BOHUSLAVMARTINU the International Martinů Circle
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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. -
21St Century Consort Composer Performance List
21st Century Consort Composer List 1975 - 2016 Archive of performance recordings Hans Abrahamsen Winternacht (1976-78) 1986-12-06 (15:27) flute, clarinet, trumpet, French horn, piano, violin, cello, conductor John Adams Road Movies 2012-05-05 (15:59) violin, piano Hallelujah Junction 2016-02-06 (17:25) piano, piano Shaker Loops (1978) 2000-04-15 (26:34) violin, violin, violin, viola, cello, cello, contrabass, conductor Bruce Adolphe Machaut is My Beginning (1989) 1996-03-16 (5:01) violin, cello, flute, clarinet, piano Miguel Del Agui Clocks 2011-11-05 (20:46) violin, piano, viola, violin, cello Stephen Albert To Wake the Dead (1978) 1993-02-13 (27:24) soprano, violin, conductor Tribute (1988) 1995-04-08 (10:27) violin, piano Treestone (1984) 1991-11-02 (38:15) soprano, tenor, violin, violin, viola, cello, bass, trumpet, clarinet, French horn, flute, percussion, piano, conductor Songs from the Stone Harp (1988) 1989-03-18 (11:56) tenor, harp, cello, percussion Treestone (1978) 1984-03-17 (30:22) soprano, tenor, flute, clarinet, trumpet, horn, harp, violin, violin, viola, cello, bass, piano, percussion, conductor Into Eclipse (1981) 1985-11-02 (31:46) tenor, violin, violin, viola, cello, contrabass, flute, clarinet, piano, percussion, trumpet, horn, conductor Distant Hills Coming Nigh: "Flower of the Mountain" 2016-04-30 (16:44) double bass, clarinet, piano, viola, conductor, French horn, violin, soprano, flute, violin, oboe, bassoon, cello Tribute (1988) 2002-01-26 (9:55) violin, piano Into Eclipse [New Version for Cello Solo Prepared -
Czech Music Quarterly
czech music quarterly Ivana Loudová Old & Contemporary Jazz Tomáš Pálka 1 | 2 0 1 0 MEZINÁRODNÍ FESTIVAL KOMORNÍ HUDBY EUROART PRAHA 2009/2010 www.euroart.cz EuroArt Prague Festival is an independent, not-for-profi t festival dedicated to promoting the performance and appreciation of chamber music in Prague and neighbouring communities in the Czech Republic. Monthly, from September to June, the guests of Festival EuroArt Praha are invited to perform in the famous Prague Martinů Hall at the Liechtenstein Palace in Malá Strana. All concerts are organised under the auspices of the wife of the President of the Czech Republic, Mrs. Livia Klausová. Co- partners is the City of Prague as well as Cultural Institutes and Embassies of participating countries. Almost all concerts are repeated also in regional towns of Czech Republic. 13. 4. 2010 Praha, Martinů Hall, Liechtenstein Palace at 7. 30 p.m. Václav Vonášek – bassoon, Prague Bassoon Band - Václav Vonášek, Martin Petrák, Radek Dostál, Tomáš Františ, j.h. W. A. Mozart: Divertimento in B fl at Major J. S. Bach: Partita in d minor BWV 1014 (arr. for bassoon solo W. Waterhouse) J. S. Bach: Chorals overtures K. Stockhausen: In Freundschaft K. Hába: Quartet for 4 Bassoons op.74 A. Piazolla: Tango 18. 5. 2010 Praha, Martinů Hall, Liechtenstein Palace at 7. 30 p.m. Danish String Quartet Rune Tonsgaard Sørensen, Frederik Øland – Violin, Asbjørn Nørgaard – Viola, Fredrik Sjølin – Cello F. Schubert: Quartet movement in c minor, op. posth. J. Haydn: String Quartet in d minor No. 2, op. 76 C. Nielsen: String Quartet in g minor, No. -
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. -
Booklet Marti (Page 1)
