Polystylism and Narrative Potential in the Music of Alfred Schnittke

Total Page:16

File Type:pdf, Size:1020Kb

Polystylism and Narrative Potential in the Music of Alfred Schnittke POLYSTYLISM AND NARRATIVE POTENTIAL IN THE MUSIC OF ALFRED SCHNITTKE by JEAN-BENOIT TREMBLAY B.Arts (education musicale), Universite Laval, 1999 B.Mus (mention en histoire), Universite Laval, 1999 M.Mus (musicologie), Universite Laval, 2001 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Music, emphasis in musicology) THE UNIVERSITY OF BRITISH COLUMBIA April 2007 © Jean-Benoit Tremblay, 2007 ABSTRACT This dissertation examines the narrative potential created by polystylism in selected works of Alfred Schnittke. "Polystylism," the combination of many styles in a single work, is Schnittke's answer to a compositional crisis that he experienced as a young Soviet composer. Polystylistic works often present blunt juxtapositions of styles that cannot be explained by purely musical considerations. I argue that listeners, confronted with those stylistic gaps, instinctively attempt to resolve them by the construction of a narrative. Three works, each showing different approaches to polystylism, are examined. The Symphony No. 1, which constitutes a kind a polystylistic manifesto, presents a number of exact quotations of Beethoven, Grieg, Tchaikovsky and Chopin among others. It also makes uses of the Dies Irae and of various stylistic allusions. The result is a work in which Schnittke, asking how to write a Symphony, eventually kills the genre before resurrecting it. Elaborated from a fragment of a pantomime by Mozart, Mo^-Art is a reflection on the opposition between the old and the new, between the past and the present. The work builds upon the plurality of styles already present in Mozart's music. For the Concerto '.'V Grosso No. 1, Schnittke devised a program, albeit a secret one. The piece is at the center of a complex network of references, some unveiled in the work's sketches, others originating from the film music of the composer. A story involving the Jungian concepts of animus, anima and collective unconscious is developed around musical elements as diverse as the BACH musical motive, a folktune, a dodecaphonic waltz and a tango. The tango, which periodically reoccurs in Schnittke's work, is the topic of the last chapter. Over the ii course of several works, the tango accumulates diverse meanings in Schnittke's music. In the Symphony No. 1, it is an easy solution to a composer's problem; in Agony, it is a lure appealing to Rasputin's inner demons; in the Concerto Grosso No. 1, the tango takes part in a stylistic Utopia; in Die Historia von D. Johann Fausten, it is the feminine; in Life with an Idiot, it is the violence present in everyone. TABLE OF CONTENTS Abstract u Table of Contents iv Table of Figures s... viii Note on Transliteration x Note on Transliteration x Acknowledgments M Dedication xii Introduction 1 Literature 8 Methodology 12 Outline - 22 Chapter 1: (Anti-)Symphony No. 1 and the Genesis of Polystylism 24 Polystylism 30 Symphony or... Anti-Symphony? 34 Program or Anti-Program? 35 Interpretations of the Symphony 37 Borrowings and References 39 (1) Beginning - Consonances and Dissonances 43 (2) The Popular and the Banal 45 (3) Beethoven 48 iv (4) Concerto Grosso a la Handel 49 (5) Batde of the Cadenza 51 (6) Triumph of the Banal 52 (7) Series, Series, Series, and Primes 54 Interlude: Prime Numbers 64 (8) Death 66 (9) Resurrection 72 Conclusion 74 Chapter 2: Mozart a la Haydn : the open space of Fragmentation 77 The Fragment and the Fragmentary 81 Formal Design 87 The Old in the Present 88 Commedia dell'arte , 90 Wolfgang Amadeus Mozart 91 KV446 (416d) 93 Combinatory Techniques 96 (1) Shift ".' 