DOCSLIB.ORG

Dances of Ascents Alexander Knaifel Radio Kamer Filharmonie Diabolus in Musica Erik Bosgraaf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dances of Ascents Alexander Knaifel Radio Kamer Filharmonie Diabolus in Musica Erik Bosgraaf muziek Dances of ascents alexander knaifel radio kamer filharmonie diabolus in musica erik bosgraaf Patron/hoofdbegunstiger holland festival 2011 Dances of ascents Alexander Knaifel, Radio Kamer Filharmonie, Diabolus in Musica Erik Bosgraaf Info Credits data / dates muziek / music vr 10 juni 2011 Josquin Desprez, Alexander Knaifel, Liza Fri 10 June 2011 Lim, Roderik de Man, Jacob Obrecht locatie / venue dirigent / conductor De Nieuwe Kerk Antoine Guerber, Martyn Brabbins aanvang / starting time uitvoering / performed by 20.30 uur Diabolus in Musica, Radio Kamer Filharmonie, 8.30 pm solisten / soloists duur / running time Erik Bosgraaf, blokfluitenrecorders 1 uur 55 minuten, inclusief een pauze Oleg Malov, diverse klavieren (vleugel, piano, 1 hour 55 minutes, including one interval celesta, clavecimbel, sampler various keyboards websites (piano, celesta, harpsichord, sampler) www.elision.org.au techniek / technique www.roderikdeman.com Jan Panis www.diabolusinmusica.fr coproductie / coproduction www.radiokamerfilharmonie.nl NTR, Holland Festival www.erikbosgraaf.com copyright Bridge – dances of ascents © Compozitor Publishing House • St. Petersburg, 2008 wereldpremière / world premiere Bridge, Amsterdam, 10.6.2011 Plainte, Amsterdam, 10.6.2011 Weaver-of-Fictions, Brisbane, 4.2.2007 2 Knaifel: Robert saw the true value of Oleg’s to learn the game and it’s even harder to find expertise: he personally came to St. Peters- a partner who matches your temperament, burg to meet Oleg and talk to him about a your interpretation of the game and your piano concert; he also paid me a visit. I myself readiness for perfection. It is strategy, tactics, am not a pianist, although in addition to my psychology, mathematics and competition: main instrument, cello, I studied piano at you have to adjust your strategy in every situ- the conservatory. I really enjoyed playing La ation. And your starting position is always Campanella by Liszt and the Humoresque by different. It’s all just like in real life. I played Rachmaninov. Yet I approached the piano bridge semi-professionally for 11 years, usually more or less like kids approach computers without a partner. Nowadays I’ve taken a bit nowadays: they’re barely out of the womb of distance from that, because I’ve become so and they’re already banging away on the much busier … keys. So the idea of an abstract piano concert could have given me a very big headache. Knaifel: Oleg, how would you say the cards But because this was a specific piano concert are shuffled inBridge ? and Oleg was participating in it, I decided to accept the challenge. The proposal became a Malov: Very originally! For instance, we new milestone in our collaboration. What’s don’t even start like you’re supposed to, more, it fell exactly on the 40th anniversary of with 13 cards! But if you put the whole ‘pile’ our friendship and on Oleg’s 60th birthday. together, you get a classical old Viennese orchestra. Where does the name of the piece come from, and what are the similarities Knaifel: Oleg’s partner in the first part is the between Bridge and the card game of that glockenspiel, by the way; the other pair con- name? sists of two very tiny flutes. That’s all. That’s Knaifel: It has to do with the fact that Oleg is the first ‘game’. a fanatic bridge player. He is an impassioned player no matter what, that’s very important. Malov: Bridge has another important figure: And of course, outwardly, the piece resembles the conductor. He corresponds with the the game: I hope it’s obvious that the number arbiter of the card game, who announces the of instruments corresponds with the 52 cards beginning and the end of a round. After a pre- in a game of cards. The setup of the soloist specified time, the players are