STR 33886 BOHUSLAV MARTINŮ PROMENADE T RIO A LBATROS PMS PMS 000 000 4 BOHUSLAV MARTINŮ (1890-1959) PROMENADE Madrigal Sonata per flauto*, violino e pianoforte (H.291) 1. Poco Allegro 4’14” 2. Moderato 7’09” Associated Music Publishers Sonata n.1 per violino e pianoforte (H.182) 3. Allegro 7’22” 4. Andante 8’18” 5. Allegretto 5’12” Alphonse Leduc Promenades per flauto**, violino e clavicembalo (H.274) 6. Allegro 1’53” 7. Adagio 2’15” 8. Scherzando 1’59” 9. Poco Allegro 2’21” Bärenreiter Sonata per flauto** e pianoforte (H.306) 10. Allegro moderato 7’20” 11. Adagio 7’11” 12. Allegro poco moderato 5’49” Associated Music Publishers Sonata per flauto*, violino e pianoforte (H.254) 13. Allegro poco moderato 4’09” 14. Adagio 4’18” 15. Allegretto 4’15” 16. Moderato (Poco Allegro) 5’02” Bärenreiter Promenades for flute, violin and harpsichord, manuscript of Bohuslav Martinů, first page © The Bohuslav Martinů Institute, Prague 2 19 PMS PMS 000 000 1 Gianluca Capuano through the experimental postgraduate Nato a Milano nel 1968, si è diplomato in Course in Choir conduction and courses at T RIO A LBATROS Organo, Composizione e Direzione the Milan Scuola Civica, where he took a Stefano Parrino d’ orchestra presso il Conservatorio della special interest in problems connected with flauto sua città . Ha approfondito gli aspetti relativi notation, in studies of sources and in the Francesco Parrino violino all’ esecuzione della musica antica presso il execution of early music. He has many Alessandro Marangoni Corso Superiore sperimentale di Direzione di commitments as conductor, organist and pianoforte Coro e i corsi della Scuola Civica di Milano, continuist all over Europe and in the USA, dove ha affrontato i problemi inerenti la Russia and Japan. -
BOHUSLAV MARTINŮ JAROSLAV MIHULE / 2008 František Martinů, Colored Drawing from a Scrapbook
A POCKET GUIDE TO THE LIFE AND WORK OF BOHUSLAV MARTINŮ JAROSLAV MIHULE / 2008 František Martinů, colored drawing from a scrapbook 1 FROM POLIČKA TO PRAGUE 1890 — 1922 2 On The Polička Tower 1.1 Bohuslav came into the world in a tiny room on the gallery of the church tower where his father, Ferdinand Martinů, apart from being a shoemaker, also carried out a unique job as the tower- keeper, bell-ringer and watchman. Polička - St. James´ Church and the Bastion “On December 8th, the crow brought us a male, a boy, and on Dec. 14th 1.2 A Loving Family he was baptized as It was the mother who energetically took charge of the whole family. She was Bohuslav Jan.” the paragon of order and discipline: strict, pious – a Roman Catholic, naturally, as (The composer’s father were most inhabitants of this hilly region. made this entry in the Of course, she loved all of her children. With Ferdinand Martinů she had fi ve; and family chronicle.) the youngest and probably the most coddled was Bohuslav, born to the accom- paniment of the festive ringing of all the bells, as the town celebrated on that day the holiday of the Immaculate Conception of the Virgin Mary. To be born high above the ground, almost within the reach of the sky, seemed in itself to promise an exceptional life ahead. Also his brother František and his sister Marie had their own special talents. František graduated from art school and made use of his artistic skills above all 3 as a restorer and conservator of church art objects in his homeland as well as abroad. -
BMN 2002/2.Indd
Bohuslav Martinů May – August 2002 Always Slightly off Center An Interview with Christopher Hogwood When the Fairies Learned to Walk Feuilleton on The Three Wishes in Augsburg Second The Wonderful Flights issue It Was a Dream for Me to Have a Piece by Martinů Jiří Tancibudek and Concerto for Oboe and Small Orchestra 25 Years of the Martinů Quartet Bats in the Belfry The Film Victims and Murderers Martinů News and Events The International Bohuslav Martinů Society The Bohuslav Martinů Institute CONTENTS WELCOME Karel Van Eycken ....................................... 3 BOHUSLAV MARTINŮ SOCIETIES AROUND THE WORLD .................................. 3 ALWAYS SLIGHTLY OFF CENTER Christopher Hogwood interviewed by Aleš Březina ..................................... 4 - 6 REVIEW Sandra Bergmannová ................................. 7 WHEN THE FAIRIES LEARNED TO WALK Feuilleton on The Three Wishes in Augsburg Jörn Peter Hiekel .......................................8 BATS IN THE BELFRY The Film Victims and Murderers Patrick Lambert ........................................ 9 MARTINŮ EVENTS 2002 ........................10 - 11 THE WONDERFUL FLIGHTS Gregory Terian .........................................12 THE CZECH RHAPSODY IN A NEW GARB Adam Klemens .........................................13 25 YEARS OF THE MARTINŮ QUARTET Eva Vítová, Jana Honzíková ........................14 “MARTINŮ WAS A GREAT MUSICIAN, UNFORGETTABLE…” Announcement about Margrit Weber ............15 IT WAS A DREAM FOR ME TO HAVE A PIECE BY MARTINŮ Jiří Tancibudek and Concerto -
