DOCSLIB.ORG

IMPACT, INFLUENCE, and PERFORMANCE of SZYMANOWSKI's MYTHS OP. 30 by Sophie Bird Submitted to the Faculty of the Jacobs Schoo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IMPACT, INFLUENCE, and PERFORMANCE of SZYMANOWSKI's MYTHS OP. 30 by Sophie Bird Submitted to the Faculty of the Jacobs Schoo IMPACT, INFLUENCE, AND PERFORMANCE OF SZYMANOWSKI’S MYTHS OP. 30 by Sophie Bird Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2019 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee _____________________________________ Halina Goldberg, Research Director _____________________________________ Mark Kaplan, Chair _____________________________________ Alex Kerr _____________________________________ Mimi Zweig April 11, 2019 ii Copyright © 2019 Sophie Bird iii Acknowledgements I must extend my warmest thanks to my dedicated advisor Professor Halina Goldberg for her invaluable help and guidance throughout this entire process. It was in her captivating class on twentieth-century Polish music in the Spring of 2012 that I was introduced to the music of Szymanowski, and without her generous assistance, thought-provoking comments, and steadfast encouragement I would not have survived this task. To my mentor and teacher Mark Kaplan, thank you for the many years of inspiration and support. You fostered in me a love for the violin and a curiosity for music that I would not otherwise have found. Your support and understanding over the years have been greatly appreciated. Thank you for taking the time to read through drafts and for your advice regarding writing style. Finally, a most poignant and special thanks to my parents, Ken and Sue. Thank you for submitting your lives to this musical journey so many years ago. You have been a constant force that has kept me moving forward through every challenge, every performance, audition, and exam. Through the successes and failures, you have loved and supported me in every conceivable way. iv Table of Contents Acknowledgements ...................................................................................................................... iv Table of Contents ........................................................................................................................v List of Examples .......................................................................................................................... vii List of Appendices .................................................................................................................... ix Chapter 1: Introduction ................................................................................................................. 1 Chapter 2: Background ................................................................................................................5 Young Poland in Music ...............................................................................................8 Chapter 3: Stylistic Influences .................................................................................................... 12 Chapter 4: Middle-Period Aesthetics ........................................................................................18 Isolation and his “Inner World” .................................................................................. 22 Mythology .................................................................................................................25 Philosophy .................................................................................................................27 Chapter 5: The Myths ................................................................................................................30 Compositional Form and Style ..................................................................................32 “La Fontaine d’Arethuse” ......................................................................................33 “Narcisse” ................................................................................................................ 38 “Dryads et Pan” .....................................................................................................43 The Impact of Myths .................................................................................................50 Chapter 6: A Performer’s Guide ...............................................................................................53 Performance History ..............................................................................................54 v Matters of Interpretation ................................................................................................. 57 Fingering ...................................................................................................................58 Bowings ....................................................................................................................... 59 Bow Stroke ................................................................................................................60 Vibrato .......................................................................................................................61 Rhythm and Meter .....................................................................................................62 Dynamics ..................................................................................................................... 64 Approaching Specific Violin Techniques and Technical Difficulties ........................... 67 Portamenti/Glissandi ................................................................................................... 