obliged to end and the three orchestras corresponds to the their game, write down the results and gather four players at a bridge table, with the conduc- up the cards. So he has a supervisory function tor in the middle. and is present at all of the tournaments. Malov: Bridge is a game that you play in Knaifel: The score stipulates a dual role for pairs. It’s a culture, and also an extremely the conductor: at times his movements are complicated game in terms of technique. It’s inseparably connected with the soloist and no coincidence that there is a sports variation the three orchestras; at other times he himself of bridge, perhaps the only game in the world is a soloist, in which he soundlessly plays a that has that. The Bridge Federation also visual role with his hands, fingers, or two exists in Saint Petersburg. It is hard enough batons. So a radio broadcasting of this cannot 3 Programma Delen Parts Diabolus in Musica 1. o.l.v. conducted by Antoine Guerber tempo 1 / vivo ­­­­­- polyphones 1-3 Erik Bosgraaf, blokfluitenrecorders 11. Roderik de Man (1941) tempo 2 / largissimo - polyphones 4-6 Plainte (2011) voor sopraninoblokfluit & cd for sopranino recorder & CD iii. wereldpremière world premiere tempo 3 / allegro - polyphones 7-9 tempo 4 / andante - polyphones 10-11 Jacob Obrecht (ca. approx 1450-1505) tempo 4a / andante - polyphones 10-11 Missa Sicut spina rosam (1497/98) tempo 5 / allegretto - polyphone 12 Kyrie – Gloria – Credo tempo 6 / presto tempo 7 / prestissimo Liza Lim (1966) Weaver-of-Fictions (2007) voor Ganassiblok- iv. (quasi cadenza) fluitfor Ganassi recorder tempo 8 / adagietto - polyphones 22-25 Nederlandse première Dutch premiere Josquin Desprez (ca. approx 1450-1521) La déploration sur la mort de Jean Ockeghem (Nymphes des bois) (ca. approx 1498) Jacob Obrecht (1457/1458-1505) Missa Sicut spina rosam (1497/98) Sanctus – Agnus pauze interval Radio Kamer Filharmonie o.l.v. conducted by Martyn Brabbins Oleg Malov, diverse klavieren various keyboards Erik Bosgraaf, blokfluitrecorder Alexander Knaifel (1943) Bridge (2006-07) dances of ascents voor polyklavier en drie orkesten for polyclavier and three orchestras Nieuw werk in opdracht van NTR, wereld- première Commissioned by NTR, world premiere 4 Dances of ascents oorspronkelijk als een blokfluitstudie voor haar landgenote Genevieve Lacey, die op 26 mei 2007 de première van de definitieve versie Het programma is samengesteld rond een ervan verzorgde, in het Iwaki Auditorium in nieuw werk van de Russische componist Melbourne. De titel Weaver-of-Fictions is een Alexander Knaifel (1943). Het gedeelte verwijzing naar een van de namen die in de voor de pauze wordt gepresenteerd als een antieke oudheid aan de godheid Eros gegeven doorlopend geheel, samengesteld uit werken werden en wordt als zodanig gebruikt in het van drie verschillende componisten die in tijd libretto dat Patricia Sykes schreef voor Lims en plaats ver van elkaar af staan: de Nederlan- opera The Navigator, waarin de blokfluitsolo ders Roderik de Man (1941), Jacob Obrecht later als prelude is opgenomen. (1450-1505), Josquin Desprez (ca. 1450-1521) en de Australische Liza Lim (1966). De recente werken voor blokfluit van Roderik de Man en Liza Lim staan in het gedeelte Roderik de Man schreef op verzoek van de voor de pauze zij aan zij met muziek van een NTR het nieuwe werk Plainte voor sopraan- half millennium geleden. Jacob Obrecht en blokfluit en elektronica. De uitvoering door Josquin Desprez behoren tot de grootste Erik Bosgraaf in het Holland Festival is componisten van hun tijd. In beide ge- de wereldpremière van het werk. Voor de programmeerde werken is bovendien een elektronische partij van Plainte gebruikte De belangrijke rol weggelegd voor de derde Man fragmenten van de muziek van Jacob grootmeester van de polyfonie van de Lage Obrecht, die hij aan elektronische bewer- Landen, de één generatie oudere Johannes kingen onderwierp. De blokfluit zweeft Ockeghem. Dit programmaonderdeel wordt ogenschijnlijk vrijelijk, maar