Downloaded From
BÄRENREITER URTEXT offering the best CZECHMUSIC of Czech music BÄRENREITER URTEXT is a seal of quality assigned only to scholarly-critical editions. It guarantees that the musical text represents the current state of research, prepared in accordance with clearly defined editorial guidelines. Bärenreiter Urtext: the last word in authentic text — the musicians’ choice. Your Music Dealer SPA 314 SPA SALES CATALOGUE 2021 /2022 Bärenreiter Praha • Praha Bärenreiter Bärenreiter Praha | www.baerenreiter.cz | [email protected] | www.baerenreiter.com BÄRENREITER URTEXT Other Bärenreiter Catalogues THE MUSICIAN ' S CHOICE Bärenreiter – Bärenreiter – The Programme 2019/2020 Das Programm 2018/2019 SPA 480 (Eng) SPA 478 (Ger) Bärenreiter's bestsellers for The most comprehensive piano, organ, strings, winds, catalogue for all solo chamber ensembles, and solo instruments, chamber music voice. It also lists study and and solo voice. Vocal scores orchestral scores, facsimiles and study scores are also and reprints, as well as books included. on music. Bärenreiter – Bärenreiter – Bärenreiter Music for Piano 2019/2020 Music for Organ Music for Organ 2014/2015 SPA 233 (Eng) 2014/2015 SPA 238 (Eng) Bärenreiter's complete Urtext Bärenreiter's Urtext programme for piano as well programme for organ as well as all educational titles and as collections and series. collections for solo and piano You will also find jazz works, four hands. Chamber music transcriptions, works for with piano is also listed. Your Music Dealer: organ and voice, as well as a selection of contemporary music. Bärenreiter-Verlag · 34111 Kassel · Germany · www.baerenreiter.com · SPA 238 MARTINŮ B Ä R E N R E I T E R U R T E X T Bärenreiter – Bärenreiter – Music for Strings 2018/2019 Choral Music 2018/2019 Nonet č. -
TOC 0249 CD Booklet.Indd
BOHUSLAV MARTINŮ: EARLY ORCHESTRAL WORKS, VOLUME TWO by Michael Crump In 1906 a promising young Czech violinist called Bohuslav Martinů lef his home town of Polička and began life as a student at the Conservatoire in Prague. His studies were made possible largely afer an appeal in his local newspaper raised the necessary funds. Doubtless he had every intention of rewarding the trust thus placed in him by graduating with full honours, but the cultural life of the Czech capital proved to be irresistibly distracting. Te performances at the National Teatre, in particular, drew him like a magnet night afer night, usually in the company of his friend and fellow-student Stanislav Novák. His devotion to the theatre unfortunately led to the neglect of his violin studies and his eventual expulsion from the Conservatoire in 1910, but by this time he was already well aware that his future lay in composition, not performance. He stayed on in Prague, supported by modest fnancial support from his parents, and his love-afair with the National Teatre continued unabated. Novák later wrote a short reminiscence of his friend, giving details of his musical sympathies at this time of his life: He was free, nobody bothered him with counterpoint, he could attend rehearsals of the Philharmonic and read all day, he could compose whatever and however he liked and in the evening he would have to get himself to the theatre at any price. At this time he would never miss a single performance of Smetana’s operas, nor of Rusalka or Te Jacobin. -
21St Century Consort Composer Performance List
