DOCSLIB.ORG

Serial Techniques in Works for Unaccompanied Trumpet William Anonie University of South Carolina

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Serial Techniques in Works for Unaccompanied Trumpet William Anonie University of South Carolina University of South Carolina Scholar Commons Theses and Dissertations 2018 Serial Techniques in Works for Unaccompanied Trumpet William Anonie University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Anonie, W.(2018). Serial Techniques in Works for Unaccompanied Trumpet. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4582 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Serial Techniques in Works for Unaccompanied Trumpet by William Anonie Bachelor of Music Arizona State University 2009 Master of Music Wichita State University 2012 Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2018 Accepted by: James Ackley, Major Professor Ronald Davis, Committee Member J. D. Shaw, Committee Member Daniel Jenkins, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School c Copyright by William Anonie, 2018 All Rights Reserved. ii Abstract Of the many compositions for unaccompanied trumpet, some of the most interest- ing are those that employ twelve-tone serialism. This study provides analyses of these works, including Robert Henderson’s Variation Movements, Charles Whittenberg’s Polyphony, Hans Werner Henze’s Sonatina, and Stanley Friedman’s Solus. Perfor- mance implications related to the twelve-tone analysis are examined for each piece. Where multiple editions of a piece exist, they are compared with each other and with the analysis to guide the performer in choosing an edition. iii Table of Contents Abstract ................................... iii List of Tables ................................ vi List of Figures ............................... vii Introduction ................................ 1 Chapter 1 12 Studies in Classical and Modern Style by Paolo Longinotti 4 1.1 Etude A . 4 1.2 Etude B . 6 Chapter 2 Variation Movements by Robert Henderson . 8 2.1 Movement One . 8 2.2 Movement Two . 11 2.3 Movement Three . 13 2.4 Movement Four . 15 2.5 Movement Five . 16 Chapter 3 Polyphony by Charles Whittenberg ............ 22 Chapter 4 Sonatina by Hans Werner Henze . 29 4.1 Movement One . 30 iv 4.2 Movement Two . 31 4.3 Movement Three . 33 Chapter 5 Solus by Stanley Friedman . 41 5.1 Movement One . 41 5.2 Movement Two . 48 5.3 Movement Three . 51 5.4 Movement Four . 56 Conclusion .................................. 59 Bibliography ................................ 61 v List of Tables Table 1.1 Matrix for Etude B .......................... 7 Table 2.1 Matrix for Variation Movements ................... 9 Table 3.1 Matrix for Polyphony ......................... 24 Table 3.2 Harmonic Plan for Polyphony ..................... 28 Table 4.1 Matrix for Sonatina .......................... 34 Table 4.2 Harmonic Plan for Sonatina ..................... 39 Table 5.1 Matrix for Solus ............................ 42 vi List of Figures Figure 1.1 Rows for Etude A ........................... 5 Figure 2.1 mm. 1-12 . 8 Figure 2.2 mm. 13-20 . 10 Figure 2.3 mm. 43-54 . 10 Figure 2.4 mm. 1-5 . 11 Figure 2.5 mm. 15-17 . 12 Figure 2.6 mm. 24-25 . 12 Figure 2.7 mm. 42-44 . 13 Figure 2.8 mm. 45-50 . 13 Figure 2.9 mm. 1-4 . 14 Figure 2.10 mm. 14-20 . 14 Figure 2.11 mm. 30-32 . 14 Figure 2.12 mm. 1-5 . 15 Figure 2.13 mm. 14-17 . 15 Figure 2.14 mm. 18-20 . 16 Figure 2.15 mm. 23-26 . 16 Figure 2.16 mm. 1-13 . 17 Figure 2.17 mm. 17-21 . 18 Figure 2.18 mm. 24-27 . 18 vii Figure 2.19 mm. 31-37 . 19 Figure 2.20 mm. 41-44 . 20 Figure 2.21 mm. 48-50 . 20 Figure 2.22 mm. 57-61 . 21 Figure 2.23 mm. 57-61 . 21 Figure 3.1 mm. 1-9 . 22 Figure 3.2 P0 . 23 Figure 3.3 mm. 26-29 . 24 Figure 3.4 mm. 30-34 . 25 Figure 3.5 mm. 65-69 . 26 Figure 3.6 mm. 98-105 . 27 Figure 4.1 Differences between editions . 30 Figure 4.2 Differences between editions . 32 Figure 4.3 Differences between editions . 33 Figure 4.4 mm. 1-4 . 34 Figure 4.5 m. 3 . 