in werkelijkheid uitgevoerd door de zangers van Diabolus in nauwkeurig getimed, boven deze elektroni- Musica onder leiding van Antoine Guerber sche partij. Over de titel (Frans: ‘weeklacht’ of en blokfluitist Erik Bosgraaf. ‘aanklacht’) zegt de componist dat hij verwijst naar de atmosfeer die deze geluiden bij hem Volgens programmamaker Robert Nasveld opriepen. De partituur schrijft voor dat de was Knaifel aangenaam verrast toen hij uitvoerende op een voetstuk van ongeveer 1 hoorde dat zijn werk gekoppeld zou wor- meter hoog staat. Het dramatisch hoogtepunt den aan een mis van Jacob Obrecht. Diens van het werk komt wanneer de blokfluitist Missa Sicut spina rosam wordt in twee delen zijn instrument op de grond moet laten vallen uitgevoerd: het Kyrie, Gloria en Credo, en en het bekende schilderij De schreeuw van het Sanctus en Agnus dei. In de jaren 80 Edvard Munch moet uitbeelden, met de han- van de vijftiende eeuw raakte Obrecht sterk den op de wangen en de in ontzetting open- onder invloed van Johannes Ockeghem gesperde mond. Vervolgens bedekt hij zijn (ca. 1420-1497). Het is onduidelijk of beide ogen, buigt langzaam het hoofd en verstart in componisten elkaar ontmoet hebben bij die houding tot het geluid is uitgeklonken. Ockeghems bezoek aan Vlaanderen in 1484, maar vaststaat dat Obrechts Missa Sicut spina Weaver-of-Fictions uit 2007 is een korte solo rosam, die in de periode daarna ontstaan is, van de Australische componiste Liza Lim vol verwijzingen naar het werk van de oudere voor Ganassiblokfluit. Zij schreef het werk meester zit. In het Agnus dei citeert Obrecht 5 bijvoorbeeld de volledige baspartij van het Bridge – dances of ascents Kyrie uit Ockeghems Missa Mi-mi. De titel Een interview met componist Alexander van de mis verwijst naar een zinsnede uit een Knaifel en pianist Oleg Malov responsorium van Fulbrecht de Chartres, die als bisschop van de beroemde kathedraal aan het begin van het tweede millennium de Op 6 maart 2008 nam Ekaterina Blazhkova, viering van de geboorte van Maria een impuls musicoloog, een interview af bij componist gaf.
Load more

Recommended publications
  • 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]
  • MUSICAL CENSORSHIP and REPRESSION in the UNION of SOVIET COMPOSERS: KHRENNIKOV PERIOD Zehra Ezgi KARA1, Jülide GÜNDÜZ
    SAYI 17 BAHAR 2018 MUSICAL CENSORSHIP AND REPRESSION IN THE UNION OF SOVIET COMPOSERS: KHRENNIKOV PERIOD Zehra Ezgi KARA1, Jülide GÜNDÜZ Abstract In the beginning of 1930s, institutions like Association for Contemporary Music and the Russian Association of Proletarian Musicians were closed down with the aim of gathering every study of music under one center, and under the control of the Communist Party. As a result, all the studies were realized within the two organizations of the Composers’ Union in Moscow and Leningrad in 1932, which later merged to form the Union of Soviet Composers in 1948. In 1948, composer Tikhon Khrennikov (1913-2007) was appointed as the frst president of the Union of Soviet Composers by Andrei Zhdanov and continued this post until the collapse of the Soviet Union in 1991. Being one of the most controversial fgures in the history of Soviet music, Khrennikov became the third authority after Stalin and Zhdanov in deciding whether a composer or an artwork should be censored or supported by the state. Khrennikov’s main job was to ensure the application of socialist realism, the only accepted doctrine by the state, on the feld of music, and to eliminate all composers and works that fell out of this context. According to the doctrine of socialist realism, music should formalize the Soviet nationalist values and serve the ideals of the Communist Party. Soviet composers should write works with folk music elements which would easily be appreciated by the public, prefer classical orchestration, and avoid atonality, complex rhythmic and harmonic structures. In this period, composers, performers or works that lacked socialist realist values were regarded as formalist.