97 (2) Stratification 97 (3) Stretto • 98 (4) Morphing 99 Combination Possibilities 100 The New in the Past 102 Meaning and Narrative 112 Conclusion 116 Chapter 3: Concerto Grosso No. 1 or the "Utopia of a Unified Style' 118 Concerto Grosso No. 1 128 Synopsis 129 First Movement: Preludio 129 Second Movement: Toccata 130 Third Movement: Recitativo 131 Fourth Movement: Cadenza 133 Fifth Movement: Rondo 134 Sixth Movement: Posdudio 136 References 137 Sketches 138 Sketches: Program 139 Sketches: Movements 147 Sketches: Quasi- 148 Sketches: Tango 149 Self-Borrowings 150 BACH 151 Tango 158 Films: Cadential Figure 160 A Tentative Narrative 161 Conclusion 164 Chapter 4: Tango 167 vi "Faust Cantata" and Historia von D. Johann Fausten 169 The Feminine, the Exotic and the Devil 182 The Tango in other Works by Schnittke 184 Symphony No. 1 (1968-72) 185 Agony (1974/81) 186 Concerto Grosso No. 1 (1977) 186 Polyphonic Tango (1979) 187 Life with an Idiot (1991) 188 The Master and Margarita (1993-4) 190 Conclusion: The Tango as a Sign 190 Conclusion 194 Evolution of Polystylism 199 Polystylism and Narrative Potential 206 Bibliography 209 vii TABLE OF FIGURES Figure 1-1. Principal features and characteristics creating stylistic gaps 42 Figure 1-2. Principal series of Schnittke's Symphony No. 1 55 Figure 1-3. Serial organization 57 Figure 1-4. Details of the fifth group, 96/2/2 to 96/2/8 59 Figure 1-5. Dynamic Triangle of the Third Movement 62 Figure 1-6. Rhythmic organization of Symphony No. 1, 1st movement, section 4 65 Figure 1-7. Emergence of chords from series, from 129/1/2 68 Figure 1-8. Emergence of the Dies Irae from series, from 134/1/1, example 69 Figure 1-9. Emergence of series from the Dies Irae, from 153/1/2, piccolo 1 70 Figure 2-1. Formal design of Mo^Art. 88 Figure 2-2. Partition in thematic fragments of Mozart's 416d 94 Figure 2-3. Stylistic shift at measure 36 [7] 97 Figure 2-4. Stratification from m. 220 to 261 98 Figure 2-5. Stretto from measure 1 99 Figure 2-6. Morphing in the double bass part in the Introduction 100 Figure 2-7. Most important thematic fragments used in Mo^-Art 102 Figure 2-8. Principal thematic combinations in Mot^Art 102 Figure 2-9. Similarity of fragments 2.1 and 12.1, combined from measure 36 108 Figure 2-10. Cadenza-like episode of measure 154 108 Figure 2-11. Contrasts around fragment 3.3, measures 66, 76 and 185 109 viii Figure 2-12. Chromatic transition at measure 51 114 Figure 3-1. Main stylistic elements 122 Figure 3-2. Categories of stylistic elements 126 Figure 3-3. Stylistic elements in the first movement 130 Figure 3-4. Stylistic elements in the second movement 131 Figure 3-5. Quotation of Tchaikovsky and Berg's Violin Concertos 132 Figure 3-6. Stylistic elements in the third movement 133 Figure 3-7. Stylistic elements in the fourth movement 134 Figure 3-8. Stylistic elements in the fifth movement 136 Figure 3-9. Stylistic elements in the sixth movement 136 Figure 3-10a. London Sketches, sheet 10 140 Figure 3-10b. Translation of London Sketches, sheet 10 141 Figure 3-11. Excerpt of London Sketches, sheet 1 143 Figure 3-12. Various kind of dualities in London Sketches 145 Figure 3-13. Quasi-Periodic as notated in LS 8 and the Chorale theme 149 Figure 3-14. Borrowings in Glass Harmonica 153 Figure 3-15. Exchange of the waltz theme and BACH aggregate spelling 156 Figure 3-16. BACH in the Cadenza, mvt. IV, from 62/1/1. 