Igor Stravinsky
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Page 355 H-France Review Vol. 9 (June 2009), No. 86 Peter Read, Picasso and Apollinaire
H-France Review Volume 9 (2009) Page 355 H-France Review Vol. 9 (June 2009), No. 86 Peter Read, Picasso and Apollinaire: The Persistence of Memory (Ahmanson-Murphy Fine Arts Books). University of California Press: Berkeley, 2008. 334 pp. + illustrations. $49.95 (hb). ISBN 052-0243- 617. Review by John Finlay, Independent Scholar. Peter Read’s Picasso et Apollinaire: Métamorphoses de la memoire 1905/1973 was first published in France in 1995 and is now translated into English, revised, updated and developed incorporating the author’s most recent publications on both Picasso and Apollinaire. Picasso & Apollinaire: The Persistence of Memory also uses indispensable material drawn from pioneering studies on Picasso’s sculptures, sketchbooks and recent publications by eminent scholars such as Elizabeth Cowling, Anne Baldassari, Michael Fitzgerald, Christina Lichtenstern, William Rubin, John Richardson and Werner Spies as well as a number of other seminal texts for both art historian and student.[1] Although much of Apollinaire’s poetic and literary work has now been published in French it remains largely untranslated, and Read’s scholarly deciphering using the original texts is astonishing, daring and enlightening to the Picasso scholar and reader of the French language.[2] Divided into three parts and progressing chronologically through Picasso’s art and friendship with Apollinaire, the first section astutely analyses the early years from first encounters, Picasso’s portraits of Apollinaire, shared literary and artistic interests, the birth of Cubism, the poet’s writings on the artist, sketches, poems and “primitive art,” World War I, through to the final months before Apollinaire’s death from influenza on 9 November 1918. -
Musical Hybridization and Political Contradiction: the Success of Arthur Honeggerâ•Žs Antigone in Vichy France
Butler Journal of Undergraduate Research Volume 7 2021 Musical Hybridization and Political Contradiction: The Success of Arthur Honegger’s Antigone in Vichy France Emma K. Schubart University of North Carolina, Chapel Hill Follow this and additional works at: https://digitalcommons.butler.edu/bjur Recommended Citation Schubart, Emma K. (2021) "Musical Hybridization and Political Contradiction: The Success of Arthur Honegger’s Antigone in Vichy France," Butler Journal of Undergraduate Research: Vol. 7 , Article 4. Retrieved from: https://digitalcommons.butler.edu/bjur/vol7/iss1/4 This Article is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Butler Journal of Undergraduate Research by an authorized editor of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER JOURNAL OF UNDERGRADUATE RESEARCH, VOLUME 7 MUSICAL HYBRIDIZATION AND POLITICAL CONTRADICTION: THE SUCCESS OF ARTHUR HONEGGER’S ANTIGONE IN VICHY FRANCE EMMA K. SCHUBART, UNIVERSITY OF NORTH CAROLINA, CHAPEL HILL MENTOR: SHARON JAMES Abstract Arthur Honegger’s modernist opera Antigone appeared at the Paris Opéra in 1943, sixteen years after its unremarkable premiere in Brussels. The sudden Parisian success of the opera was extraordinary: the work was enthusiastically received by the French public, the Vichy collaborationist authorities, and the occupying Nazi officials. The improbable wartime triumph of Antigone can be explained by a unique confluence of compositional, political, and cultural realities. Honegger’s compositional hybridization of French and German musical traditions, as well as his opportunistic commercial motivations as a Swiss composer working in German-occupied France, certainly aided the success of the opera. -
The St. Petersburg Chamber Philharmonic Innovative Dynamic
Innovative Dynamic Progressive Unique TheJeffery St. Meyer, Petersburg Artistic Director Chamber & Principal Philharmonic Conductor The St. Petersburg Chamber Philharmonic was founded in 2002 to St.create Petersburg and encourage cultural exchange Chamber between the United Philharmonic States and Russia and has become St. Petersburg’s most exciting and in- “The St. Petersburg novative chamber orchestra. Since its inception, the St. PCP has performed in the major concert halls of the city and has been pre- sentedAbout in its most important festivals. The orchestra’s unique and Chamber Philharmonic progressive programming has distinguished it from the many orches- tras of the city. It has performed over 130 works, including over has become an integral a dozen world premieres, introduced St. Petersburg audiences to more than 30 young performers, conductors and composers from part of the city’s culture” 15 different countries (such up-and-coming stars as Alisa Weilerstein, cello), and performed works by nearly 20 living American compos- ers, including Russian