21st Century Consort Composer List 1975 - 2019 Archive of performance recordings Hans Abrahamsen Winternacht (1976-78) 1986-12-06 (15:27) flute, clarinet, trumpet, French horn, piano, violin, cello, conductor John Adams Hallelujah Junction 2016-02-06 (17:25) piano, piano Road Movies 2012-05-05 (15:59) violin, piano Shaker Loops (1978) 2000-04-15 (26:34) violin, violin, violin, viola, cello, cello, contrabass, conductor Bruce Adolphe Machaut is My Beginning (1989) 1996-03-16 (5:01) violin, cello, flute, clarinet, piano Miguel Del Agui Clocks 2011-11-05 (20:46) violin, piano, viola, violin, cello Stephen Albert Treestone (1984) 1991-11-02 (38:15) soprano, tenor, violin, violin, viola, cello, bass, trumpet, clarinet, French horn, flute, percussion, piano, conductor Distant Hills Coming Nigh (1989-90) 1991-05-11 (31:28) tenor, soprano, violin, cello, bassoon, clarinet, viola, piano, French horn, double bass, flute, conductor Tribute (1988) 2002-01-26 (9:55) violin, piano Into Eclipse [New Version for Cello Solo Prepared by Jonathan Leshnoff] (2002) 2002-01-26 (31:53) violin, violin, viola, cello, cello, contrabass, flute, clarinet, trumpet, percussion, percussion, piano, conductor To Wake the Dead (1978) 1993-02-13 (27:24) soprano, violin, conductor Treestone (1978) 1984-03-17 (30:22) soprano, tenor, flute, clarinet, trumpet, horn, harp, violin, violin, viola, cello, bass, piano, percussion, conductor To Wake the Dead (1978) (Six Sentimental Songs and an Interlude After Finnegans Wake) 2013-02-23 (28:24) violin, clarinet, piano, flute, conductor, -
An Overview of Bohuslav Martinů‟S Piano Style with a Guide to Analysis and Interpretation of the Fantasie Et Toccata, H
An Overview of Bohuslav Martinů‟s Piano Style with a Guide to Analysis and Interpretation of the Fantasie et Toccata, H. 281 by Jennifer Crane-Waleczek A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2011 by the Graduate Supervisory Committee: Robert Hamilton, Chair Andrew Campbell Glenn Hackbarth Kay Norton Janice Meyer Thompson ARIZONA STATE UNIVERSITY December 2011 ABSTRACT Bohuslav Martinů (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinů himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring to a work as an “organism.” This study examines Martinů‟s piano style in light of his many diverse influences and personal philosophy. The first portion of this paper discusses Martinů‟s overall style through several piano miniatures written throughout his career. It takes into consideration the composer‟s personal background, musical influences and aesthetic convictions. The second portion focuses specifically on Martinů‟s first large-scale work for piano, the Fantasie et Toccata, H. 281. Written during a time in which Martinů was black-listed by the Nazis and forced to flee Europe, this piece bears witness to the chaotic events of WWII through its complexity and intensity of character. -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 Bohuslav Martin# and His First Cello Sonata: A Performance Guide Meghan Anne Carey Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BOHUSLAV MARTINŮ AND HIS FIRST CELLO SONATA: A PERFORMANCE GUIDE By MEGHAN ANNE CAREY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Martinu, Cello Sonata no. 1 © 1949 by Heugel, Paris Meghan Anne Carey defended this treatise on March 6, 2017. The members of the supervisory committee were: Gregory Sauer Professor Directing Treatise Evan Jones University Representative Alexander Jiménez Committee Member Benjamin Sung Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to thank the following committee members for their help, support, and guidance throughout my time at Florida State University: Dr. Alexander Jiménez, Dr. Even Jones, and Dr. Benjamin Sung. I would not have been able to complete this degree without the incredible mentorship and direction from my teacher, Prof. Greg Sauer, who shaped me into the musician that I am today. Many special thanks to my wonderful collaborator and friend, Paige Li, who not only stepped in at the last minute to perform at my lecture recital, but elevated the performance to a whole new level. I could not have done this without you.