157 Figure 4-1. Beginning of the third act 174 Figure 4-2. The tango melody, as of 345/1/5 [65] 177 Figure 4-3. Libretto adaptation of the 1587 Volksbuch 181 Figure 4-4. The tango melody, as of 345/1/5 [65] 191 Figure 5-1. Evolution of polystylism in Schnittke's works 200 ix NOTE ON TRANSLITERATION Whenever possible, the transliteration of Russian names and titles in this thesis complies with the ISO 9:1995 standard. The only exception to that rule pertains to familiar names like Stravinsky, Prokofiev or Shostakovich, for which the traditional English spelling has been preserved. In the bibliography and footnotes, in the case of publications using the Roman alphabet, the spelling of Russian names has been kept as published. The table below summarizes the most commonly used transliteration systems. ISO GOST ALA BS ISO GOST ALA BS A, a a P.P r B, 6 b C, c s B,B V T,T t r, r 9 u A. A d O, dp f E, e e e, ye X, x h kh kh E, e e yo LU c ts ts >K,)K z zh zh 4, H c ch ch 3,3 z UJ, uj s sh sh H, M i W,w. s sc shch shch M, M J T "b,"b " K, K k bl, bi y Jl.n 1 b, b ' M, M m 3, KD e e e[e] H, H n K), io u ju iu yu O, o 0 a ja la ya n, n P ISO: International Standards Organization 9:1995, used in this thesis. GOST: Gosstandart Rossii 1983, used in Die Musik in Geschichte und Gegenwart, 2"d ed. ALA: American Language Association, used by the Library of Congress. BS: British Standards 2929, used in the New Groa Dictionary of Music and Musicians, 2nd ed. X ACKNOWLEDGMENTS When I started my doctorate studies at the School of Music of the University of British Columbia, I had litde idea of the amount of work and of time lying in front of me. The whole enterprise would have been impossible without the help of many people. I want to take this opportunity to thank the members of my committee. Vera Micznik believed in my capacities from the beginning and has unfailingly offered perceptive advice and encouragement throughout my stay at UBC.
Recommended publications
  • Quodlibet by John Pendleton Kennedy
    Quodlibet by John Pendleton Kennedy CHAPTER I. ANTIQUITIES OF QUODLIBET—MICHAEL GRANT'S TANYARD DESTROYED BY THE CANAL—CONSEQUENCES OF THIS EVENT—TWO DISTINGUISHED INDIVIDUALS TAKE UP THEIR RESIDENCE IN THE BOROUGH—ESTABLISHMENT OF THE PATRIOTIC COPPERPLATE BANK— CIRCUMSTANCES WHICH LED TO AND FOLLOWED THAT MEASURE— MICHAEL GRANT'S OBJECTIONS TO IT. It was at the close of the year 1833, or rather, I should say, at the opening of the following spring, that our Borough of Quodlibet took that sudden leap to greatness which has, of late, caused it to be so much talked about. Our folks are accustomed to set this down to the Removal of the Deposits. Indeed, until that famous event, Quodlibet was, as one might say in common parlance, a place not worth talking about—it might hardly be remarked upon the maps. But since that date, verily, like Jeshurun, it has waxed fat. It has thus come to pass that "The Removal" is a great epoch in our annals—our Hegira—the A. U. C. of all Quodlibetarians. Michael Grant, a long time ago—that is to say, full twenty years—had a tanyard on Rumblebottom Creek, occupying the very ground which is now covered by the canal basin. Even as far back as that day he had laid up, out of the earnings of his trade, a snug sum of money, which sufficed to purchase the farm where he now lives at the foot of the Hogback. Quodlibet, or that which now is Quodlibet, was then as nothing. Michael's dwelling house and tanyard, Abel Brawn's blacksmith-shop, Christy M'Curdy's mill, and my school-house, made up the sum-total of the settlement.