premieres of works by Pulitzer Prize-winning American composers Steve Riech, Steven Stucky and John Adams. Festival Appearances: Symphony Space, Wall-to-Wall Festival, “Behind the Wall”, 2010 “The orchestra 14th International Musical Olympus Festival, 2009 & 2010 International New Music Festival “Sound Ways”, 2005, 2006, 2007, 2008 demonstrates splendid 43rd International Festival St. Petersburg “Musical Spring”, 2006 5th Annual Festival “Japanese Spring in St. Petersburg”, 2005 virtuosity” “Avant-garde in our Days” Music Festival, 2003 Halls: Symphony Space, New York City Academic Capella Hall of Mirrors, Beloselsky-Belozersky Palace Hermitage Theatre “Magnificent” Maly Sal (Glinka) of the Philharmonic Shuvalovksy Palace Hall, Fontanka River St. -
Charles M. Joseph. 2011. Stravinsky's Ballets. New Haven: Yale University
Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. Reviewed by Maeve Sterbenz Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his develop- ment as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography. To begin, Joseph introduces his motivation for the project, arguing for the necessity of an in–depth study of Stravinsky’s works for dance in light of the fact that they comprise a significant fraction of the composer’s output (more so than any other Western classical composer) and that these works, most notably The Rite of Spring, occupy such a prominent place in the Western canon. According to Joseph, owing to Stravinsky’s sensitivity to the “complexly subtle counterpoint between ballet’s interlocking elements” (xv), the ballets stand out in the genre for their highly interdisciplinary nature. In the chapters that follow, Joseph examines each of the ballets, focusing alternately on details of the works, histories of their production and reception, and their biographical contexts. -
Stravinsky, the Fire-Bird, "The Fire-Bird's Dance,"
/N81 AI2319 Ti VILSKY' USE OF IEhPIAN IN HIS ORCHESTRAL WORKS THE IS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of M1- JiROF JU.SIC by Wayne Griffith, B. Mus. Conway, Arkansas January, 1955 TABLE OF CONTENT4 Page LIST OF ILLUSTRATIONS . ,.. , , * . Chap ter I. THE USE OF PIANO1E A' Al ORCTHE TL I:ThUERIMT BEFOR 1910 . , , . , , l STRAICY II. S U6 OF 2E PIANO S E114ORCHES L ORK HIS OF "RUSIA PERIOD . 15 The Fire-Bird Pe~trouchka Le han u hossignol III. STAVIL C ' 0 USE OF TE PI 40IN 9M ORCHESTRAL .RKS OF HIS "NEO-CLASSIO" PERIOD . 56 Symphonyof Psalms Scherzo a la Russe Scenes IBfallet Symphony~in Three Movements BIIORPHYy * - . 100 iii 1I3T OF ILLUSTRATIONS Figure Page 1. Berlioz, Leio, Finale, (from Berlioz' Treatise on Instrumentation, p . 157) . 4 2. Saint-Saena, ym phony in 0-minor, (from Prof. H. Kling's Modern Orchestration and Instrumentation, a a.~~~~*f0" 0. 7 p. 74) . 0 0 * * * 3. Moussorgsky, Boris Godunov, "Coronation Scene,'" 36-40 mm.f . -a - - --. " " . 10 4. oussorgsky, Boris Godunov, "Coronation :scene," mm. 241-247 . f . * . 11 5. imsky-Korsakoff, Sadko , (from rimkir -Korsakoff' s Principles of 0rchtiration, Lart II, p. 135) . 12 6. ximsky-Korsakoff, The Snow aiden, (from Zimsky torsatoff'c tTTrin~lecs ofhOrchestration, Part II, . 01) . - - . - . * - - . 12 7 . i s akosy-. o Rf, TVe <now %aiN , (f 0r 1;i s^ky Korsaoif ' s Prciniles of Orchestration, Part II, 'p. 58) . aa. .a. .a- -.-"- -a-a -r . .". 13 8. Stravinsky, The Fire-Bird, "The Fire-Bird's Dance," 9. -
An Index to Alan Ansen's the Table Talk of W. H. Auden Edited By
An Index to Alan Ansen’s The Table Talk of W. H. Auden Edited by Nicholas Jenkins Index Compiled by Jacek Niecko A Supplement to The W. H. Auden Society Newsletter Number 20 • June 2000 Jacek Niecko is at work on a volume of conversations and interviews with W. H. Auden. Adams, Donald James 68, 115 Christmas Day 1941 letter to Aeschylus Chester Kallman 105 Oresteia 74 Collected Poems (1976) 103, 105, Akenside, Mark 53 106, 108, 109, 110, 111, 112, Amiel, Henri-Frédéric 25 114, 116, 118 Andrewes, Lancelot 75 Collected Poetry 108 Meditations 75 Dark Valley, The 104 Sermons 75 Dog Beneath the Skin, The 51, 112 Aneirin Dyer’s Hand, The xiii, 100, 109, 111 Y Gododdin 108 “Easily, my dear, you move, easily Ann Arbor, Michigan 20, 107 your head” 106 Ansen, Alan ix-xiv, 103, 105, 112, 115, Enemies of a Bishop, The 22, 107 117 English Auden, The 103, 106, 108, Aquinas, Saint Thomas 33, 36 110, 112, 115, 118 Argo 54 Forewords and Afterwords 116 Aristophanes For the Time Being 3, 104 Birds, The 74 Fronny, The 51, 112 Clouds, The 74 “Greeks and Us, The” 116 Frogs, The 74 “Guilty Vicarage, The” 111 Aristotle 33, 75, 84 “Hammerfest” 106 Metaphysics 74 “Happy New Year, A” 118 Physics 74 “I Like It Cold” 115 Arnason Jon “In Memory of W.B. Yeats” xv, 70 Icelandic Legends 1 “In Search of Dracula” 106 Arnold, Matthew xv, 20, 107 “In Sickness and In Health” 106 Asquith, Herbert Henry 108 “In the Year of My Youth” 112 Athens, Greece 100 “Ironic Hero, The” 118 Atlantic 95 Journey to a War 105 Auden, Constance Rosalie Bicknell “Law Like Love” 70, 115 (Auden’s mother) 3, 104 Letter to Lord Byron 55, 103, 106, Auden, Wystan Hugh ix-xv, 19, 51, 99, 112 100, 103-119 “Malverns, The” 52, 112 “A.E. -