67 Harmonics ................................................................................................................... 69 Chordal passagework .................................................................................................. 71 Trills and chordal trilling ............................................................................................ 72 Rapid passagework ..................................................................................................... 72 Collaboration................................................................................................................... 73 Conclusion ....................................................................................................................75 Bibliography ................................................................................................................................ 80 vi List of Examples Example 1: Szymanowski, “La Fontaine d’Arethusa,” mm. 1-4 .............................................. 34 Example 2: Szymanowski, “La Fontaine d’Arethusa,” mm. 72–74. ......................................... 35 Example 3: Szymanowski, “La Fontaine d’Arethusa,” mm. 116–117. ..................................... 35 Example 4: Szymanowski, “La Fontaine d’Arethusa,” mm. 9–12. ........................................... 36 Example 5: Szymanowski, “Narcisse,” mm. 19–22. ................................................................. 36 Example 6: Szymanowski, “Dryads et Pan,” m. 42. ................................................................. 37 Example 7: Szymanowski, “La Fontaine d’Arethusa,” m. 109. ................................................ 37 Example 8: Szymanowski, “Narcisse,” mm. 8–9. ..................................................................... 40 Example 9: Szymanowski, “Narcisse,” mm. 23–28. ................................................................. 40 Example 10: Szymanowski, “Narcisse,” m. 11. ........................................................................ 41 Example 11: Szymanowski, “Narcisse,” mm. 83–87. ............................................................... 42 Example 12: Szymanowski, “Dryads et Pan,” mm. 1–4. .......................................................... 43 Example 13: Szymanowski, “Dryads et Pan,” mm. 9–15. ........................................................ 44 Example 14: Szymanowski, “Dryads et Pan,” mm. 52–58. ...................................................... 45 Example 15: Szymanowski, “Dryads et Pan,” mm. 57–61. ...................................................... 46 Example 16: Szymanowski, “Dryads et Pan,” mm. 73–74 ....................................................... 46 Example 17: Szymanowski, “Dryads et Pan,” mm. 84–89. ...................................................... 47 Example 18: Szymanowski, “Dryads et Pan,” mm. 21–23 ....................................................... 49 Example 19: Szymanowski, “Dryads et Pan,” mm. 17–21 ....................................................... 64 Example 20: Szymanowski, “Dryads et Pan,” mm. 73–74 ....................................................... 64 Example 21: Szymanowski, “Dryads et Pan,” mm. 85–89 ....................................................... 64 Example 22: Szymanowski, “La Fontaine d’Arethusa,” mm. 1–23 .......................................... 65 vii Example 23: Szymanowski, “La Fontaine d’Arethusa,” mm. 15–17 ........................................ 66 Example 24: Szymanowski, “Narcisse,” mm. 49–54 ................................................................ 67 viii List of Appendices Appendix 1: Szymanowski, “La Fontaine d’Arethusa” ............................................................ 77 Appendix 2: Szymanowski, “Narcisse”. ................................................................................... 78 Appendix 3: Szymanowski, “Dryads et Pan”. ............................................................................. 79 ix CHAPTER 1: INTRODUCTION Karol Szymanowski
Load more

Recommended publications
  • RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES Composers
    RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KHAIRULLO ABDULAYEV (b. 1930, TAJIKISTAN) Born in Kulyab, Tajikistan. He studied composition at the Moscow Conservatory under Anatol Alexandrov. He has composed orchestral, choral, vocal and instrumental works. Sinfonietta in E minor (1964) Veronica Dudarova/Moscow State Symphony Orchestra ( + Poem to Lenin and Khamdamov: Day on a Collective Farm) MELODIYA S10-16331-2 (LP) (1981) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where he studied under Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. His other Symphonies are Nos. 1 (1962), 3 in B flat minor (1967) and 4 (1969). Symphony No. 2 in E minor (1964) Valentin Katayev/Byelorussian State Symphony Orchestra ( + Vagner: Suite for Symphony Orchestra) MELODIYA D 024909-10 (LP) (1969) VASIF ADIGEZALOV (1935-2006, AZERBAIJAN) Born in Baku, Azerbaijan. He studied under Kara Karayev at the Azerbaijan Conservatory and then joined the staff of that school. His compositional catalgue covers the entire range of genres from opera to film music and works for folk instruments. Among his orchestral works are 4 Symphonies of which the unrecorded ones are Nos. 1 (1958) and 4 "Segah" (1998). Symphony No. 2 (1968) Boris Khaikin/Moscow Radio Symphony Orchestra (rec. 1968) ( + Piano Concertos Nos. 2 and 3, Poem Exaltation for 2 Pianos and Orchestra, Africa Amidst MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Symphonies A-G Struggles, Garabagh Shikastasi Oratorio and Land of Fire Oratorio) AZERBAIJAN INTERNATIONAL (3 CDs) (2007) Symphony No.