    [Show full text]
  • Sofia Gubaidulina AUSSERDEM Prokofjew, Denissow, Kantscheli, Geringas, Chatschaturjan U.A
    AUSGABE 1. 2020 GEBURTS- UND GEDENKTAGE 90. GEBURTSTAG 2021 Sofia Gubaidulina AUSSERDEM Prokofjew, Denissow, Kantscheli, Geringas, Chatschaturjan u.a. INHALT / CONTENT Liebe Leserinnen, 03 / 22 liebe Leser, Sofia Gubaidulina 90. Geburtstag im Jahr 2021 die russische Komponistin Jelena Firssowa sagte ein- 06 / 24 mal über die von ihr bewunderte Sofia Gubaidulina, Georgische Musik sie sei eine „Schamanin in der Musik”, eine der tief- des 20. Jahrhunderts gründigsten und interessantesten Komponistinnen Kantscheli, Zinzadse, der Gegenwart. Im Jahr 2021 begeht Gubaidulina Nassidse ihren 90. Geburtstag. In diesem Magazin, das Kompo- nistenjubiläen der bervorstehenden Jahre 2021 und 08 / 26 2022 zum Inhalt hat, berichten wir von neuesten Sergej Prokofjew Werken Gubaidulinas und veröffentlichen zudem ein zum 130. Geburtstag dieser Komponistin gewidmetes Exklusiv-Interview 12 mit dem Dirigenten Kent Nagano. 100. Geburtstage von Francisco Tanzer & Stanisław Lem Ein weiteres Jubiläum steht uns mit Sergej Prokof- jews 130. Geburtstag im April 2021 bevor. Wir ver- 14 / 29 binden einen Rückblick auf die spektakuläre Neuin- 10. Todestag von szenierung von Prokofjews Oper „Die Verlobung im Karen Chatschaturjan Kloster” an der Staatsoper Berlin 2019 mit Kurzdar- stellungen ausgewählter Werke. 15 / 29 Edison Denissow Der 25. Todestag des Russen Edison Denissow, aus- 25. Todestag am 24. November 2021 gewählte Gedenktage von Komponisten aus Georgien 18 / 30 und zwei 100. Geburtstage von bedeutenden Text- Jubiläen litauischer dichtern wie Stanisław Lem und Francisco Tanzer Interpreten und Komponisten sind weitere Themen dieser Ausgabe. David Geringas & Bronius Kutavičius Wir wünschen Ihnen eine interessante Lektüre und viele Entdeckungen, 20 / 32 News Winfried Jacobs 19 Geschäftsführer Geburts- und Kennen Sie auch die anderen Gedenktage 2021 Hefte des SIKORSKI Magazins? 21 Vorschau 2022 IMPRESSUM FOTONACHWEISE Titel Sofia Gubaidulina © Priska Ketterer S.
    [Show full text]
  • CHAN 9722 Front.Qxd 25/7/07 3:07 Pm Page 1
    CHAN 9722 Front.qxd 25/7/07 3:07 pm Page 1 CHAN 9722 CHANDOS Schnittke (K)ein Sommernachtstraum Cello Concerto No. 2 Alexander Ivashkin cello Russian State Symphony Orchestra Valeri Polyansky CHAN 9722 BOOK.qxd 25/7/07 3:08 pm Page 2 Alfred Schnittke (1934–1998) Cello Concerto No. 2* 42:00 1 I Moderato – 3:20 2 II Allegro 9:34 3 III Lento – 8:26 4 IV Allegretto mino – 4:34 5 V Grave 16:05 6 10:37 Nigel LuckhurstNigel (K)ein Sommernachtstraum (Not) A Midsummer Night’s Dream TT 52:50 Alexander Ivashkin cello* Russian State Symphony Orchestra Valeri Polyansky Alfred Schnittke 3 CHAN 9722 BOOK.qxd 25/7/07 3:08 pm Page 4 us to a point where nothing is single-faced ‘Greeting Rondo’ with elements from the First Alfred Schnittke: Cello Concerto No. 2/(K)ein Sommernachtstraum and everything is doubtful and double-folded. Symphony creeping into it; one can hear all The fourth movement is a new and last the sharp polystylistic shocking contrasts outburst of activity, of confrontation between similar to Schnittke’s First Symphony in The Second Cello Concerto (1990) is one of different phases and changes as if through a hero (the soloist) and a mob (the orchestra). condensed form here. (K)ein Sommernachts- Schnittke’s largest compositions. The musical different ages. The first subject is excessively Again, two typical elements are juxtaposed traum, written just before the composer’s fatal palate of the Concerto is far from simple, and active and turbulent, the second more here with almost cinematographical clarity: illness began to hound him, is one of his last the cello part is fiendishly difficult.