35 Figure 4.6 mm. 4-8 . 35 Figure 4.7 mm. 9-11 . 36 Figure 4.8 mm. 14-15 . 36 Figure 4.9 m. 16 . 37 Figure 4.10 m. 16 . 37 Figure 4.11 m. 16 . 38 viii Figure 4.12 m. 16 . 38 Figure 5.1 mm. 1-7 . 43 Figure 5.2 mm. 7-9 . 44 Figure 5.3 mm. 11-12 . 44 Figure 5.4 mm. 19-21 . 45 Figure 5.5 mm. 22-29 . 46 Figure 5.6 mm. 22-25 . 47 Figure 5.7 mm. 36-40 . 47 Figure 5.8 lines 1-3 . 48 Figure 5.9 lines 4-7 . 49 Figure 5.10 line 9 . 50 Figure 5.11 mm. 1-5 . 51 Figure 5.12 mm. 10-16 . 52 Figure 5.13 mm. 22-27 . 53 Figure 5.14 mm. 28-32 . 53 Figure 5.15 mm. 53-63 . 54 Figure 5.16 mm. 74-80 . 55 Figure 5.17 mm. 81-84 . 56 Figure 5.18 line 1 . 57 Figure 5.19 line 17 . 58 ix Introduction Solo works for unaccompanied trumpet are among the most challenging and rewarding in the repertoire. The challenges they present are unique to the idiom. Without other collaborating musicians, it is the soloist’s responsibility alone to provide a sense of dramatic pacing. Without underlying harmonies, the performer has only his or her own sense of phrasing to drive the piece forward. The soloist must be able to create a wide variety of tonal colors if the piece is to be interesting. The lack of rest makes these works physically as well as musically challenging. These challenges, while daunting, provide the performer with unequaled opportunities for musical and technical growth. The unaccompanied solo is often thought of as a kind of bridge between academic etudes and more valuable solo works. Indeed, composers often use the unaccompanied solo to explore extended techniques that approach the limit of the instrument’s capability. For this reason, unaccompanied solos are among the most difficult in the repertoire. But the important criterion for judging artistic merit should not be instrumentation, but musical quality. There are a great number of unaccompanied pieces that feature twelve-tone se- rialism, especially when compared to the standard repertoire. Of the twelve-tone pieces for trumpet and piano, only Sir Peter Maxwell-Davies’s Sonata could be con- sidered standard repertoire. On the other hand, some of the most celebrated works for unaccompanied trumpet employ serial techniques. These pieces include Robert Henderson’s Variation Movements, Charles Whittenberg’s Polyphony, Hans Werner Henze’s Sonatina, Stanley Friedman’s Solus, Samuel Adler’s Canto I, Karlheinz Stock- hausen’s Harmonien, and more. These pieces have all been recorded by prominent 1 soloists,such as Håkan Hardenberger, Thomas Stevens, Reinhold Friedrich, and oth- ers, and are considered equal to other standard pieces in the trumpet repertoire.1 The fact that these pieces are rarely performed by students is a product of their extreme technical demands rather than a lack of artistic merit. Besides technical difficulty, one reason that students often avoid these works is the difficulty in understanding the underlying structure. Sonatas and concertos far more familiar to most students, so they possess useful intuitions about how to approach them. Similar intuitions about serial music are much rarer. It is with the goal of making these pieces more accessible to the performer that this study is written. These techniques originate with Arnold Schoenberg and arise as what he believed was the logical extension of the increased chromaticism of composers like Mahler and Wagner. Schoenberg saw the trajectory of nineteenth-century harmony as one of increasing chromaticism, and dodecaphony was his attempt at formalizing that procedure. The logical conclusion of this trajectory, in Schoenberg’s view, is one in which all twelve pitches have equal importance. Schoenberg’s solution for insuring absolute equality was a serial procedure in which each note is used before a previous note can be repeated. The order of the twelve pitches is called a tone row, and is given the label P0 for the untransposed prime form of the row. In this study, I have used the traditional method of labeling in which the prime form of the row is P0,.