    [Show full text]
  • Dissertation Summary of Three Recitals, with Works Derived from Folk Influences, Living American Composers and Works Containing a Theme and Variations
    Dissertation Summary of Three Recitals, with Works Derived from Folk Influences, Living American Composers and Works Containing a Theme and Variations. by Heewon Uhm A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2019 Doctoral Committee: Professor David Halen, Chair Professor Anthony D. Elliott Professor Freda A. Herseth Professor Andrew W. Jennings Assisant Professor Youngju Ryu Heewon Uhm [email protected] ORCID iD: 0000-0001-8334-7912 © Heewon Uhm 2019 DEDICATION To God For His endless love To my dearest teacher, David Halen For inviting me to the beautiful music world with full of inspiration To my parents and sister, Chang-Sub Uhm, Sunghee Chun, and Jungwon Uhm For trusting my musical journey ii TABLE OF CONTENTS DEDICATION ii LIST OF EXAMPLES iv ABSTRACT v RECITAL 1 1 Recital 1 Program 1 Recital 1 Program Notes 2 RECITAL 2 9 Recital 2 Program 9 Recital 2 Program Notes 10 RECITAL 3 18 Recital 3 Program 18 Recital 3 Program Notes 19 BIBLIOGRAPHY 25 iii LIST OF EXAMPLES EXAMPLE Ex-1 Semachi Rhythm 15 Ex-2 Gutgeori Rhythm 15 Ex-3 Honzanori-1, the transformed version of Semachi and Gutgeori rhythm 15 iv ABSTRACT In lieu of a written dissertation, three violin recitals were presented. Recital 1: Theme and Variations Monday, November 5, 2018, 8:00 PM, Stamps Auditorium, Walgreen Drama Center, University of Michigan. Assisted by Joonghun Cho, piano; Hsiu-Jung Hou, piano; Narae Joo, piano. Program: Olivier Messiaen, Thème et Variations; Johann Sebastian Bach, Ciaconna from Partita No.
    [Show full text]
  • Nikolai Tcherepnin UNDER the CANOPY of MY LIFE Artistic, Creative, Musical Pedagogy, Public and Private
    Nikolai Tcherepnin UNDER THE CANOPY OF MY LIFE Artistic, creative, musical pedagogy, public and private Translated by John Ranck But1 you are getting old, pick Flowers, growing on the graves And with them renew your heart. Nekrasov2 And ethereally brightening-within-me Beloved shadows arose in the Argentine mist Balmont3 The Tcherepnins are from the vicinity of Izborsk, an ancient Russian town in the Pskov province. If I remember correctly, my aged aunts lived on an estate there which had been passed down to them by their fathers and grandfathers. Our lineage is not of the old aristocracy, and judging by excerpts from the book of Records of the Nobility of the Pskov province, the first mention of the family appears only in the early 19th century. I was born on May 3, 1873 in St. Petersburg. My father, a doctor, was lively and very gifted. His large practice drew from all social strata and included literary luminaries with whom he collaborated as medical consultant for the gazette, “The Voice” that was published by Kraevsky.4 Some of the leading writers and poets of the day were among its editors. It was my father’s sorrowful duty to serve as Dostoevsky’s doctor during the writer’s last illness. Social activities also played a large role in my father’s life. He was an active participant in various medical societies and frequently served as chairman. He also counted among his patients several leading musical and theatrical figures. My father was introduced to the “Mussorgsky cult” at the hospitable “Tuesdays” that were hosted by his colleague, Dr.