    [Show full text]
  • Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA.
    [Show full text]
  • Tutti I Plagi Di Fabrizio De André
    TUTTI I PLAGI DI FABRIZIO DE ANDRÉ Storie di musica, collezioni, emozioni G IT RO A P I I PIÙ RAR sommario Il prossimo VINILE #1 2016 numero sarà Articoli in edicola il Fabrizio De André 10 giugno 14 Luci, ombre, stroncature, plagi e contraffazioni del più intoccabile dei cantautori italiani. di Alessio Lega Mark Fry 30 Il disco più raro e improbabile fra quelli pubblicati dalla It di Enzo Micocci ha una storia fatta di personaggi straordinari e intrecci impensabili. di Maurizio Becker Furio Colombo 38 La mitica scena del Greenwich Village, gli esordi di Bob Dylan e le fortune internazionali di una canzone tutta italiana, nei ricordi di un testimone d’eccezione. Intervista di Luciano Ceri I gioielli del Prog 46 I 15 album più rari e costosi del Prog italiano. di Franco Brizi Nada 56 Un servizio fotografico in bianco- nero realizzato nel 1968, alla vigilia del suo primo Sanremo: pura magia. di Francesco Coniglio Battisti-Mogol 60 35 anni dopo, i veri motivi della rottura. di Michele Neri Pier Paolo Pasolini 72 Un intellettuale a tutto tondo: letteratura, poesia, cinema, teatro, giornalismo. E canzoni. Lo sapevate? di Luciano Ceri Guido Guglielminetti 80 Battisti, Fossati, De Gregori, ma anche Patrick Samson, Umberto Tozzi e… Nilla Pizzi. La lunga storia di un 14 bassista per caso. Intervista di Vito Vita Fabrizio Rhino Records 110 Esce un libro che racconta le storie di 50 negozi USA specializzati in vinile: la nostra anteprima. De André di Mike Spitz e Rebecca Villaneda I segreti del genio Domenico Modugno 116 La discografia completa di un mito assoluto della canzone italiana.
    [Show full text]
  • THE CLEVELAN ORCHESTRA California Masterwor S
    ����������������������� �������������� ��������������������������������������������� ������������������������ �������������������������������������� �������� ������������������������������� ��������������������������� ��������������������������������������������������� �������������������� ������������������������������������������������������� �������������������������� ��������������������������������������������� ������������������������ ������������������������������������������������� ���������������������������� ����������������������������� ����� ������������������������������������������������ ���������������� ���������������������������������������� ��������������������������� ���������������������������������������� ��������� ������������������������������������� ���������� ��������������� ������������� ������ ������������� ��������� ������������� ������������������ ��������������� ����������� �������������������������������� ����������������� ����� �������� �������������� ��������� ���������������������� Welcome to the Cleveland Museum of Art The Cleveland Orchestra’s performances in the museum California Masterworks – Program 1 in May 2011 were a milestone event and, according to the Gartner Auditorium, The Cleveland Museum of Art Plain Dealer, among the year’s “high notes” in classical Wednesday evening, May 1, 2013, at 7:30 p.m. music. We are delighted to once again welcome The James Feddeck, conductor Cleveland Orchestra to the Cleveland Museum of Art as this groundbreaking collaboration between two of HENRY COWELL Sinfonietta
    [Show full text]
  • San Francisco Symphony 2019–2020 Season Concert Calendar