Load more

Recommended publications
  • Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected]
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 2011 Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Millikin, Jeanne, "Scholarly Program Notes of Selected Trumpet Repertoire" (2011). Research Papers. Paper 157. http://opensiuc.lib.siu.edu/gs_rp/157 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES OF SELECTED TRUMPET REPERTOIRE BY Jeanne Millikin B.M., Southern Illinois University Carbondale, 2008 Research Submitted in Partial Fulfillment for MASTER OF MUSIC Department of Music in the Graduate School Southern Illinois University Carbondale August 2011 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON SELECTED TRUMPET REPERTOIRE By Jeanne Millikin A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Music in the field of Music Performance Approved by: Dr. Robert Allison, Chair Mr. Edward Benyas Dr. Richard Kelley Graduate School Southern Illinois University Carbondale July 11, 2011 AN ABSTRACT OF THE RESEARCH PAPER OF JEANNE MILLIKIN, for the Master of Music degree in TRUMPET PERFORMANCE, presented on APRIL 7, 2011, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES FOR SELECTED TRUMPET REPERTOIRE MAJOR PROFESSOR: Dr. Robert Allison The purpose of this research paper is to provide insight and research to five selected compositions in which the trumpet plays a soloistic or significant role.
    [Show full text]
  • Karlheinz Stockhausen: Works for Ensemble English
    composed 137 works for ensemble (2 players or more) from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0 ] 2268-1813; e-mail [email protected]) www.stockhausen.org Karlheinz Stockhausen Works for ensemble (2 players or more) (Among these works for more than 18 players which are usu al ly not per formed by orches tras, but rath er by cham ber ensem bles such as the Lon don Sin fo niet ta , the Ensem ble Inter con tem po rain , the Asko Ensem ble , or Ensem ble Mod ern .) All works which were composed until 1969 (work numbers ¿ to 29) are pub lished by Uni ver sal Edi tion in Vien na, with the excep tion of ETUDE, Elec tron ic STUD IES I and II, GESANG DER JÜNGLINGE , KON TAKTE, MOMENTE, and HYM NEN , which are pub lished since 1993 by the Stock hau sen -Ver lag , and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Start ing with work num ber 30, all com po si tions are pub lished by the Stock hau sen -Ver lag , Ket ten berg 15, 51515 Kürten, Ger ma ny, and may be ordered di rect ly. [9 ’21”] = dura tion of 9 min utes and 21 sec onds (dura tions with min utes and sec onds: CD dura tions of the Com plete Edi tion ).
    [Show full text]
  • Bmus 1 Analysis Week 9 Project 2
    BMus 1 Analysis: Week 9 1 BMus 1 Analysis Week 9 Project 2 Just to remind you: the second project for this module is an essay (c. 1500 words) on one short post-tonal work from the list below. All of the works can be found in the library; if they’re not available for any reason, ask me for a copy. (Most can be found online as well.) Béla Bartók, 44 Duos for Violin, no. 33: ‘Erntelied’ (‘Harvest Song’) Harrison Birtwistle, Duets for Storab, any two movements Ruth Crawford-Seeger, String Quartet, movt. 2: ‘Leggiero’ or movt. 3: ‘Andante’ György Kurtag, Játékok Book 6, ‘In memoriam András Mihály’ Elisabeth Lutyens, Présages op. 53, theme and variations 1-2. Olivier Messiaen, Préludes, no. 1: ’La Colombe’ Kaija Saariaho, Sept Papillons, movements 1 and 2 Arnold Schoenberg, 6 Little Piano Pieces, Op.19: No. 2 (Langsam) Igor Stravinsky, 3 pieces for String Quartet, no. 1 Anton Webern, Variations op 27: no. 2 What to cover You may format your essay as you wish, according to what best suits the piece you’ve selected. However, you should aim to comment on the following (interrelated) features of your chosen work: • Formal Design o How is this articulated? This may involve pitch / tempo / changes of texture / dynamics / phrasing and other musical features. • Pitch Structure o Use of interval / mode(s) / pitch sets / 12-note chords and other techniques • Nature and Handling of Melodic and Harmonic Materials o How is the material constructed, treated, developed and/or elaboration in the work? Do not forget the importance of rhythm as well as pitch.