    [Show full text]
  • 1 'A Contrapuntal-Harmonic-Orchestral Monster'? Karol
    1 ‘A Contrapuntal-Harmonic-Orchestral Monster’? Karol Szymanowski’s First Symphony in the Context of Polish and German Symphonic Tradition Stefan Keym Institute of Musicology, University of Leipzig [...] itwillbeasortofcontrapuntal-harmonic-orchestralmonster,andIamalready looking forward to seeing the Berlin critics leaving the concert hall with a curse on their livid lips when this symphony will be played at our concert.1 This statement by Karol Szymanowski, made in July 1906 in a letter to Hanna Klechniowska, has often been taken to prove the opinion that his Symphony No. 1 op. 15 (composed in 1906/07)2 is an ‘insincere’ work written mainly to demonstrate the technical mastery of the young composer and not to express his personal feelings and values.3 In fact, Szymanowski’s op. 15 was fateful: After its one and only performance by Grzegorz Fitelberg and the Filharmonia Warszawska on 26th March 1909,4 it disappeared comple- tely from the concert programmes. In contrast to Szymanowski’s Concert Overture op. 12 (1904–05) and to his Symphony No. 2 op. 19 (1909–10), the score of his First Symphony was never revised by the composer5 and remains unpublished up to now.6 On the other hand, commentaries by artists on their own works should not be taken too literally. In his statements on some other, more successful compositions, young Szymanowski also mentioned mainly technical aspects: for example, he called the final fugue of his Second Symphony a ‘terrible ma- chine’ with a ‘devilishly complicated’ thematic structure.7 He also provided the musicologists Henryk Opieński and Zdzisław Jachimecki with detailed de- scriptions of the formal structure of his Second Symphony and of his Second 5 6 Stefan Keym Piano Sonata op.
    [Show full text]
  • 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.
    [Show full text]
  • Szkoła Artystyczna
    Szkoła Artystyczna SERIA WYDAWNICZA CENTRUM EDUKACJI ARTYSTYCZNEJ 4(12)/2020 WARSZAWA, GRUDZIEŃ 2020 ZESPÓŁ PROGRAMOWY I REDAKCYJNY Iwona Skowron — wicedyrektor CEA, przewodniczący Zespołów dr Beata Lewińska — redaktor naczelna serii wydawniczej Mirosława Jankowska dr Anna Antonina Nogaj Joanna Sibilska prof. dr hab. Katarzyna Sokołowska KONSULTACJA NAUKOWA NUMERU dr Wojciech Jankowski prof. dr hab. Zofia Konaszkiewicz ZESPÓŁ WYDAWNICZY Danuta Czudek-Puchalska — projekt i opracowanie graficzne, skład i łamanie, projekt okładki Anna Jarecka-Bala — sekretarz serii wydawniczej Sylwia Kozak-Śmiech — korekta i adiustacja Na okładce: Polski Balet Narodowy — Śnieżynki w balecie Dziadek do orzechów i król myszy Piotra Czaj kowskiego. Choreografia — Toer van Schayk i Wayne Eagling. Fot. Ewa Krasucka, Teatr Wielki — Opera Narodowa © Centrum Edukacji Artystycznej, Warszawa 2020 ul. Mikołaja Kopernika 36/40, 00-924 Warszawa DZIAŁ DOSKONALENIA, DOKSZTAŁCANIA I WYDAWNICTW e-mail: [email protected] lub [email protected] http://www.cea.art.pl ISBN 978-83-62156-37-5 (wersja drukowana) ISBN 978-83-62156-38-2 (wersja elektroniczna on-line) Druk i oprawa: MULTIPRINT, Joanna Danieluk ul. Zgierska 12, 04-092 Warszawa Spis treści SZKOŁA ARTYSTYCZNASZKOŁA 4(12)/2020 CEA — SERIA WYDAWNICZA SPIS TREŚCI Zdzisław Bujanowski — Dyrektor Centrum Edukacji Artystycznej Słowo wstępne . 5 Od redakcji . 7 Zofia Konaszkiewicz Nauczanie w szkole artystycznej — z optymizmem w tle . 11 Kształcenie w szkole artystycznej . 35 Małgorzata Marczyk Twórczość fortepianowa Apolinarego Szeluty w repertuarze młodego pianisty. 5 Prelu - diów op. 6 — studium interpretacji . 37 Daria Onderka-Woźniak Folklor we współczesnej szkole muzycznej . 51 Joanna Derenda-Łukasik Obecność i znaczenie sztuki w życiu młodego instrumentalisty — bydgoska szkoła muzyczna w kulturze pandemii .
