic
Czech Philharmonic recordings JANÁČEK: GLAGOLITIC MASS Jiří Bělohlávek, conductor Release date: Friday 31 August 2018 (4834080) On 31 August, Decca Classics will release the Czech Philharmonic's recording of Janáček's Glagolitic Mass, Sinfonietta, Taras Bulba and The Fiddler’s Child conducted by the late Jiří Bělohlávek. With the release of Smetana’s Má vlast (My Homeland) at the beginning of the year, the recordings mark some of the last that Bělohlávek made with the Orchestra for Decca Classics. 90 years since Janáček’s death in 1928, the Czech Philharmonic continues to champion the music of its homeland as it has done since its inaugural concert in 1896 when it gave the première of Dvořák's Biblical Songs conducted by the composer. Of the works featured on this release, Janáček's The Fiddler's Child and Sinfonietta both received their world premières from the Czech Philharmonic, the former under Otakar Ostrčil in 1917 and the latter under Václav Talich in 1926. Talich also conducted the Czech Philharmonic in the Prague première of Taras Bulba in 1924. The Orchestra made earlier recordings of the Glagolitic Mass with Karel Ančerl, Václav Neumann and Sir Charles Mackerras, but this is the first under Jiří Bělohlávek who chose to conduct the work at the First Night of the 2011 BBC Proms. Jiří Bělohlávek's recordings with the Czech Philharmonic for Decca Classics include Dvořák’s complete Symphonies & Concertos, Slavonic Dances and Stabat Mater, which was chosen as Album of the Week by The Sunday Times. Under its new Chief Conductor and Music Director, Semyon Bychkov, the Orchestra have recently embarked on The Tchaikovsky Project – recordings of the complete symphonies, the three piano concertos, Romeo & Juliet, Serenade for Strings and Francesca da Rimini.