    [Show full text]
  • Edinburgh International Festival 1962
    WRITING ABOUT SHOSTAKOVICH Edinburgh International Festival 1962 Edinburgh Festival 1962 working cover design ay after day, the small, drab figure in the dark suit hunched forward in the front row of the gallery listening tensely. Sometimes he tapped his fingers nervously against his cheek; occasionally he nodded Dhis head rhythmically in time with the music. In the whole of his productive career, remarked Soviet Composer Dmitry Shostakovich, he had “never heard so many of my works performed in so short a period.” Time Music: The Two Dmitrys; September 14, 1962 In 1962 Shostakovich was invited to attend the Edinburgh Festival, Scotland’s annual arts festival and Europe’s largest and most prestigious. An important precursor to this invitation had been the outstanding British premiere in 1960 of the First Cello Concerto – which to an extent had helped focus the British public’s attention on Shostakovich’s evolving repertoire. Week one of the Festival saw performances of the First, Third and Fifth String Quartets; the Cello Concerto and the song-cycle Satires with Galina Vishnevskaya and Rostropovich. 31 DSCH JOURNAL No. 37 – July 2012 Edinburgh International Festival 1962 Rostropovich and Vishnevskaya in Edinburgh Week two heralded performances of the Preludes & Fugues for Piano, arias from Lady Macbeth of Mtsensk, the Sixth, Eighth and Ninth Symphonies, the Third, Fourth, Seventh and Eighth String Quartets and Shostakovich’s orches- tration of Musorgsky’s Khovanschina. Finally in week three the Fourth, Tenth and Twelfth Symphonies were per- formed along with the Violin Concerto (No. 1), the Suite from Lady Macbeth of Mtsensk, the Three Fantastic Dances, the Cello Sonata and From Jewish Folk Poetry.
    [Show full text]
  • KARLHEINZ STOCKHAUSEN Stockhausen
    KARLHEINZ STOCKHAUSEN 1928-2007 Stockhausen German composer, widely acknowledged by critics as one of the most important, but also controversial composers of the 20th and early 21st centuries Another critic calls him "one of the great visionaries of 20th-century music" Stockhausen He is known for his groundbreaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. Stockhausen Hymnen (1966-67) https://www.youtube.com/watch?v=Hyx0I8_kTAQ One of the finest examples of formal tape music from the 1960’s 113 minutes long - four album sides when first released on record Gesang der Jünglinge (1955–56) Song of the Youths Routinely described as "the first masterpiece of electronic music” Seamlessly integrates electronic sounds with the human voice by means of matching voice resonances with pitch and creating sounds of phonemes electronically. The vocal parts were supplied by 12-year- old Josef Protschka. https://www.youtube.com/watch?v=UmGIiBfWI0E Scores Scores Scores Scores Aphex Twin Richard David James (born 18 August 1971), best known by his stage name Aphex Twin British electronic musician and composer. He has been described by The Guardian as "the most inventive and influential figure in contemporary electronic music" Aphex Twin's album Selected Ambient Works 85-92 was called the best album of the 1990s by FACT Magazine. https://www.youtube.com/watch?v=Xw5AiRVqfqk Plastikman https://www.youtube.com/watch?v=Nsct-e-HVE0 Richard "Richie" Hawtin (born June 4, 1970) is an English-born Canadian electronic musician and DJ who was an influential part of Detroit techno's second wave of artists in the early 1990s A leading exponent of minimal techno since the mid-1990s.
