DOCSLIB.ORG

Conducting Gestures. Institutional and Educational Construction Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Conducting Gestures. Institutional and Educational Construction Of CONDUCTING GESTURES Institutional and Educational Construction of Conductorship in Finland, 1973–1993 by Anu Konttinen ACADEMIC DISSERTATION To be presented with the assent of the Faculty of Arts, University of Helsinki for public examination in Auditorium XII, University Main Building On January 26th, 2008 at 10 a.m. Helsinki 2008 © Anu Konttinen ISBN 978-952-10-4417-5 (PDF) ISBN 978-952-92-3089-1 (paperback) Cover design: Liisa Holm Cover photograph: Marja Kantola-Panula Cityoffset Tampere 2007 2 Contents Acknowledgements…5 INTRODUCTION 1. ‘Great conductors’: subject matter and starting point…8 1.1 Terminology and conductor studies as a field of study…16 1.2 Materials and structure of the study…21 1.3 Research problems…25 The structure of the study I THEORY AND APPLICATIONS 1. On the sociology of conducting…28 1.1 Art world theories and the study of conducting…31 Danto and Dickie considered – Becker and Art World – Gross and Marginality 1.2 Core activity – core skill…44 1.3 Identities…48 1.4 Conclusion: marginal or fringe?...53 2. Gestures and conducting…59 2.1 Conventions…62 2.2 On a theory of musical gestures…68 Conducting gestures 2.2.1 Defining musical gestures…72 2.2.2 Gestural types…76 Musical gesture – Technical gesture – Expressive gesture – Classifying gestures 2.3 Two semiotic modes of gestural communication…85 Score- conductor-orchestra – Conductor-orchestra-audience 2.4 Conducting gestures meet sociology: Modes of being…91 The View from the podium – A sociological point of view 2.5 Social gestures of being and working…100 II ON PRACTICE OF CONDUCTING 1. Introduction: Educating Finnish conductors…103 1.1 Education of conductors before Panula…106 1.2 Panula’s class…110 1.3 Speaking hands – a philosophy of teaching…116 1.4 Orchestra and video…119 First impressions 1.5 Educating with gestures…129 Conducting course 1.6 From conducting class to professional life…133 Invited guests – The musically versatile generation of Korvat auki, Avanti!, and Toimii! – Memorandum 1.7 “Then and now”…149 2. Educational continuum…159 2.1 Passing on the culture in practice…163 3 2.2 Positioning: In the context of Central European and American traditions…166 Case study: The Tanglewood connection 2.3 Conductor types…173 Case study: von Karajan and the sociology of modern conductor types III ANALYSIS 1. From theory to practice…183 1.1 Evolution of conducting gestures…186 Baton or no baton? – Towards batonless conducting 1.2 The physique of conducting gestures…196 1.3 Communicating with the body and dealing with physical limitations…197 Physical limitations 2. Conducting gestures: Analysis…203 Interpretation/realisation 2.1 Theoretical tools: conductor analysis and decoding of gestures…207 Decoding gestures 2.2 Case study: John Storgårds at work with the Helsinki Philharmonic…213 Uuno Klami: Kalevala Suite Op. 23 2.3 Musical gestures: Transitions from score to sound…217 2.4 From technical to expressive gestures…222 Baton and technical/expressive gestures – Size and shape in technical and expressive gestures 2.5 Repertoire of gestures and hierarchies of conducting…228 Hierarchies 2.6 Educational and working gestures in analysis…232 CONCLUSIONS 1. Starting point, theory and results…234 1.1 Gestural types reconsidered…237 Hierarchical repertoire 1.2 Social gestures in practice…242 2. Educational continuity and the sociological effects of Panula’s class…243 2.1 Emerging tradition…244 Effects of types considered 2.2 From conducting class to work communities…248 APPENDIX 1…251 APPENDIX 2…254 APPENDIX 3…256 References and Bibliography…257 4 ACKNOWLEDGEMENTS My thanks go first to all conductors, both those who are not present on the pages of this thesis, and even more, to those who have been part of it. Especially warm thanks to those conductors whom I have been privileged to interview and observe during the last ten years. Without Professor Jorma Panula I would not have had such a magnificent subject matter for my thesis. He has kindly answered all my questions and shared his great wisdom about music and life. I also want to thank Marja Kantola-Panula, who has helped me with Professor Panula’s schedules and provided photographs from the family archive as well as taking some of them herself. I wish to thank the Finnish Cultural Foundation, the Ella and Georg Ehrnrooth Foundation, and the VEST doctoral program (the Doctoral Study Program of the Performing Arts) for making this project possible financially. The Institute for Art Research, to which my own department of Musicology belongs, has provided working space and the opportunity to attend not one but two doctoral seminars. Professor Eero Tarasti and Docent Alfonso Padilla have guided me through years of intensive study and work. I want to thank Professors Pirkko Koski, Yrjö Juhani Renwall, Hanna Suutela, Erkki Huovinen, and Robert Hatten for reading my texts and giving me valuable advice. Professor Harri Veivo has helped me enormously with the theory of this thesis. I also thank all the professors and colleagues at VEST. My opponent, Professor Matti Huttunen, has also been a very thorough and wise examiner of my work. I also thank Professor Jean-Marie Jacono for giving his opinion on my work, and kindly suggesting corrections for the text. Professor Hannu K. Riikonen kindly agreed to act as a representative of the faculty. 