    [Show full text]
  • Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union Kathleen Regovich [email protected]
    Wellesley College Wellesley College Digital Scholarship and Archive Honors Thesis Collection 2016 To Be Totally Free: Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union Kathleen Regovich [email protected] Follow this and additional works at: https://repository.wellesley.edu/thesiscollection Recommended Citation Regovich, Kathleen, "To Be Totally Free: Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union" (2016). Honors Thesis Collection. 366. https://repository.wellesley.edu/thesiscollection/366 This Dissertation/Thesis is brought to you for free and open access by Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in Honors Thesis Collection by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. To Be Totally Free: Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union Kathleen Renee Regovich Advisor: Gurminder Kaur Bhogal, Music Submitted in Partial Fulfillment of the Prerequisite for Honors in Music 2016 © 2016 Kathleen Renee Regovich 2 Table of Contents Introduction ..................................................................................................................................... 5 Chapter 1: Gender, Music, and the Soviet Union ........................................................................... 8 Chapter 2: Galina Ustvolskaya (1919-2006) ..............................................................................
    [Show full text]
  • Opera & Ballet 2017
    12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X.
    [Show full text]
  • 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.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1989
    I nfflfn ^(fe£k i^£to^ Wfr EDITION PETERS »8@ ^^ '^^ ^p52^ RECENT ADDITIONS TO OUR CONTEMPORARY MUSIC CATALOGUE P66905 George Crumb Gnomic Variations $20.00 Piano Solo P66965 Pastoral Drone 12.50 Organ Solo P67212 Daniel Pinkham Reeds 10.00 Oboe Solo P67097 Roger Reynolds Islands From Archipelago: I. Summer Island (Score) 16.00 Oboe and Computer-generated tape* P67191 Islands from Archipelago: II. Autumn Island 15.00 Marimba Solo P67250 Mathew Rosenblum Le Jon Ra (Score) 8.50 Two Violoncelli P67236 Bruce J. Taub Extremities II (Quintet V) (Score) 12.50 Fl, CI, Vn, Vc, Pf P66785 Charles Wuorinen Fast Fantasy (Score)+ 20.00 Violoncello and Piano P67232 Bagatelle 10.00 Piano Solo + 2 Scores neededforperformance * Performance materials availablefrom our rental department C.F. PETERS CORPORATION I 373 Park Avenue South, New York, NY 10016 • (212) 686-4147 J 1989 FESTIVAL OF CONTEMPORARY MUSIC Oliver Knussen, Festival Coordinator 4. J* Sr* » sponsored by the TANGLEWOOD MUSIC CENTER Leon Fleisher, Artistic Director Gilbert Kalish, Chairman of the Faculty I Lukas Foss, Composer-in-Residence Oliver Knussen, Coordinator of Contemporary Music Activities Bradley Lubman, Assistant to Oliver Knussen Richard Ortner, Administrator James E. Whitaker, Chief Coordinator Harry Shapiro, Orchestra Manager Works presented at this year's Festival were prepared under the guidance of the following Tanglewood Music Center Faculty: Frank Epstein Joel Krosnick Lukas Foss Donald MacCourt Margo Garrett Gustav Meier Dennis Helmrich Peter Serkin Gilbert Kalish Yehudi Wyner Oliver Knussen 1989 Visiting Composer/Teachers Bernard Rands Dmitri Smirnov Elena Firsova Peter Schat Tod Machover Kaija Saariaho Ralph Shapey The Tanglewood Music Center is maintained for advanced study in music and sponsored by the Boston Symphony Orchestra.