    [Show full text]
  • View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
    J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
    [Show full text]
  • A Symphonic Poem on Dante's Inferno and a Study on Karlheinz Stockhausen and His Effect on the Trumpet
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet Michael Joseph Berthelot Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Berthelot, Michael Joseph, "A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet" (2008). LSU Doctoral Dissertations. 3187. https://digitalcommons.lsu.edu/gradschool_dissertations/3187 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SYMPHONIC POEM ON DANTE’S INFERNO AND A STUDY ON KARLHEINZ STOCKHAUSEN AND HIS EFFECT ON THE TRUMPET A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agriculture and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Michael J Berthelot B.M., Louisiana State University, 2000 M.M., Louisiana State University, 2006 December 2008 Jackie ii ACKNOWLEDGEMENTS I would like to thank Dinos Constantinides most of all, because it was his constant support that made this dissertation possible. His patience in guiding me through this entire process was remarkable. It was Dr. Constantinides that taught great things to me about composition, music, and life.
    [Show full text]
  • THE BELHAVEN UNIVERSITY DEPARTMENT of MUSIC Dr
    THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Joshua Harton Senior Trumpet Recital Saturday, February 26, 2011 7:30pm Belhaven University Center for the Arts Concert Hall BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC MISSION STATEMENT The Music Department seeks to produce transformational leaders in the musical arts who will have profound influence in homes, churches, private studios, educational institutions, and on the concert stage. While developing the God-bestowed musical talents of music majors, minors, and elective students, we seek to provide an integrative understanding of the musical arts from a Christian world and life view in order to equip students to influence the world of ideas. The music major degree program is designed to prepare students for graduate study while equipping them for vocational roles in performance, church music, and education. The Belhaven University Music Department exists to multiply Christian leaders who demonstrate unquestionable excellence in the musical arts and apply timeless truths in every aspect of their artistic discipline. The Music Department would like to thank our many community partners for their support of Christian Arts Education at Belhaven University through their advertising in “Arts Ablaze 2010- 2011.” It is through these and other wonderful relationships in the greater Jackson community that makes many of our concerts possible at Belhaven. We praise God for our friends and are truly thankful for their generosity. Please mention The Arts at Belhaven University when you visit our community partners. If you would like to receive email news-concert updates from the Belhaven University Music Department, please add your name and email address to the sign-up sheet on the table in the foyer.
    [Show full text]
  • The Study of the Relationship Between Arnold Schoenberg and Wassily
    THE STUDY OF THE RELATIONSHIP BETWEEN ARNOLD SCHOENBERG AND WASSILY KANDINSKY DURING SCHOENBERG’S EXPRESSIONIST PERIOD D.M.A. 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 Sohee Kim, B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Donald Harris, Advisor Professor Jan Radzynski Professor Arved Mark Ashby Copyright by Sohee Kim 2010 ABSTRACT Expressionism was a radical form of art at the start of twentieth century, totally different from previous norms of artistic expression. It is related to extremely emotional states of mind such as distress, agony, and anxiety. One of the most characteristic aspects of expressionism is the destruction of artistic boundaries in the arts. The expressionists approach the unified artistic entity with a point of view to influence the human subconscious. At that time, the expressionists were active in many arts. In this context, Wassily Kandinsky had a strong influence on Arnold Schoenberg. Schoenberg‟s attention to expressionism in music is related to personal tragedies such as his marital crisis. Schoenberg solved the issues of extremely emotional content with atonality, and devoted himself to painting works such as „Visions‟ that show his anger and uneasiness. He focused on the expression of psychological depth related to Unconscious. Both Schoenberg and Kandinsky gained their most significant artistic development almost at the same time while struggling to find their own voices, that is, their inner necessity, within an indifferent social environment. Both men were also profound theorists who liked to explore all kinds of possibilities and approached human consciousness to find their visions from the inner world.