5 I would also very much like to thank Liisa Holm, who wanted to take part in this ‘family project’ by designing the wonderful cover of this book. There are a number of people in my daily life, without whom it would not have been possible to finish this thesis. Jaakko Tuohiniemi has not only helped me to find and obtain the latest research books and articles and given all the help one could ever need in the library, but also has been the best of friends and provided the best laughs ever. As my colleague, friend, and a sister in the academy, Liisamaija Hautsalo knows exactly what I have been through during these years. She has stood by me and been a great help in many ways. Kai Lassfolk has been my next-door neighbour at Vironkatu for many years, rescued me from more than one computer-related crisis, and shared with me the challenges of daily research work. Esa Lilja has been the third member of our ‘studio team’ and given helpful advice on numerous occasions. Both Kai and Esa have also taken part in my work projects and I thank them for all their patience and knowledge. I also wish to thank Susanna Välimäki, Juha Torvinen, Petri Tuovinen, Mikko Ojanen, and Paul Forsell for their support and friendship, as well as Irma Vierimaa, Erja Hannula, Markus Mantere, Rita Honti, and Markus Lång for their kind advice. Warm thanks to Kirsti Nymark, Susanna Aaltonen, Renja Suominen-Kokkonen, and Riitta Nikula, as well as Juha-Heikki Tihinen and Harri Kalha for inspiring discussions. Petja Hovinheimo has been a great help during the research process. I also warmly thank everyone working in or with the Finnish Radio Symphony Orchestra. Hannele Markkula in Avanti!, and everyone at the Helsinki Philharmonic Orchestra have been very kind and helped me greatly. I would also like to thank my immediate superiors at the Finnish Broadcasting Company, YLE, for their encouragement, and everyone at work for their support – those who are my colleagues at the music programmes on TV and radio, as well as those who otherweise have a special role in my life. 6 I realise that my family and friends have had a lot to put up with while I have been writing this doctoral thesis. Even so, they have never failed to encourage me in everything I do. My friends Ilkka, Sini, Miikka, Juha, and Paola have been involved on the sidelines from the very beginning. Little Elias keeps ‘Auntie Anu’ inspired and smiling with his lovely enthusiasm for everything new and exiting. Thank you, Heikki and Liisa, for the amazing weekends watching films and discussing everything from art to more earthly matters, and Olli for taking part in making this thesis a real book. Finally, I would like to express my greatest and most sincere gratitude to my parents, Riitta and Timo. They have supported and helped me in every way and given me a realistic, yet inspiring idea of academic and artistic work from the very beginning, as well as sheltered and fed me during the most intensive phases of thesis writing. This has been our project, and in turn I hope I can make you proud. Lauttasaari, October 2007 Anu Konttinen 7 INTRODUCTION 1. ‘Great conductors’: subject matter and starting point This study concentrates on those Finnish conductors who have paticipated in Professor Jorma Panula’s conducting class at the Sibelius Academy during the years 1973–1993. The main focus is on praxis: the current educational and working practices that are the result of the system introduced by Professor Panula during his professorship and carried on by his former students. On a more general level, conducting is studied as a practical and sociological activity. On a specific level, the focus is on gestures of a conductor as communication. The relationship between a conductor and an orchestra in rehearsals and concerts is examined as well as the communicational space when an audience is present. The rapidly increasing study of the performing arts could be seen as the general context to which this work belongs. The present endeavour has been to find different theoretical aspects for defining and discussing the concept of a conducting gesture of which there has been no previous study. The most meaningful aspects have seen to be the sociology of art, semiotic approaches to conducting, and the study of musical performance.