    Contact: Public Relations San Francisco Symphony (415) 503-5474 [email protected] www.sfsymphony.org/press FOR IMMEDIATE RELEASE / MARCH 12, 2019 SAN FRANCISCO SYMPHONY 2019–2020 SEASON CONCERT CALENDAR PLEASE NOTE: Subscription packages for the San Francisco Symphony’s 2019–20 season go on sale TUESDAY, March 12 at 10 am at www.sfsymphony.org/MTT25, (415) 864-6000, and at the Davies Symphony Hall Box Office, located on Grove Street between Franklin and Van Ness. Discover how to receive free concerts with your subscription package. For additional details and questions visit www.sfsymphony.org/MTT25. All concerts are at Davies Symphony Hall, 201 Van Ness Avenue, San Francisco, unless otherwise noted. OPENING NIGHT GALA Wednesday, September 4, 2019 at 8:00 pm Michael Tilson Thomas conductor and piano San Francisco Symphony ALL SAN FRANCISCO CONCERT with MICHAEL TILSON THOMAS Thursday, September 5, 2019 at 8 pm Saturday, September 7, 2019 at 8 pm Michael Tilson Thomas conductor Alina Ming Kobialka violin Hannah Tarley violin San Francisco Symphony BERLIOZ Overture to Benvenuto Cellini, Opus 23 SAINT-SAËNS Introduction and Rondo capriccioso, Opus 28 RAVEL Tzigane GERSHWIN Second Rhapsody for Orchestra with Piano BRITTEN Variations and Fugue on a Theme by Purcell San Francisco Symphony 2019-20 Season Calendar – Page 2 of 22 SAN FRANCISCO SYMPHONY, MICHAEL TILSON THOMAS CONDUCTING Thursday, September 12, 2019 at 8 pm Friday, September 13, 2019 at 8 pm Saturday, September 14, 2019 at 8 pm Sunday, September 15, 2019 at 2 pm Michael Tilson Thomas conductor San Francisco Symphony MAHLER Symphony No. 6 in A minor SAN FRANCISCO SYMPHONY, MICHAEL TILSON THOMAS CONDUCTING Thursday, September 19, 2019 at 2 pm Friday, September 20, 2019 at 8 pm Saturday, September 21, 2019 at 8 pm Sunday, September 22, 2019 at 2 pm Michael Tilson Thomas conductor Daniil Trifonov piano San Francisco Symphony John ADAMS New Work [SFS Co-commission, World Premiere] RACHMANINOFF Piano Concerto No.
    [Show full text]
  • Música Dispersa Apropiación, Influencias, Robos Y Remix En La Era De
    Música dispersa Apropiación, influencias, robos y remix en la era de la escucha digital Rubén López Cano Editorial: Musikeon Books (Barcelona) Año de publicación. 2018 ISBN: 978-84-945117-1-4 Palabras clave: Identidad y modos de existencia de las piezas musicales. Apropiación. Reciclaje musical. Intertextualidad. Préstamos e influencia. Reutilización. Plagio. Música grabada. Autenticidad y discursos de legitimación. Covers y versiones. Remix. Sampleo. Mashup. Memes musicales. Escucha digital. Pacto perceptual. Contenido 1. Introito: de la epifanía al trabajo colaborativo 2. Ser, parecer, aparecer, acceder y conocer la música 2.1. ¿Dónde están las sinfonías cuando no suenan? 2.2. Una obra y muchos seres 2.3. El rock y sus dilemas existenciales 2.4. El jazz: ¿obras o eventos? 2.5. Límites de la ontología musical 3. Fragmentación y dispersión de la unidad musical: Apropiaciones, influencias, préstamos, intertextualidad y reciclaje. 3.1. ¿De quién es la canción? Apropiaciones 3.2. Lo intertextual: una "obra" es un momento de la red 3.3. Reciclaje: del préstamo a la influencia 3.4. Intertextualidad en la música popular urbana 3.5. Intertextualidad en la música de arte occidental 3.6. Rangos de procesos y funciones intertextuales 3.7. Citas 3.8. Reutilización 3.9. Citas expandidas 3.10. Capital musical, idiolectos, campos semióticos 3.11. Intertexto vocal como diccionario 3.12. Intertexto vocal y paseos inferenciales 3.13. Crossover y referencias enmudecidas 3.14. Modelización y alusión 3.15. Inserción por ensamblaje. Quodlibet, Popurrí, Pasticcio, Patchwork, Collage 3.16. Intervención en una pieza preexistente: revisiones, versiones, contrafacta, paráfrasis e intervenciones conceptuales 3.17.