    [Show full text]
  • 557981 Bk Szymanowski EU
    570723 bk Szymanowski EU:570723 bk Szymanowski EU 12/15/08 5:13 PM Page 16 Karol Also available: SZYMANOWSKI Harnasie (Ballet-Pantomime) Mandragora • Prince Potemkin, Incidental Music to Act V Ochman • Pinderak • Marciniec Warsaw Philharmonic Orchestra and Choir • Antoni Wit 8.557981 8.570721 8.570723 16 570723 bk Szymanowski EU:570723 bk Szymanowski EU 12/15/08 5:13 PM Page 2 Karol SZYMANOWSKI Also available: (1882-1937) Harnasie, Op. 55 35:47 Text: Karol Szymanowski (1882-1937) and Jerzy Mieczysław Rytard (1899-1970) Obraz I: Na hali (Tableau I: In the mountain pasture) 1 No. 1: Redyk (Driving the sheep) 5:09 2 No. 2: Scena mimiczna (zaloty) (Mimed Scene (Courtship)) 2:15 3 No. 3: Marsz zbójnicki (The Tatra Robbers’ March)* 1:43 4 No. 4: Scena mimiczna (Harna i Dziewczyna) (Mimed Scene (The Harna and the Girl))† 3:43 5 No. 5: Taniec zbójnicki – Finał (The Tatra Robbers’ Dance – Finale)† 4:42 Obraz II: W karczmie (Tableau II: In the inn) 6 No. 6a: Wesele (The Wedding) 2:36 7 No. 6b: Cepiny (Entry of the Bride) 1:56 8 No. 6c: Pie siuhajów (Drinking Song) 1:19 9 No. 7: Taniec góralski (The Tatra Highlanders’ Dance)* 4:20 0 No. 8: Napad harnasiów – Taniec (Raid of the Harnasie – Dance) 5:25 ! No. 9: Epilog (Epilogue)*† 2:39 Mandragora, Op. 43 27:04 8.557748 Text: Ryszard Bolesławski (1889-1937) and Leon Schiller (1887-1954) @ Scene 1**†† 10:38 # Scene 2†† 6:16 $ Scene 3** 10:10 % Knia Patiomkin (Prince Potemkin), Incidental Music to Act V, Op.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1969
    TANGLEWOQ ik O^r '^0k^s^\^^ , { >^ V BOSTON SYMPHONY ORCHESTRA 7 :ICH LEINSDORF Music Director v- '^vy^. 'vt 4j>*l li'?^ BERKSHIRE FESTimL Sometimes when a man has worked very hard and succeeded, he enjoys ordering things just because they're expensive. -''«4^. ^*fc.-' ri** ^itim YEARS OLD Johnnie Walker Black Label Scotch 12 YEAR OLD BLENDED SCOTCttJ^KY, 86.8 PROOF. IMPORTED BY SOMERSET IMMI^HtD., N.Y,, N.Y. vsPTm' CL'iPCLViay/^le i^ ^c^o<ym wia//idi ^yymxz'TtceA Btethoven Iwko^Swu SYMPHONY N0.4/LEONORE OVERTURE No. 2 IHI BOSTON SYMPHONY/ERICH LEINSDORF ^?^. PROKOFIEFF ^^I^M S^MPW Ifl. 7 ^^F^n Mn«( from ^^^^^^Hr ^^^^H ^^gpHH CORIOllN ROMEO AND ^k^^v -^^H \mi mnwi JULIET ^^k, <vT 4^R|| ^^^. ^^sifi ^RL'S^ BOSTON ^^T ^'%- flRK HiiHr n [[i^DORF, SYMPHONY ^^Lr- ..v^i^^^ ^^^^^^^^^B ^E^Hb # ERICH ^^B JH^^E^ LEINSDORF ^^PHj^^H|^ Conduclor 9SH|^V^^^^^K^^^^Bs . ^k }iiiMomi T^lH^B ^ Bfc/---^— LM/LSC-2969 LM/LSC-2994 LM/LSC-3006 Haydn BRHHins: svmPHonv no. 4 , ^ Symphony No. 93 ^m BOSTon svmPHonv orchestrii Symphony No. 96 ("Miracle") ERICH lEinSDORF ^t Boston Symphony Erich Leinsdorf, Conductor &L '^mlocmt(J§rc^f.i/m LSC-3030 LM/LSC-3010 Invite Erich Leinsdorf and the Boston Symphony Orchestra to your home ... transform a memory to a permanent possession! ncii RTA Distributors, Inc. (Exclusive Wholesale Distributor) • RTA Building • Albany, New York 12204 The gentle taste of Fundadoi^ PP^^^ ^ ^^^ ^^Y ^^ li^^ ^^ ^^^ ^^^^ISlA J'^^^^^T drinker. You raise the snifter to your lips. You have barely lived, yet life— :^"» you feel—has already passed you by.