    [Show full text]
  • Alfred Schnittke a Polystylismus Bakalářská Diplomová Práce
    Filozofická fakulta Masarykovy univerzity v Brně Ústav hudební vědy Alfred Schnittke a Polystylismus Bakalářská diplomová práce Tefkros Xydas Vedoucí práce: doc. PhDr. Lubomír Spurný, Ph.D. Brno 2011 Prohlášení Téma bakalářské diplomové práce: Alfred Schnittke a Polystylismus Prohlašuji, že jsem svou bakalářskou práci vypracoval samostatně, pouze s použitím uvedených pramenů a literatury. V Praze, 30. dubna 2011 __________________ Xydas Tefkros Obsah Předmluva ................................................................................................................................................... 4 Úvod ............................................................................................................................................................. 7 1. Celkový rámec Schnittkeho tvorby ...................................................................................................... 9 1.1. Hudba 20. století ............................................................................................................................. 9 1.2. Hudba v Rusku ............................................................................................................................. 10 1.3. Hudba Alfreda Schnittkeho ......................................................................................................... 12 1.4. Schnittkeho hudba na západě .................................................................................................... 15 2. Schnittke a polystylismus ..................................................................................................................
    [Show full text]
  • Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union
    To Be Totally Free: Galina Ustvolskaya, Sofia Gubaidulina, and the Pursuit of Spiritual Freedom in the Soviet Union Kathleen Renee Regovich Advisor: Gurminder Kaur Bhogal, Music Submitted in Partial Fulfillment of the Prerequisite for Honors in Music 2016 © 2016 Kathleen Renee Regovich 2 Table of Contents Introduction ..................................................................................................................................... 5 Chapter 1: Gender, Music, and the Soviet Union ........................................................................... 8 Chapter 2: Galina Ustvolskaya (1919-2006) ............................................................................... 36 Chapter 3: Sofia Gubaidulina (b. 1931) ........................................................................................ 66 Conclusion .................................................................................................................................... 91 Appendix ..................................................................................................................................... 100 Bibliography ............................................................................................................................... 107 Table of Figures Figure 1: Galina Ustvolskaya and Sofia Gubaidulina ..................................................................... 4 Figure 2: A graphic depiction of the structure of Stimmen… Verstummen… . ............................. 82 3 “I am no bird; and no net ensnares me;
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA UMI 800-521-0600 SYMBOLIC STRUCTURE IN THE MUSIC OF GUBAIDULINA DMA 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 Fay Damaris Neary, B.Mus. ***** The Ohio State University 1999 Document Committee: Approved by Professor Jan Radzynski, Adviser Professor Donald Harris Adviser Music School Professor Arved Ashby UMI Number: 9951703 UTVLI UMI Microform 9951703 Copyright 2000 by Bell & Howell Information and Learning Company.