    [Show full text]
  • 1973-Iceland.Pdf
    -----=ca=rn=-.....z:-c, wrn=-:- --. n ===N::ll:-cI - .. • ~ en Place I Monday, June 18 I Tuesday, June 19 I Wednesday, Ju'!e 20 I I Thursday, June 21 I Friday, June 22 I Saturday, June 23 1 Sunday, June 24 10.00--12.00 10.00-12.00 10.00-12.00 Hotel General Assembly General Assembly General Assembly Loftleidir (if necessary) 14.00- 16.00 14.00-16.00 General Assembly General Assembly 12.00 Lvric Arts Trio Charpentier: --- The Symphony --- Nordic 17.00 17.00 22.00 House Norwegian Wood- Harpans Kraft Nonvegian jazz Wind Quintet from Sweden Bibalo, Berge, Salmenhaara, W elin, Mortensen, Nordheim - - -·- [_____ - 20.30 20.00 17.00 14.00 14.00 14.00 Miklatun Reception Tenidis, Kopelent TapeMusic Tape Music Tape Music Tape Music T6masson, Hall- Gilboa, Schurink grlmsson, Leifs Lambrecht, 20.00 20.00 17.00 Benhamou, Kim, Lyric Arts Trio German Trio Gaudeamus Tokunaga, Ishii, Doh!, Quartet Thommesen Zender, de Leeuw I Zimmermann, Raxach I Karkoschka, I Lutoslawski Haubenstock- Ramati, Hoffmann I I ---- --- -- - ' Exhibition of scores sent in by sections daily, at Miklatun --- - ISCM --- --- -- Hask6\abi6 21.00 Iceland Symphony Orchestra ThorarinssQn, Mallnes, Stevens, Endres, Gentilucci, Lachenmann, Krauze - - - - - -- -- -- ~ -- - State 17.00 Radio Icelandic Music on Tape - - - --- - --- -- Arnes Recital: Aitken/ Haraldsson I The President of the ISCM The President of the Icelandic Section In whatever way the 1973 Music Day may enter the history of It is a great pleasure for the Icelandic Section of the ISCM the ISCM, surely it will be remembered as the most Northern to receive the delegates of the sister organisations to the General point ever reached by the Society.