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PLATES 1. Cole Porter, Yale yearbook photograph (1913). 2. Westleigh Farms, Cole Porter’s childhood home in Indiana (2011). 3. Cole Porter’s World War I draft registration card (5 June 1917). War Department, Office of the Provost Marshal General. 4. Linda Porter, passport photograph (1919). 5. Cole Porter, Linda Porter, Bernard Berenson and Howard Sturges in Venice (c.1923). 6. Gerald Murphy, Ginny Carpenter, Cole Porter and Sara Murphy in Venice (1923). 7. Serge Diaghilev, Boris Kochno, Bronislava Nijinska, Ernest Ansermet and Igor Stravinsky in Monte Carlo (1923). Library of Congress, Music Division, Reproduction number: 200181841. 8. Letter from Cole Porter to Boris Kochno (September 1925). Courtesy of The Cole Porter Musical and Literary Property Trusts. 9. Scene from the original stage production of Fifty Million Frenchmen (1929). PHOTOFEST. 10. Irene Bordoni, star of Porter’s show Paris (1928). 11. Sheet music, ‘Love for Sale’ from The New Yorkers (1930). 12. Production designer Jo Mielziner showing a set for Jubilee (1935). PHOTOFEST. 13. Cole Porter composing as he reclines on a couch in the Ritz Hotel during out-of-town tryouts for Du Barry Was a Lady (1939). George Karger / Getty Images. 14. Cole and Linda Porter (c.1938). PHOTOFEST. 15. Ethel Merman in the New York production of Cole Porter’s Panama Hattie (1940). George Karger / Getty Images. vi PLATES 16. Sheet music, ‘Let’s Be Buddies’ from Panama Hattie (1940). 17. Draft of ‘I Am Ashamed that Women Are So Simple’ from Kiss Me, Kate (1948), Library of Congress. Courtesy of The Cole Porter Musical and Literary Property Trusts. -
Elements of Traditional Folk Music and Serialism in the Piano Music of Cornel Țăranu
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2013 ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU Cristina Vlad University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Vlad, Cristina, "ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU" (2013). Student Research, Creative Activity, and Performance - School of Music. 65. https://digitalcommons.unl.edu/musicstudent/65 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. ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU by Cristina Ana Vlad A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Mark Clinton Lincoln, Nebraska December, 2013 ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU Cristina Ana Vlad, DMA University of Nebraska, 2013 Adviser: Mark Clinton The socio-political environment in the aftermath of World War II has greatly influenced Romanian music. During the Communist era, the government imposed regulations on musical composition dictating that music should be accessible to all members of society. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
An Analysis of Honegger's Cello Concerto
AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S -
DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M
DANSES CQNCERTANTES BY IGOR STRAVINSKY: AN ARRANGEMENT FOR TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted August, 1994 t ACKNOWLEDGMENTS I would like to extend my appreciation to Dr. William Westney, not only for the excellent advice he offered during the course of this project, but also for the fine example he set as an artist, scholar and teacher during my years at Texas Tech University. The others on my dissertation committee-Dr. Wayne Hobbs, director of the School of Music, Dr. Kenneth Davis, Dr. Richard Weaver and Dr. Daniel Nathan-were all very helpful in inspiring me to complete this work. Ms. Barbi Dickensheet at the graduate school gave me much positive assistance in the final preparation and layout of the text. My father, Mr. Savino Purrone, as well as my family, were always very supportive. European American Music granted me permission to reprint my arrangement—this was essential, and I am thankful for their help and especially for Ms. Caroline Kane's assistance in this matter. Many other individuals assisted me, sometimes without knowing it. To all I express my heartfelt thanks and appreciation. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii CHAPTER L INTRODUCTION 1 n. GENERAL PRINCIPLES 3 Doubled Notes 3 Articulations 4 Melodic Material 4 Equal Roles 4 Free Redistribution of Parts 5 Practical Considerations 5 Homogeneity of Rhythm 5 Dynamics 6 Tutti GesUires 6 Homogeneity of Texmre 6 Forte-Piano Chords 7 Movement EI: Variation I 7 Conclusion 8 BIBLIOGRAPHY 9 m APPENDIX A. -
Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit.