DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23” black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. Order Number 8726582 Chiang Wen-Yeh: The style of his selected piano works and a study of music modernization in Japan and China Kuo, Tzong-Kai, D.M.A. The Ohio State University, 1987 Copyright ©1987 by Kuo, Tzong-Kai. All rights reserved. UMI 300 N. ZeebRd. Ann Arbor, MI 48106 CHIANG WEN-YEH: THE STYLE OF HIS SELECTED PIANO WORKS AND A STUDY OF MUSIC MODERNIZATION IN JAPAN AND CHINA 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 Tzong-Kai Kuo, B5., MA. ***** The Ohio State University 1987 DMA. Document Committee: Approved by Gordon Wilson, DMA., Adviser Jerry Lowder, D.M.A., Co-Adviser Donald Gren, D.MA. Gordon Wilson, Adviser School of Music Copyright by Tzong-Kai Kuo 1987 ACKNOWLEDGEMENTS I would like to express my deep gratitude to Dr. Jerry E. Lowder for giving generously of liis time, effective advice, and patient encour­ agement in the preparation of this document I am sincerely grateful to Mme. Ming Tcherepnin for providing invaluable sources, information, manuscripts, and permission to quote from the copyrighted works of Tcherepnin and Chiang Wen-Yeh. Gratitude is also expressed to Dr. Kuo-Huang Han, Dr. Chi-Jen Chang, Mr. Hsing-Chang Liau, and Mrs. Su Pan for providing the music man­ uscripts, tapes, records, and source materials for this study. Special gratitude is also expressed to Professor Earl Wild, my present piano teacher, for his inspiring and witty teaching and invaluable insights of music, in the preparation of my doctoral recital. Deep grati­ tude is also expressed to Professor Tetley-Kardos, my former piano teacher and adviser, for his subtlety of teaching and expertise of tone production in the preparation of my doctoral recitals. I wish to thank Dr. Gordon Wilson, my present adviser, and other Faculty members. Dr. Rosemary Platt, and Dr. Donald Gren, for their helpful suggestions for this document I should also like to thank Dr. Ann K. Blombach for her analysis courses and for providing the computer devices for the preparation of this document - ii - Very deep thanks are expressed to my parents who helped to trans­ late the Japanese sources and set type for the Chinese characters, and to Chia-Huei, my wife, who helped to collect the sources. I am indebted to them for their endless love, support, and encouragement m - VITA May 2, 1950 Born: Hua-Lien, Taiwan June, 1974 B.S. in Psychology, Chung-Yuan Umversity, Chung-Li, Taiwan 1974 - 1976 First violinist in Demonstration Orchestra of Ministry of Defence, Taipei, Taiwan 1976 - 1977 Teaching Assistant in Tunghai University, Taichung, Taiwan Autumn 1977 Music Therapy and Education, Kansas University, Lawrence, Kansas 1978 - 1980 M.A. in Piano Performance, Eastern Illinois University, Charleston, Illinois 1980 - 1983 Full-Time Piano Faculty, Department of Music, Tunghai University, Taichung, Taiwan 1983 - 1987 Doctoral Study in Piano Performance, Teaching Associate, The Ohio State University, Columbus, Ohio - IV - FIELDS OF STUDY Major Field: Piano Performance Studies in Piano Performance Professor Earl Wild Professor Tetlev-Kardos Studies in Piano Literature Dr. Rosemary Platt Studies in Piano Pedagogy Dr. Jerry E. Lowder Studies in Music Theory Dr. Ann K. Blombach Studies in Music History Dr. Burdette Green Recital dates: February 28, 1985 Solo recital April 29, 1985 Chamber recital November 10, 1985 Concerto recital April 12, 1987 Solo recital V - TABLE OF CONTENTS PAGE ACKNOWLEDGEMENTS............................ ü VITA .......................................................................................................................iv LIST OF TABLES.............................................................................................v ü LIST OF FIGURES .........................................................................................viü CHAPTER I. INTRODUCTION ...............................................................................1 RATIONALE................................................................................... 1 PROBLEM ........................................ 3 PURPOSE.........................................................................................6 LITERATURE AND RESOURCES .................... 6 ORGANIZATION OF THE STUDY .......................................... 9 LINGUISTIC PROBLEM...............................................................9 n. CHIANG VTN-YEH'S LIFE AND IMPORTANT WORKS .................................................................................11 HIS CHILDHOOD.........................................................................11 EDUCATION IN JA P A N ..........................................................13 SINO-JAPANESE W A R .............................................................19 BACK TO C H IN A ..................................................................... 21 THE ANTI RIGHTIST MOVEM ENT......................................25 THE GREAT CULTURAL REVOLUTION .......................... 27 LIFE AFTER THE GREAT CULTURAL REVOLUTION ................................................................30 - VI - III. THE MUSIC ENVIRONMENT OF CHIANG VŒN-YEH . 32 THE MUSIC ENVIRONMENT IN JA P A N ............................ 33 Historical B ackground ..........................................................33 Early Experiences ................................................................35 Chiang Wen-Yeh's Musical Environment in Japan ........................................................................ 35 THE MUSIC ENVIRONMENT IN C H IN A .......................... 49 The Historical Background Before 1938 .................... 49 The Contact Stage (1600-1876) ............................. 49 The Acceptance Stage (1877-1926) ......................... 52 Assimilation and Professional stage (1927- ) ............................................................................57 Chiang Wen-Yeh's Contemporary Composers ...............58 Li Su-Tong (1879-1942) ............................................. 58 Shiao Yiu-Mei (1884-1940) ....................................... 59 Zao Yuan-Ren (1891-1982) ....................................... 59 Huang Zi (1904-1938) ................................................ 60 Liu She-An (1905- ) ............................................. 61 He Luding (1903- ) ............................................. 62 The Musical Problems between East and West . 65 ALEXANDER TCHEREPNIN AND CHIANG WEH-YEH ......................................................................67 The Musical Thought of Tcherepnin’s Nationalism .............................................................69 IV. STYLISTIC ELEMENTS OF THE PIANO WORKS OF CHIANG WEN-YEH ..........................................................83 MELODY .......................................................................................83 SOUND .......................................................................................... 93 T e x tu re .................................................................................... 93 R a n g e ....................................................................................... 98 Dynamics ........................................................................... 102 RHYTHM, TEMPO, METER ................................................ 104 M e te r................................................................................. 104 Rhythm .............................................................................. 105 Tempo ................................................................................ 112 HARMONY AND TONALITY............................................. 113 Tonality .............................................................................. 113 Chord Structure ............................................................. 120 FORM ......................................................................................... 131 THE DISCUSSION OF STYLE ........................................... 139 V. SUT4MARY AND CONCLUSIONS......................................... 148 RECOMMENDATIONS FOR FURTHER STUDY .... 151 - vii - BIBLIOGRAPHY ............................................................................................
Load more

Recommended publications
  • ALEXANDER TCHEREPNIN and HIS STUDENTS STEPHEN GOSLING, Pianist
    ALEXANDER TCHEREPNIN Born in St. Petersburg in 1899, Alexander Tcherepnin became a true musical citizen of the world. With the cen- ter of his career shifting from Tbilisi and the Caucasus to Paris and central Europe, from Shanghai and Tokyo to Brussels and back to Paris, and ultimately from Chicago and New York to London and Zurich, he left an indeli- ble influence, transcending barriers of nationality and generation. Tcherepnin’s gifts were hereditary. His father Nicholas Tcherepnin had composed impressionistic ballets that won the Diaghilev troupe its first Western successes. When the nineteen-year-old Alexander belatedly be- gan formal conservatory studies of musical theory, he had already written some two hundred piano pieces, many with modernistic traits inspired by his father’s star pupil Sergei Prokofiev. Young Tcherepnin brought these to Tbilisi, where the family relocated during the revolutionary turmoil of 1918, often performing them in recital (several dozen of these early efforts became best-sellers when published in Paris after he settled there in 1921). In Georgia, Alexander began composing on synthetic scales derived from the “major-minor triad” (C-Eb-E-G). Nikolai had explored the eight-step “octotonic” scale, which regularly alternates half-steps and whole-steps; Alexander went his father one better: by 1922 he was developing a vocabulary of ear-catching sounds from his own symmetrical nine-step scale (C-Db-Eb-E-F-G-Ab-A-B-C—the interval pattern is half-whole-half; half-whole-half; half-whole-half). Further experiments during final studies at the Paris Conser- vatoire yielded an approach called “Interpoint,” meant to convey complex rhythmic information with maximum clarity, and to keep the various musical registers separate in the ear.