    [Show full text]
  • Musikgeschichte in Mittel- Und Osteuropa
    Musikgeschichte in Mittel- und Osteuropa Musikgeschichte in Mittel- und Osteuropa Mitteilungen der internationalen Arbeitsgemeinschaft an der Universit¨at Leipzig Heft 10 in Zusammenarbeit mit den Mitgliedern der internationalen Arbeitsgemeinschaft fur¨ die Musikgeschichte in Mittel- und Osteuropa an der Universit¨at Leipzig herausgegeben von Helmut Loos und Eberhard M¨oller Redaktion Hildegard Mannheims Gudrun Schr¨oder Verlag Leipzig 2005 Gedruckt mit Unterstutzung¨ des Beauftragten der Bundesregierung fur¨ Angelegenheiten der Kultur und der Medien c 2005 by Gudrun Schr¨oder Verlag, Leipzig Redaktion und Satz: Hildegard Mannheims Kooperation: Rhytmos Verlag, PL 61-606 Pozna´n,Grochmalickiego 35/1 Alle Rechte, Nachdruck, auch auszugsweise, nur mit ausdrucklicher¨ Genehmigung des Verlags. Printed in Poland ISBN 3-926196-45-9 Inhaltsverzeichnis Vorwort . IX Briefkorrespondenzen Vladimir Gurewitsch Der Briefwechsel von Jacob von St¨ahlin . 1 Urve Lippus Elmar Arro's letters to Karl Leichter . 12 Vita Lindenberg J^azeps V^ıtols (Wihtol) Briefe aus Riga, Lub¨ eck und Danzig an Irena, Narvaite (1940{1947) . 22 Jur¯ ate_ Burokaite_ Briefe von Mikalojus Konstantinas Ciurlionisˇ und ande- ren Musikern aus Leipzig nach Litauen (1901{1924) . 27 Ma lgorzata Janicka-S lysz The Letters of Grazyna_ Bacewicz and Vytautas Bace- viˇcius . 32 Ma lgorzata Perkowska-Waszek The letters of Ignacy Jan Paderewski as a source of knowledge concerning cultural relationships in Europe . 43 Karol Bula Gregor Fitelbergs Korrespondenz aus den Jahren 1945 bis 1953 . 57 Jelena Sinkewitsch Das Leipziger Konservatorium in den Briefen von My- kola Witalijowytsch Lyssenko (1867{1869) . 63 Luba Kyyanovska Die Briefe von Vasyl Barvins'kyj aus Prag als Spiegel des Musiklebens vor dem Ersten Weltkrieg (1905{1914) 72 Marianna Kopitsa Die neuen quellenkundlichen Studien in der Ukraine im Spiegel des epistolaren Erbes von Reinhold Glier und Boris Lyatoschinski .