Load more

Recommended publications
  • KONSERTTIELÄMÄ HELSINGISSÄ SOTAVUOSINA 1939–1944 Musiikkielämän Tarjonta, Haasteet Ja Merkitys Poikkeusoloissa
    KONSERTTIELÄMÄ HELSINGISSÄ SOTAVUOSINA 1939–1944 Musiikkielämän tarjonta, haasteet ja merkitys poikkeusoloissa Susanna Lehtinen Pro gradu -tutkielma Musiikkitiede Filosofian, historian ja taiteiden tutkimuksen osasto Humanistinen tiedekunta Helsingin yliopisto Lokakuu 2020 Tiedekunta/Osasto – Fakultet/Sektion – Faculty Humanistinen tiedekunta / Filosofian, historian ja taiteiden tutkimuksen osasto Tekijä – Författare – Author Susanna Lehtinen Työn nimi – Arbetets titel – Title Konserttielämä Helsingissä sotavuosina 1939–1944. Musiikkielämän tarjonta, haasteet ja merkitys poikkeusoloissa. Oppiaine – Läroämne – Subject Musiikkitiede Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä– Sidoantal – Number of pages Pro gradu -tutkielma Lokakuu 2020 117 + Liitteet Tiivistelmä – Referat – Abstract Tässä tutkimuksessa kartoitetaan elävä taidemusiikin konserttitoiminta Helsingissä sotavuosina 1939–1944 eli talvisodan, välirauhan ja jatkosodan ajalta. Tällaista kattavaa musiikkikentän kartoitusta tuolta ajalta ei ole aiemmin tehty. Olennainen tutkimuskysymys on sota-ajan aiheuttamien haasteiden kartoitus. Tutkimalla sotavuosien musiikkielämän ohjelmistopolitiikkaa ja vastaanottoa haetaan vastauksia siihen, miten sota-aika on heijastunut konserteissa ja niiden ohjelmistoissa ja miten merkitykselliseksi yleisö on elävän musiikkielämän kokenut. Tutkimuksen viitekehys on historiallinen. Aineisto on kerätty arkistotutkimuksen menetelmin ja useita eri lähteitä vertailemalla on pyritty mahdollisimman kattavaan kokonaisuuteen. Tutkittava
    [Show full text]
  • Program 24.6.2021
    Urkuyö &Aaria festivaali 2021 Festivalen Orgelnatt & Aria Organ Night & Aria Festival puukko lja Marko Hilpoe – a panula – ozlovski M k leksanteri Wallius jor a irill arbora Hilpo k b – Hov – Helsingin barokkiorkesteriselonen –a stak torikka arttu stefan infonietta s järvinen – sakari Waltterii pétur jiM Men kansallisooppera suo esa pietilä – apiola o Mustakallio -laulukilpailun voittajat t tiM varpula veli- pekka rytkönen – piia saMi luttinen – t uula HällströM Marika Hölttä – Henri uusitalo Musiikin ja kesäyön taikaa urkuyofestival.fi KIRKKO ESPOOSSA KYRKAN I ESBO 3.6.–28.8.2021 Urkuyö &Aaria festivaali Musiikin ja kesäyön taikaa kesäkuu 15.7. Urkuvirtuoosit irti! 3.6. Avajaiskonsertti: Suvi-illan klassikot Jimi Järvinen, Waltteri Torikka, baritoni Arttu Selonen, Barbora Hilpo, alttoviulu Aleksanteri Wallius, urut Marko Hilpo, piano 22.7. Valkeiden öiden romantiikkaa 10.6. Matvejeff & Katajala & Stefan Astakhov, baritoni Tapiola Sinfonietta Kiril Kozlovski, piano Ville Matvejeff, kapellimestari 29.7. Timo Mustakallio -kilpailun voittajat 2021 Tuomas Katajala, tenori Tuula Hällström, piano Tapiola Sinfonietta 17.6. Kesäyön sävelsäihkettä elokuu Marika Hölttä, koloratuurisopraano 5.8. Suomen kansallisooppera: Salainen kutsu Henri Uusitalo, basso Tarmo Peltokoski, kapellimestari Erkki Korhonen, piano Sonja Herranen, sopraano 24.6. Juhannusiltamat Suomen kansallisoopperan orkesteri Piia Rytkönen, sopraano 12.8. Liedin vuodenajat Veli-Pekka Varpula, tenori Sami Luttinen, basso Erkki Korhonen, piano ja urut Tuula Hällström, piano 19.8. Improvisaation
    [Show full text]
  • Scaramouche and the Commedia Dell'arte
    Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche.