    [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]
  • Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
    Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys.
    [Show full text]
  • The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
    The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, fitness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE Chef Francis Ramirez’ cuisine centers around sourcing quality seasonal ingredients to create delectable dishes combining French techniques with a California flare! TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo Russian Reflections the fourteenth season July 15–August 6, 2016 D AVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 R ussian Reflections Program Overview 6 E ssay: “Natasha’s Dance: The Myth of Exotic Russia” by Orlando Figes 10 Encounters I–III 13 Concert Programs I–VII 43 Carte Blanche Concerts I–IV 58 Chamber Music Institute 60 Prelude Performances 67 Koret Young Performers Concerts 70 Master Classes 71 Café Conversations 72 2016 Visual Artist: Andrei Petrov 73 Music@Menlo LIVE 74 2016–2017 Winter Series 76 Artist and Faculty Biographies A dance lesson in the main hall of the Smolny Institute, St. Petersburg. Russian photographer, twentieth century. Private collection/Calmann and King Ltd./Bridgeman Images 88 Internship Program 90 Glossary 94 Join Music@Menlo 96 Acknowledgments 101 Ticket and Performance Information 103 Map and Directions 104 Calendar www.musicatmenlo.org 1 2016 Season Dedication Music@Menlo’s fourteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible.
    [Show full text]
  • A Stylistic Analysis of Alexander Tcherepnin's Piano Concerto No. 4, Op
    University of South Carolina Scholar Commons Theses and Dissertations Spring 2020 A Stylistic Analysis of Alexander Tcherepnin's Piano Concerto No. 4, Op. 78, With an Emphasis on Eurasian Influences Qin Ouyang Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Ouyang, Q.(2020). A Stylistic Analysis of Alexander Tcherepnin's Piano Concerto No. 4, Op. 78, With an Emphasis on Eurasian Influences. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5781 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]. A STYLISTIC ANALYSIS OF ALEXANDER TCHEREPNIN 'S PIANO CONCERTO NO. 4, OP. 78, WITH AN EMPHASIS ON EURASIAN INFLUENCES by Qin Ouyang Bachelor of Arts Shanghai Conservatory, 2010 Master of Music California State University, Northridge, 2013 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 2020 Accepted by: Charles Fugo, Major Professor Phillip Bush, Committee Member Joseph Rackers, Committee Member David Garner, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Qin Ouyang, 2020 All Rights Reserved ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to Dr. Charles Fugo, my major professor, for his valuable advice and considerate guidance. A work of this weight would not come to fruition without his patience and encouragement. I extend my thanks to Dr.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 101, 1981
    BOSTON SOYMPHONY OWRCHESTRA n b J- sv^h°ony^ Hundredth1UNDREDTH BirthdayOIRTHDAY OEASONSi LORCHESTRAj SBJIOZAWA 1881 -OCTOBER 22 -1981 V.S.O.P., ./0* -.h**** ^S.QP COGNAC -^or** &**t> ' "* 1 BOTTLim hv * «•*.* 1 T" ^fagl FI NE CHAMPAGNE COGN^ THE FIRST NAME IN COGNAC SINCE 1724 EXCLUSIVELY FINE CHAMPAGNE FROM THE TWO "PREMIERS CRUS" OF THE COGNAC REGION /£> ^'BOSTON "^^^N? OBs'i mphon> (_) [O^K,ORCHESTRAJ^P ~~j*-j Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Hundredth Birthday Season, 1981-82 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr. J. P. Barger Mrs. John L. Grandin Irving W Rabb Mrs. John M. Bradley Edward M. Kennedy Mrs. George Lee Sargent Mrs. Norman L. Cahners David G. Mugar William A. Selke George H.A. Clowes, Jr. Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward G. Murray Paul C. Reardon Richard P Chapman John T. Noonan John L. Thorndike Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager Caroline Smedvig Walter D. Hill Joseph M. Hobbs Director of Director of Director of Promotion Business Affairs Development Judith Gordon Joyce M.
    [Show full text]
  • Examination of the Evolution of Multi-Percussion
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 10-10-2020 Examination of the evolution of multi-percussion Thomas Alexander Robertson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Commons Recommended Citation Robertson, T. A. (2020). Examination of the evolution of multi-percussion. https://ro.ecu.edu.au/theses/ 2366 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2366 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • Harsányi Complete Piano Works • 1
    WORLD PREMIÈRE RECORDING HARSÁNYI COMPLETE PIANO WORKS • 1 GIORGIO KOUKL TIBOR HARSÁNYI (1898–1954) COMPLETE PIANO WORKS • 1 GIORGIO KOUKL, piano Catalogue Number: GP806 Recording Date: 6 April 2019 Recording Venue: Studio Bottega del Pianoforte, Lugano, Switzerland Producer: Giorgio Koukl Engineer and Editor: Michael Rast Piano: Steinway, Model D Piano Technician: Lukas Fröhlich Booklet Notes: Gérald Hugon English Translation: Susannah Howe Publisher: Éditions Max Eschig (1–5, 13–16), Éditions Alphonse Leduc (6–12, 24–28, 34), Éditions Maurice Senart (17–23), Chester Music (29–33), Éditions Heugel (35–40) Artist Photographs: Zdeněk Žalský / Chiara Solari Composer Portrait: Petőfi Irodalmi Múzeum Budapest, Hungary Cover Art: Gro Thorsen: Passers by no. 7, 20x15 cm, oil on aluminium, 2019 www.grothorsen.com Thanks to the Franz Liszt Academy Budapest. Thanks to Patricia and Marika Marity. This recording is dedicated to Achille Tacchi. 5 PRÉLUDES BREFS (1928) 09:44 1 No. 1. Lento 02:54 2 No. 2. Allegro 01:37 3 No. 3. Allegretto grazioso 01:28 4 No. 4. Allegro 01:21 5 No. 5. Lento 02:22 LA SEMAINE (1924) 11:07 6 No. 1. Pour lundi. Allegro agitato molto 01:13 7 No. 2. Pour mardi. Allegretto grazioso 01:04 8 No. 3. Pour mercredi. Andante cantabile 01:55 9 No. 4. Pour jeudi. Tempo di Fox-trot 01:31 0 No. 5. Pour vendredi. Allegretto sostenuto 01:27 ! No. 6. Pour samedi. Allegro 01:39 @ No. 7. Pour dimanche. Sostenuto 02:18 PASTORALES (1934) 06:25 # No. 1. Prélude. Allegro giusto, ben ritmato 01:28 $ No. 2. Élégie.
    [Show full text]
  • A Manifestation of Apollonian Ecumenism in Selected Piano Works of Alexander Tcherepnin (1899-1977)
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of April 2006 A MANIFESTATION OF APOLLONIAN ECUMENISM IN SELECTED PIANO WORKS OF ALEXANDER TCHEREPNIN (1899-1977) Svetlana Yashirin University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Yashirin, Svetlana, "A MANIFESTATION OF APOLLONIAN ECUMENISM IN SELECTED PIANO WORKS OF ALEXANDER TCHEREPNIN (1899-1977)" (2006). Student Research, Creative Activity, and Performance - School of Music. 1. https://digitalcommons.unl.edu/musicstudent/1 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. A MANIFESTATION OF APOLLONIAN ECUMENISM IN SELECTED PIANO WORKS OF ALEXANDER TCHEREPNIN (1899-1977) by Svetlana Yashirin A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Paul Barnes Lincoln, Nebraska May, 2006 A MANIFESTATION OF APOLLONIAN ECUMENISM IN SELECTED PIANO WORKS OF ALEXANDER TCHEREPNIN (1899-1977) Svetlana Yashirin, D.M.A. University of Nebraska, 2006 Advisor: Paul Barnes The period of 1890-1920, surrounding the Russian October Revolution of 1917, was marked by an unprecedented outburst in all human activities and a tremendous struggle of intellectual forces represented by various personalities and groups.
    [Show full text]
  • Download Program Notes
    L’Oiseau de feu (The Firebird) (complete ballet score) Igor Stravinsky s musicians go, Igor Stravinsky was a Nightingale (1914), Pulcinella (1920), Mavra A rather late bloomer. He didn’t begin pia- (1922), Reynard (1922), The Wedding (1923), no lessons until he was nine, but these were Oedipus Rex (1927), and Apollo (1928). soon supplemented by private tutoring in The Ballets Russes made a specialty of harmony and counterpoint. His parents sup- pieces inspired by Russian folklore (pri- ported his musical inclinations, all the more meval Russian history being a cultural ob- laudable since they knew what their teenag- session of the moment) and The Firebird er was getting into. (Stravinsky’s father was a was perfectly suited to the company’s de- bass singer at the opera houses of Kiev and, signs. The tale involves the dashing Prince later, St. Petersburg; his mother was an accom- Ivan (Ivan Tsarevich), who finds himself plished amateur pianist.) One of Stravinsky’s one night wandering through the garden friends at school was the son of the celebrat- of King Kashchei, an evil monarch whose ed composer Nikolai Rimsky-Korsakov. When power resides in a magic egg that he guards Stravinsky’s father died, in December 1902, in an elegant box. In Kashchei’s garden, the Rimsky-Korsakov became a mentor, both per- Prince captures a Firebird, which pleads sonal and musical, to the aspiring composer. for its life. The Prince agrees to spare it if By 1907 Stravinsky (already 25 years old) was it gives him one of its magic tail feathers, ready to bestow an opus number on one of his which it consents to do.
    [Show full text]
  • The Impact of Russian Music in England 1893-1929
    THE IMPACT OF RUSSIAN MUSIC IN ENGLAND 1893-1929 by GARETH JAMES THOMAS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham March 2005 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis is an investigation into the reception of Russian music in England for the period 1893-1929 and the influence it had on English composers. Part I deals with the critical reception of Russian music in England in the cultural and political context of the period from the year of Tchaikovsky’s last successful visit to London in 1893 to the last season of Diaghilev’s Ballet russes in 1929. The broad theme examines how Russian music presented a challenge to the accepted aesthetic norms of the day and how this, combined with the contextual perceptions of Russia and Russian people, problematized the reception of Russian music, the result of which still informs some of our attitudes towards Russian composers today. Part II examines the influence that Russian music had on British composers of the period, specifically Stanford, Bantock, Vaughan Williams, Holst, Frank Bridge, Bax, Bliss and Walton.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1994
    Boston Symphony Orchestr S E I J I O Z A W A MUSIC DIRECTOR Tangtewrod THE INTERIOR § ALTERNATIVE The Home Furnishing Center Come Visit The Berkshires Newest Attraction We've QUADRUPLED Our Selling Space BROADENED Our Product Line INCREASED Our Stock Levels But We've Kept The Same LOW PRICES We're Famous For! Fabric, Bedding, Wallpaper, Oriental Carpets, Area Rugs On site sewing for small projects We Feature FAMOUS BRAND Seconds At Tremendous Savings! Mon - Sat 10 - 5 5 Hoosac St. Adams, Ma. (413) 743 - 1986 * 2MI V I j? Seiji Ozawa, Music Director One Hundred and Thirteenth Season, 1993-94 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T Zervas, Vice-Chairman and President-elect Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and David B.Arnold, Jr. Deborah B. Davis Mrs. BelaT. Kalman Mrs. August R. Meyer Peter A. Brooke Nina L. Doggett Allen Z. Kluchman Molly Beals Millman James F. Cleary Dean Freed Harvey Chet Mrs. Robert B. Newman - John F. Cogan,Jr. Avram J. Goldberg Krentzman Peter C. Read Julian Cohen Thelma E. Goldberg George Krupp Richard A. Smith William F Connell Julian T Houston R. Willis Leith, Jr. Ray Stata . William M. Crozier, Jr. Trustees Emeriti Veron R. Alden Nelson J. Darling, Jr. Mrs. George I. Mrs. George Lee Philip K.Allen Archie C. Epps Kaplan Sargent Allen G. Barry Mrs. Harris Albert L. Nickerson Sidney Stoneman Leo L. Beranek Fahnestock Thomas D. Perry, Jr.
    [Show full text]