    [Show full text]
  • Karol Szymanowski and Richard Strauss: of Diverging Epiphanies Paul Cadrin
    Document generated on 09/28/2021 9:17 a.m. Canadian University Music Review Revue de musique des universités canadiennes Karol Szymanowski and Richard Strauss: Of Diverging Epiphanies Paul Cadrin Volume 24, Number 2, 2004 Article abstract According to the philosopher Charles Taylor, since the beginning of the URI: https://id.erudit.org/iderudit/1014581ar nineteenth century, with the advent of Romanticism, the work of art is defined DOI: https://doi.org/10.7202/1014581ar by its epiphanic character. It is a manifestation of something of the highest moral or spiritual significance; this manifestation is not merely subjective, in See table of contents which case it would be inaccessible to scholarly inquiry, but it has an objective character. The Third Symphony, op. 27, by Karol Szymanowski is analyzed in the light of Taylor's concept. The Deutsche Motette, op. 62, by Richard Strauss, Publisher(s) which is based on a text similar to the one used by Szymanowski, serves as a foil to buttress the findings. Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Cadrin, P. (2004). Karol Szymanowski and Richard Strauss: Of Diverging Epiphanies. Canadian University Music Review / Revue de musique des universités canadiennes, 24(2), 29–43. https://doi.org/10.7202/1014581ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2005 (including reproduction) is subject to its terms and conditions, which can be viewed online.
    [Show full text]
  • AMS Newsletter February 2008
    A M S EWSLETTERN T H E A MERICAN M USICOLOGICAL S OCIETY CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES VOLUME XXXVIII, NUMBER 1 February, ISSN 0402-012X AMS/SMT Nashville NEH / OPUS COUNTDOWN 2008: Musicology in End-of-year figures for the OPUS campaign The Box Score Music City USA suggest that we are within about $, of having met the challenge of the National Date Donors k k www.ams-net.org/nashville Endowment for the Humanities: that is, / / ,, we have raised nearly percent of the tar- // ,, , The American Musicological Society and So- get $,. Loud, frequent, and heartfelt / / ,, , ciety for Music Theory will hold their thanks to all who have stepped forward with national meeting in Nashville, Tennessee, their gifts. Certified eligible for NEH: , “Music City USA.” Home to honky-tonks, to This strong response to appeals made at the Still needed for full certification: the historic Ryman Auditorium, to the Coun- annual meeting and in individual solicitations $330,000 try Music Hall of Fame, and to the newly in November and December suggests fered a spectrum of diversions that included opened Schermerhorn Symphony Center, one central task of the OPUS project may lute songs, Lieder, ragtime, a visit from Leoš Nashville regularly serves as a tourist haven soon be done—allowing the campaign com- mittee to focus on the big windup in . Janáček, and a never-to-be-forgotten commu- for the acoustically interested. Visitors might nity rendition of “All My Ex’s Live in Texas.” want to two-step at the Wildhorse Saloon, That such news coincides with inaugural awards from the M.
    [Show full text]
  • MTO 17.4: Hook, Impossible Rhythms
    Volume 17, Number 4, December 2011 Copyright © 2011 Society for Music Theory How to Perform Impossible Rhythms Julian Hook NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.4/mto.11.17.4.hook.php KEYWORDS: rhythm, meter, metric conflict, triplets, piano, 19th century, Brahms, Scriabin ABSTRACT: This paper investigates a fairly common but seldom-studied rhythmic notation in the nineteenth-century piano literature, in which duplets in one voice occur against triplets in another, and the second duplet shares its notehead with the third triplet—a logical impossibility, as the former note should theoretically fall halfway through the beat, the latter two-thirds of the way. Examples are given from the works of several composers, especially Brahms, who employed such notations throughout his career. Several alternative realizations are discussed and demonstrated in audio examples; the most appropriate performance strategy is seen to vary from one example to another. Impossibilities of type 1⁄2 = 2⁄3, as described above, are the most common, but many other types occur. Connections between such rhythmic impossibilities and the controversy surrounding assimilation of dotted rhythms and triplets are considered; the two phenomena are related, but typically arise in different repertoires. A few other types of impossible notations are shown, concluding with an example from Scriabin’s Prelude in C Major, op. 11, no. 1, in which triplets and quintuplets occur in complex superposition. The notation implies several features of alignment that cannot all be realized at once; recorded examples illustrate that a variety of realizations are viable in performance.
    [Show full text]