    [Show full text]
  • Vi Saint Petersburg International New Music Festival Artistic Director: Mehdi Hosseini
    VI SAINT PETERSBURG INTERNATIONAL NEW MUSIC FESTIVAL ARTISTIC DIRECTOR: MEHDI HOSSEINI 21 — 25 MAY, 2019 facebook.com/remusik.org vk.com/remusikorg youtube.com/user/remusikorg twitter.com/remusikorg instagram.com/remusik_org SPONSORS & PARTNERS GENERAL PARTNERS 2019 INTERSECTIO A POIN OF POIN A The Organizing Committee would like to express its thanks and appreciation for the support and assistance provided by the following people: Eltje Aderhold, Karina Abramyan, Anna Arutyunova, Vladimir Begletsov, Alexander Beglov, Sylvie Bermann, Natalia Braginskaya, Denis Bystrov, Olga Chukova, Evgeniya Diamantidi, Valery Fokin, Valery Gergiev, Regina Glazunova, Andri Hardmeier, Alain Helou, Svetlana Ibatullina, Maria Karmanovskaya, Natalia Kopich, Roger Kull, Serguei Loukine, Anastasia Makarenko, Alice Meves, Jan Mierzwa, Tatiana Orlova, Ekaterina Puzankova, Yves Rossier, Tobias Roth Fhal, Olga Shevchuk, Yulia Starovoitova, Konstantin Sukhenko, Anton Tanonov, Hans Timbremont, Lyudmila Titova, Alexei Vasiliev, Alexander Voronko, Eva Zulkovska. 1 Mariinsky Theatre Concert Hall 4 Masterskaya M. K. Anikushina FESTIVAL CALENDAR Dekabristov St., 37 Vyazemsky Ln., 8 mariinsky.ru vk.com/sculptorstudio 2 New Stage of the Alexandrinsky Theatre 5 “Lumiere Hall” creative space TUESDAY / 21.05 19:00 Mariinsky Theatre Concert Hall Fontanka River Embankment 49, Lit A Obvodnogo Kanala emb., 74А ensemble für neue musik zürich (Switzerland) alexandrinsky.ru lumierehall.ru 3 The N. A. Rimsky-Korsakov 6 The Concert Hall “Jaani Kirik” Saint Petersburg State Conservatory Dekabristov St., 54A Glinka St., 2, Lit A jaanikirik.ru WEDNESDAY / 22.05 13:30 The N. A. Rimsky-Korsakov conservatory.ru Saint Petersburg State Conservatory Composer meet-and-greet: Katharina Rosenberger (Switzerland) 16:00 Lumiere Hall Marcus Weiss, Saxophone (Switzerland) Ensemble for New Music Tallinn (Estonia) 20:00 New Stage of the Alexandrinsky Theatre Around the Corner (Spain, Switzerland) 4 Vyazemsky Ln.
    [Show full text]
  • UC Santa Barbara Continuing Lecturer Natasha
    CONTACT: Adriane Hill Marketing and Communications Manager (805) 893-3230 [email protected] music.ucsb.edu FOR IMMEDIATE RELEASE / February 7, 2020 UC SANTA BARBARA CONTINUING LECTURER NATASHA KISLENKO TO PRESENT SOLO PIANO WORKS BY MOZART, CHOPIN, RACHMANINOFF, AND SCHNITTKE Internationally-renowned pianist to present solo piano works along with Lutosławski’s Variations on the GH theme by Paganini for two pianos with UC Santa Barbara Teaching Professor Sarah Gibson Santa Barbara, CA (February 7, 2020)—Natasha Kislenko, Continuing Lecturer of Keyboard at UC Santa Barbara, will present a solo piano recital on Friday, February 21, 2020 at 7:30 pm in Karl Geiringer Hall on the UC Santa Barbara campus. The program will include solo piano works by Wolfgang Amadeus Mozart, Frédéric Chopin, Sergei Rachmaninoff, and Alfred Schnittke, plus a duo-piano work by Witold Lutosławski, featuring UC Santa Barbara Teaching Professor Sarah Gibson. Recognized by the Santa Barbara Independent for her “vividly expressive” interpretations and “virtuosity that left the audience exhilarated,” Kislenko offers unique concert programs and presentations to a worldwide community of music listeners. A prizewinner of several international piano competitions, she has extensively concertized in Russia, Germany, Italy, Spain, Slovakia, Bulgaria, Turkey, and across the Americas. A resident pianist of the Santa Barbara Symphony since 2010, she has been a featured soloist for the Shostakovich, Grieg, Clara Schumann, de Falla, and Mozart piano concerti, to great critical acclaim. Kislenko’s UC Santa Barbara program will open with Mozart’s Six Variations in F Major on “Salve tu, Domine” by G. Paisiello, K. 398. The theme of the work is taken from Mozart’s Italian contemporary Giovanni Paisiello’s opera, I filosofi immaginari (The Imaginary Philosophers), one of Paisiello’s most recognized opere buffe, written for the court of Catherine II of Russia.
    [Show full text]
  • A European Singspiel
    Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel.
    [Show full text]