    [Show full text]
  • Anna-Maria Helsing.18.19.Dt
    BIOGRAPHIE ANNA -MARIA HELSING | DIRIGENTIN Anna-Maria Helsing hat sich einen hervorragenden Ruf bei führenden skandinavischen Orchestern und Opernhäusern erarbeitet. 2010 wurde Anna-Maria Helsing als erste Frau an der Spitze eines finnischen Orchesters zur Chefdirigentin des Oulu Symphony Orchestra für drei Jahre ernannt. Innerhalb kurzer Zeit hat die finnische Dirigentin alle großen finnischen und schwedischen Orchester wie das Finnish Radio Symphony Orchestra, Helsinki Philharmonic Orchestra, Tampere Philharmonic, Tapiola Sinfonietta, Orchester der Finnischen Nationaloper, Royal Stockholm Philharmonic Orchestra, Göteborger Symphoniker, Swedish Radio Symphony, Malmö Symphony , Norrköping Symphony Orchestra, Norwegian Radio Orchestra, Trondheim Symphony, Iceland Symphony und Odense Symphony dirigiert. Außerdem stand sie am Pult der Royal Danish Opera, Royal Swedish Opera Orchestra, Gothenburg Opera Orchestra, Malmö Opera Orchestra, Norrlands Operan Orchestra, Västeras Sinfonietta, Nordic Chamber Orchestra, Estonian National Orchestra sowie die Orchester in Braunschweig, Jena und Hagen. Vor kurzem gab sie ihr gefeiertes Debüt beim BBC Philharmonic Orchestra. An der Finnischen Nationaloper debütierte Helsing 2008 mit Adriana Mater von Kaija Saariaho. Sie leitete eine Reihe von Uraufführungen, wie Momo an der Royal Danish Opera, Magnus-Maria von Karólína Eiríksdóttir auf Tournee in Skandinavien sowie Hallin Janne von Jukka Linkola mit der Jyväskylä Sinfonia. Helsing dirigierte auch Opern von Mozart, Cimarosa, Puccini, Mascagni, Madetoja und Bernstein an der Tampere Opera und beim Savonlinna Opernfestival um nur einige zu nennen. Anna-Maria Helsing hat eine besondere Affinität für den Klang und Stil der Moderne und zeitgenössische Musik. Erneute Einladungen folgen beim Finnish Radio Symphony, Royal Stockholm Philharmonic, Göteborger Symphoniker, Iceland Symphony, Trondheim Symphony, Avanti! Chamber Orchestra, North Iceland Symphony/Faroer Symphony, u.a.