    [Show full text]
  • Download Booklet
    A c k n o w l e d g m e n t s Zeitmasze Recorded September 29th and 30th, 2011, Dreamflower Studios, Bronxville, NY Engineer & Mastering: Jeremy Tressler Producer: Mark Lieb Assistant producer: Rose Bellini Published by Universal Edition Wind Quintet, Op. 26 Recorded June 1st, 2nd & 3rd, 2010, Dreamflower Studios, Bronxville, NY Engineer & Mastering: Jeremy Tressler Producer: Mark Lieb p h o e n i x e n s e m b l e Assistant producer: Rose Bellini Published by Belmont Music Publishers Session Photos: Piero Ribelli Cover image: Philip Blackbum www.albanyrecords.com TROY1371 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 karlheinz StockhauSen zeitmaSze albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 arnold Schoenberg Wind Quintet, op. 26 © 2012 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. T h e M u s i c Robin Maconie, in his book, Other Planets, the Music of Karlheinz Stockhausen, writes about the piece: “ John Cage tells Karlheinz Stockhausen: Zeitmasze (1957) an amusing story of passing by a mechanized shop window display set up to demonstrate the smooth writing and con- Karlheinz Stockhausen (1928 – 2007) was born in Mödrath, Germany, near Cologne. At the age of seven he received his tinuous flow of a fountain pen. The demonstration had gone horribly wrong, bending the nib and scattering ink in every first music lessons studying piano, and as music piqued his interest, by 1947 was studying piano and music pedagogy direction.
    [Show full text]
  • Hans Werner Henze Und Ingeborg Bachmann: Die Gemeinsamen Werke
    Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Christian Bielefeldt, Dr. phil., Studium in Hamburg, Tätigkeit als Theatercellist, 1994 Gründung von TRE MODI, Ensemble für Alte und Neue Musik. 1998-2000 Stipendiat am DFG-Graduiertenkolleg »In- termedialität« (Siegen). Veröffentlichungen zu Neuer Musik und Filmmusik. Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Beobachtungen zur Intermedialität von Musik und Dichtung Der Abdruck von Zitaten aus dem unveröffentlichten Nachlass Inge- borg Bachmanns geschieht mit ausdrücklicher Erlaubnis der Erben, bei denen die Abdruckrechte gleichwohl verbleiben. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. © 2003 transcript Verlag, Bielefeld Umschlaggestaltung: Kordula Röckenhaus, Bielefeld, unter Verwendung einer Partiturseite aus: Hans Werner Henze, Reinschrift der Musik zu Ingeborg Bachmanns Hörspiel »Die Zikaden« (1955/56), S. 1; © Sammlung Hans Werner Henze (Depositum Schott Musik International), Paul Sacher Stiftung, Basel Lektorat & Satz: Christian Bielefeldt Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 3-89942-136-1 INHALT Vorwort 9 Biographisches 14 Zur Forschung 17 I. Konzepte von Intermedialität bei Henze und Bachmann 21 Erster Auftakt: Die Konstruktion der Überschreitung 27 Lacan. Sprache, Musik und das Genießen 31 Der Braunschweiger Vortrag: Henzes „geistige Rede der Musik“ 37 Zweiter Auftakt: Die menschliche Stimme 43 Barthes. Die Stimme und das Genießen 45 Musik und Dichtung: Die Intermedialität der Stimme 49 II. Ballettpantomime: Der Idiot 57 Musik aus der Hand der Trauer: Reihen- und Zitattechnik im Idioten 62 Intrada und Danse Nr.
    [Show full text]
  • What Is Atonality (1930)
    What is Atonality? Alban Berg April 23, 1930 A radio talk given by Alban Berg on the Vienna Rundfunk, 23 April 1930, and, printed under the title “Was ist atonal?” in 23, the music magazine edited by Willi Reich, No. 26/27, Vienna, 8 June 1936. Interlocutor: Well, my dear Herr Berg, let’s begin! considered music. Alban Berg: You begin, then. I’d rather have the last Int.: Aha, a reproach! And a fair one, I confess. But word. now tell me yourself, Herr Berg, does not such a Int.: Are you so sure of your ground? distinction indeed exist, and does not the negation of relationship to a given tonic lead in fact to the Berg: As sure as anyone can be who for a quarter- collapse of the whole edifice of music? century has taken part in the development of a new art — sure, that is, not only through understanding Berg: Before I answer that, I would like to say this: and experience, but — what is more — through Even if this so-called atonal music cannot, har- faith. monically speaking, be brought into relation with a major/minor harmonic system — still, surely, Int.: Fine! It will be simplest, then, to start at once with there was music even before that system in its turn the title of our dialogue: What is atonality? came into existence. Berg: It is not so easy to answer that question with a for- Int.: . and what a beautiful and imaginative music! mula that would also serve as a definition. When this expression was used for the first time — prob- Berg: .
    [Show full text]