    [Show full text]
  • Alexander Knaifel Amicta Sole
    ECM Alexander Knaifel Amicta Sole Mstislav Rostropovich: cello; Tatiana Melentieva soprano; Soloists of Boy Choir, Glinka Choral College State Hermitage Orchestra Arkady Shteinlukht : conductor ECM New Series 1731 CD 0289 472 0832 (7) Release: February 2005 At the beginning of the 1960s, the St Petersburg-based composer Alexander Knaifel (born in Tashkent, Uzbekistan in 1943) was part of the geographically-scattered avant-garde of the Soviet Union, and a friend and contemporary of composers Alfred Schnittke, Sofia Gubaidulina and Edison Denisov, all then active in Moscow, as well as Arvo Pärt in Tallinn, Giya Kancheli in Tiflis, and Valentin Silvestrov in Kiev. A remarkable generation of musicians, highly supportive of each other, yet each with a uniquely defined sound-world. Knaifel’s music in this early period was intensely expressive and attested to the influence both of Shostakovich and the Second Vienna School of Schoenberg, Berg and Webern. In the 1970s, Knaifel’s compositional style changed, became more inward looking, with a greater economy of musical means, and by the 1990s the emphasis was most often on works on religious themes, “occupying a territory between philosophy, psychology and the esoteric”. Knaifel now spoke of sounds as “signs of the existence of beauty” defining beauty as “energy, unrepeatable”. The first appearance of his music on ECM was as the title track of the 1998-recorded recital disc “Lux Aeterna” by cellist brothers Patrick and Thomas Demenga, and immediately attracted the attention of the press: “A work of daring simplicity,“ wrote Julian Haycock in The Strad. “Slow moving music, often stratospherically written for the two cellos..
    [Show full text]
  • Music a Nd Emigration
    print_090715_SikMAG3_ENGLISCH_k1:Layout 1 Kopie 17.07.09 12:18 Seite 1 03/09 SIKORSKI MUSIC PUBLISHERS • WWW.SIKORSKI.DE • [email protected] magazine Music a nd Emigration ”Two times two is four in every country” - Emigrant, Cosmopolitan or Victim of Persecution? Twelve Questions on the Subject of “Emigration” 1. What were the most important reasons why you left your 01homeland? 2. What effect did emigration have on your02 work in general? 3. Are there direct references to the subject of emigration03 in your music? 4. Did the music help you come to terms with04 your personal fate? 03 Music and Emigration - Feature 5. What connections to your former 04 homeland have you been Franghiz Ali-Zadeh able to maintain, 06 Lera Auerbach emotionally05 and outwardly? 08 Xiaoyong Chen 6. Is music at all capable of 10 translating political, societal Elena Firsova and personal problems 12 Sofia Gubaidulina into the 06language of music? 13 Giya Kancheli 15 Milko Kelemen 7. What means are best suited to do this? 16 Krzysztof Meyer 07 17 Slava Ulanovski 18 8. Do you feel like a kind Lin Yang of ambassador for the country 20 Benjamin Yusupov of08 your birth? 9. Of the composers who have CONTENTS IMPRESSUM Quartalsmagazin der SIKORSKI MUSIKVERLAGE remained in your homeland, with erscheint mind. 4x im Jahr - kostenfrei which ones do you maintain contact? 09 VERLAG Internationale Musikverlage Hans Sikorski Briefanschrift: 20139 Hamburg, Paketanschrift: Johnsallee 23, 20148 Hamburg, Tel: 040 / 41 41 00-0, 10. How was your emigration evalu- Telefax: 040 / 44 94 68, ated by these composers at the time www.sikorski.de, [email protected] of your emigration? Fotonachweis: Cover: peepo, Yuri Arcurs, David Franklin, Jay Spoone / istock / Sofia Gubaidulina: Archiv Sikorski / Benjamin Yusupov: Archiv Sikorski / Lera Auerbach: 10 Christian Steiner / Ali Sade: Archiv Sikorski / Gija Kantscheli: Priska Ketterer / Xiaoyong Chen: Archiv Sikorski / Jelena Firssowa: J.
    [Show full text]
  • Chapter 1: (Anti-)Symphony No
    POLYSTYLISM AND NARRATIVE POTENTIAL IN THE MUSIC OF ALFRED SCHNITTKE by JEAN-BENOÎT TREMBLAY B.Arts (éducation musicale), Université Laval, 1999 B.Mus (mention en histoire), Université Laval, 1999 M.Mus (musicologie), Université 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 February 2007 © Jean-Benoît Tremblay, 2007 ii ABSTRACT This dissertation examines the narrative potential created by polystylism in select 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, naturally 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, Moz-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.
    [Show full text]