    [Show full text]
  • Kaapo Johannes Ijas B
    CV Kaapo Johannes Ijas b. 26.07.1988 Solvikinkatu 13 C 38 00990 Helsinki +358 44 5260788 [email protected] www.kaapoijas.com Kaapo Ijas (b.1988) is the Mills Williams Junior Fellow in Conducting at the Royal Northern College of Music. He has been fiercely interested in composing, performance, drama, group dynamics and the orchestra itself for all his life. In 2012 it lead him to conducting studies first in Sibelius Academy then Zürcher Hochschule der Künste and ultimately Royal College of Music in Stockholm where he graduated from in spring of 2017. His teachers during his studies and masterclasses include Jorma Panula, Johannes Schlaefli, Jaap van Zweden, Riccardo Muti, Esa-Pekka Salonen, David Zinman, Neeme and Paavo Järvi and Atso Almila. Ijas has conducted i.a. Tonhalle-Orchester Zürich, Norrköping SO, South Jutland SO, Musikkollegium Winterthur, Gävle Symfoniorkester, Kurpfälzisches Kammerorchester (Mannheim), Hradec Kralove Philharmonia, KMH Symphony Orchestra, Seinäjoki City Orchestra, KammarensembleN, Norrbotten NEO, Swedish Army Band, Helsinki Police band and numerous other project ensembles and choirs during masterclasses and in concerts. Ijas has been invited to various prestigious masterclasses including Gstaad Menuhin Festival 2018 with Jaap van Zweden, Riccardo Muti Opera Academy 2017 in Ravenna, the 8th Tonhalle-Orchester Zürich masterclass with David Zinman in 2017 and Järvi Academy with Paavo and Neeme Järvi in 2016. He was semifinalist in Donatella Flick Conducting Competition 2016 after invited to the competition with 2 weeks notice and among the top 7 in Cadaqués Conducting Competition 2017. In 2018 Ijas was selected as 24 conductors from 566 applicants to take part in Nikolai Malko competition in Copenhagen and won the 3rd prize in Jorma Panula Conducting Competition in Vaasa.
    [Show full text]
  • Janne Oksanen (B. 1994) Is a Young Finnish Pianist Based in Helsinki. He
    Janne Oksanen (b. 1994) is a young finnish pianist based in Helsinki. He has performed as a soloist and chamber musician widely in Finland as well as in France, Italy, Belgium, Sweden, Denmark, Hungary, Lithuania and USA. Giving piano recitals since age 15 he has developed a highly professional attitude towards concertizing and thus his musical personality has had the proper time to mature already starting from an early age. He has a wide repertoire reaching all the way from early Baroque to the 21st Century music. However, its focal point stands in the Classical and Romantic eras. In February 2018 he performed the complete works of Toivo Kuula in Sibafest, Helsinki Music Centre. Oksanen has been succesful in various national and international competitions. He has been awarded in the 8th Nordic Piano Competition 2017 in Sweden, in Madetoja Piano Competition 2012 in Oulu, Finland and in Citta di Ghioggia Competition in Italy 2009. In 2011 he played as soloist with the Tapiola Youth Symphony Orchestra. In Spring 2016 he received the Bachelor’s Degree in Piano Performance. He is currently studying in the Master’s Program in Sibelius Academy with Risto-Matti Marin. In 2014-2015 he studied in Conservatoire de Paris with Denis Pascal. His previous teachers include Teppo Koivisto and Rebekka Angervo. Chamber music has an important role in his musicianship. He has studied with Paavo Pohjola and Marko Ylönen in Sibelius Academy and with Itamar Golan in Conservatoire de Paris and performed with Yuval Gotlibovich, for example. Kuhmo Chamber Music Festival has offered him great insight in to ensemble playing during various editions of the festival and master class.
    [Show full text]
  • The Conductor As Part of a Creative Process
    Kurs: DG1007 Examensarbete 15 hp (2016) Konstnärligt kandidatprogram i dirigering (Orkester) 180 hp Institutionen för komposition, dirigering och musikteori Handledare: B. Tommy Andersson Markus Luomala The conductor as part of a creative process Case: Students composing for a student orchestra Skriftlig reflektion inom självständigt arbete Det självständiga, konstnärliga arbetet finns dokumenterat på inspelning: xxx Table of contents Background ........................................................................................................... 1 Examination concert........................................................................................ 1 Introduction........................................................................................................... 3 Work with student orchestras .......................................................................... 3 Shared leadership ............................................................................................ 4 Creativity......................................................................................................... 6 The Project ............................................................................................................ 8 1 Working with the composition students....................................................... 8 The schedule for the composers..........................................................................................9 Student A.............................................................................................................................9
    [Show full text]
  • Privateditioner /Bild: Hos Villa Vodana (Tullinge) Huserar Privateditioner/ Bloggen
    Privateditioner /Bild: Hos Villa Vodana (Tullinge) huserar privateditioner/ Bloggen - www.vivaopera.se absolut inte bara opera - har ett arkiv (audio och video) med privateditioner. Samtliga anförda titlar står - såsom gåva - till förfogande för Nyhetsbladets prenumeranter GRATIS och FRANCO. Samhörigt innehåll överföres till BLURAY (audio eller video). Naturligtvis eftersträvas för dessa konkreta medieprodukter - att ta i - den allra optimalaste ljudkvalitet. Den första av våra hembrända BD-R upptar tre cykler med de sex stråkkvartetterna av Béla Bartók. (En kuriositet är att Bartoks andra stråkkvartett har en roll i deckaren ”Paganinikontraktet” - 2010 - av författarnamnet Lars Kepler.) Följer såsom BD-R audio Ellington, Sjostakovitj och Armstrong samt Symfonie Fatastique av Berlioz i flera versioner alltifrån Rhené- Baton (1923) och Klemperer i Stockholm 650512. Samt ännu inte definitivt nummersatta BD-R: Av JS Bach ”Die Kunst der Fuge”, kantater. Mahler symfonier med Rafael Kubelik. Sena stråkkvartetter av Beethoven (Lindsay, Melos, Fine Arts). ”Pli selon pli” av Pierre Boulez. Stråkkvartetter av Hilding Rosenberg, Arnold Schoenberg, Paul Hindemith. Sibelii symfonier med Sixten Ehrling 1952. Carl Nielsens hela orkestermusik med Herbert Blomstedt (DR 1974). Paul Mägis inspelningar med Uppsala Kammarsolister. TV-föreställningen (Lars Norén) ”Och ge oss skuggorna” föreligger på DVD-R. Wagner TMP på en BD-R, vad är det? Vidare Wagners förstlingar uppdelade såsom tetralogi enligt Wagners egen uppdelning med nytt förspel inför ursprungliga Rienzi akt III: 1) Rienzis Größe (I och II) 2) Die Feen 3) Das Liebesverbot 4) Rienzis Fall (III, IV, V). Varvid del 1 Rienzis Größe i andra akten förväntas innehålla den fyrtio minuter långa pantomimen ”Lucrezia blir våldtagen”, aldrig framförd men komponerd just ett sekel före Benjamin Brittens opera på samma tema.
    [Show full text]
  • Naxcat2005 ABRIDGED VERSION
    CONTENTS Foreword by Klaus Heymann . 4 Alphabetical List of Works by Composer . 6 Collections . 88 Alphorn 88 Easy Listening 102 Operetta 114 American Classics 88 Flute 106 Orchestral 114 American Jewish Music 88 Funeral Music 106 Organ 117 Ballet 88 Glass Harmonica 106 Piano 118 Baroque 88 Guitar 106 Russian 120 Bassoon 90 Gypsy 109 Samplers 120 Best Of series 90 Harp 109 Saxophone 121 British Music 92 Harpsichord 109 Trombone 121 Cello 92 Horn 109 Tr umpet 121 Chamber Music 93 Light Classics 109 Viennese 122 Chill With 93 Lute 110 Violin 122 Christmas 94 Music for Meditation 110 Vocal and Choral 123 Cinema Classics 96 Oboe 111 Wedding 125 Clarinet 99 Ondes Martenot 111 White Box 125 Early Music 100 Operatic 111 Wind 126 Naxos Jazz . 126 Naxos World . 127 Naxos Educational . 127 Naxos Super Audio CD . 128 Naxos DVD Audio . 129 Naxos DVD . 129 List of Naxos Distributors . 130 Naxos Website: www.naxos.com NaxCat2005 ABRIDGED VERSION2 23/12/2004, 11:54am Symbols used in this catalogue # New release not listed in 2004 Catalogue $ Recording scheduled to be released before 31 March, 2005 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating. Our recordings receive favourable reviews in many other publications which, however, do not use a simple, easy to understand rating system.
    [Show full text]
  • Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy
    Magnus Lindberg —Musical Gesture and Dramaturgy ACTA SEMIOTICA FENNICA Editor Eero Tarasti Associate Editors Paul Forsell Richard Littlefield Editorial Board Pertti Ahonen Jacques Fontanille André Helbo Pirjo Kukkonen Altti Kuusamo Ilkka Niiniluoto Pekka Pesonen Hannu Riikonen Vilmos Voigt Editorial Board (AMS) Márta Grabócz Robert S. Hatten Jean-Marie Jacono Dario Martinelli Costin Miereanu Gino Stefani Ivanka Stoianova TAKEMI SOSA Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Acta Semiotica Fennica LIII Approaches to Musical Semiotics 26 Academy of Cultural Heritages, Helsinki Semiotic Society of Finland, Helsinki 2018 E-mail orders [email protected] www.culturalacademy.fi https://suomensemiotiikanseura.wordpress.com Layout: Paul Forsell Cover: Harumari Sosa © 2018 Takemi Sosa All rights reserved Printed in Estonia by Dipri OÜ ISBN 978-951-51-4187-3 (nid.) ISBN 978-951-51-4188-0 (PDF) ISSN 1235-497X Acta Semiotica Fennica LIII ISSN 1458-4921 Approaches to Musical Semiotics 26 Department of Philosophy and Art Studies Faculty of Arts University of Helsinki Finland Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Doctoral Dissertation Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki (the main building), in auditorium XII on 04 May 2018 at 12 o’clock noon. For my Sachiko, Asune and Harunari 7 Abstract The Finnish composer Magnus Lindberg (b. 1958) is one of the leading figures in the field of contemporary classical music. Curiously, despite the fascinating characteristics of Lindberg’s works and the several interesting subjects his mu- sic brings up, his works have not been widely researched.
    [Show full text]
  • Magnus Lindberg Orchestral Music Magnus Lindberg (B
    Magnus Lindberg ORCHESTRAL MUSIC Magnus Lindberg (b. 1958) ORCHESTRAL MUSIC CD 1 [65’49] 1 Tendenza (1982) 11’54 Avanti! Chamber Orchestra SAKARI ORAMO, conductor Recorded in May 1996, Kanneltalo, Helsinki Producer: Seppo Siirala · Engineer: Enno Mäemets 1997 Ondine Oy Kraft (1985) 30’16 2 I. 16’04 3 II. 14’12 Toimii Ensemble (Kari Kriikku, clarinet and percussion · Anssi Karttunen, cello and percussion · Magnus Lindberg, piano and percussion · Juhani Liimatainen, sound control and percussion · Lasse Erkkilä, percussion · Riku Niemi, percussion · Esa-Pekka Salonen, percussion) Finnish Radio Symphony Orchestra ESA-PEKKA SALONEN, conductor Recorded in February 2002, Kultuuritalo, Helsinki Producer: Laura Heikinheimo · Engineer and Digital editor: Pentti Männikkö Assistant engineer: Anu Pylkkänen Mixing: Pentti Männikko, Juhani Liimatainen, Laura Heikinheimo, Magnus Lindberg Recorded in co-production with the Finnish Broadcasting Company YLE 2004 Ondine Oy 4 Kinetics (1989) 12’39 Bavarian Radio Symphony Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in October 1989, Herkulessaal, Munich Producer: Michael Kempff · Engineer: Hans Schmid 1992 Ondine Oy 5 Marea (1990) 10’30 Avanti! Chamber Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in December 1991, Sibelius Academy Concert Hall, Helsinki Producer: Seppo Siirala · Engineers: Robi de Godzinsky, Juhani Liimatainen 1992 Ondine Oy CD 2 [66’26] 1 Joy (1990) 26’39 Avanti! Chamber Orchestra JUKKA-PEKKA SARASTE, conductor Recorded in December 1991, Sibelius Academy Concert Hall, Helsinki Producer:
    [Show full text]
  • Kimmo Hakola's Diamond Street and Loco: a Performance Guide
    UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Kimmo Hakola's Diamond Street and Loco: A Performance Guide Erin Elizabeth Vander Wyst University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Fine Arts Commons, Music Commons, and the Theatre and Performance Studies Commons Repository Citation Vander Wyst, Erin Elizabeth, "Kimmo Hakola's Diamond Street and Loco: A Performance Guide" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2754. http://dx.doi.org/10.34917/9112202 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. KIMMO HAKOLA’S DIAMOND STREET AND LOCO: A PERFORMANCE GUIDE By Erin Elizabeth Vander Wyst Bachelor of Fine Arts University of Wisconsin-Milwaukee 2007 Master of Music in Performance University of Wisconsin-Milwaukee 2009
    [Show full text]