Roads to Solace
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate. -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
The Chesterian (1915-1961)
Introduction to: Liesbeth Hoedemaeker, The Chesterian (1915-1940, 1947-1961) Répertoire international de la presse musicale (www.ripm.org) Copyright © 2013 RIPM Consortium Ltd The Chesterian 1915-1961 The Chesterian [CHE], one of England’s most important journals dealing with the development of musical composition and style during the first half of the twentieth century, was published by J. & W. Chester, the well-known music publisher. The journal1 was issued in two series, the first from 1915-1919; the second, titled New Series, from 1919-1961. Publication was interrupted from 1940 to 1947, years of the Second World War. The journal’s format is small: ca. 11 x 19 cm. The volumes were published annually from September to July. The first series consists of twenty, sixteen-page issues containing 320 numbered pages. The New Series consists of two- hundred-and-eight issues and 8,632 pages, including unnumbered pages. The number of annual issues begins at eight per volume in September 1919; declines to six in September 1932 until 1939; and, after the interruption, to four issues in 1947. The cover pages often contain information, such as lists of contributors, opinions of subscribers, contents of earlier issues and advertisements. The appearance of the New Series sparked sufficient interest to be recognized in the New York Tribune which offered an extensive preliminary list of contributors, citing letters as being of special interest: A feature of this magazine will be letters from various music centres containing information of current musical events. Ernest Newman, René Chalupt, Guido M. Gatti and Adolfo Salazar will be the respective contributors of letters from London, Paris, Italy and Spain.2 The journal’s appearance was also noted in The Musical Times: The Chesterian will be a … very readable little circular … In its new form it will appear eight times in the year. -
Nationalism, Primitivism, & Neoclassicism
Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets -
A Level Schools Concert November 2014
A level Schools Concert November 2014 An Exploration of Neoclassicism Teachers’ Resource Pack Autumn 2014 2 London Philharmonic Orchestra A level Resources Unauthorised copying of any part of this teachers’ pack is strictly prohibited The copyright of the project pack text is held by: Rachel Leach © 2014 London Philharmonic Orchestra ©2014 Any other copyrights are held by their respective owners. This pack was produced by: London Philharmonic Orchestra Education and Community Department 89 Albert Embankment London SE1 7TP Rachel Leach is a composer, workshop leader and presenter, who has composed and worked for many of the UK’s orchestras and opera companies, including the London Sinfonietta, the Orchestra of the Age of Enlightenment, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North, and the London Symphony Orchestra. She studied at the Guildhall School of Music and Drama, at Opera Lab and Dartington. Recent commissions include ‘Dope Under Thorncombe’ for Trilith Films and ‘In the belly of a horse’, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Her community opera ‘One Day, Two Dawns’ written for ETO recently won the RPS award for best education project 2009. As well as creative music-making and composition in the classroom, Rachel is proud to be the lead tutor on the LSO's teacher training scheme for over 8 years she has helped to train 100 teachers across East London. Rachel also works with Turtle Key Arts and ETO writing song cycles with people with dementia and Alzheimer's, an initiative which also trains students from the RCM, and alongside all this, she is increasingly in demand as a concert presenter. -
JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. -
February 2020 Lectures
February 2020 Event Guide Each month we enjoy sharing information with you Lectures about upcoming events on campus. This month as the spring semester begins there are many exhibits, talks, Science performances and athletic events to take advantage of Theater on campus. Music Readings We call your attention to a program on February 4th at 7:30 pm in Richardson Auditorium. This program is the Dance second in a series during this academic year that Film celebrates the life and legacy of Toni Morrison. This Art month the series features playwright, actor and educator Anna Deavere Smith and novelist and educator Marlon Quick Links James in conversation with Lewis Center chair Tracy Community and Regional K. Smith. Additional information about the series and Affairs the speakers is available here. Lewis Center for the Arts Princeton Art Museum Princeton Athletics And for regular readers of UpRoar, we are pleased to Princeton Bike Share give you a "sneak peak" of the latest edition of Princeton University Community Connections. This semi-annual Princeton University Library Princeton University Bulletin newsletter is mailed to area residents and will be in your Public Events Calendar mailbox soon - but you can read the newsletter online University Chapel now. University Ticketing Kristin Appelget Follow Us On Facebook Erin Metro Office of Community and Regional Affairs Lectures The Department and Program in Near Eastern Studies' Brown Bag Lunch Series continues with City, Chaos, and Conflict in Syrian Television. Monday, February 3; 12:00 pm; Jones Hall, Room 202. University of Pennsylvania Professor Ian S. Lustick will discuss his new book, "Paradigm Lost: From Two-State Solution to One-State Reality," with moderator Amb. -
Erik Satie's Vexations—An Exercise in Immobility Christopher Dawson
Document généré le 23 sept. 2021 22:49 Canadian University Music Review Revue de musique des universités canadiennes Erik Satie's Vexations—An Exercise in Immobility Christopher Dawson Volume 21, numéro 2, 2001 Résumé de l'article La pièce pour piano Vexations d’Erik Satie comporte une « Note de l’auteur » URI : https://id.erudit.org/iderudit/1014483ar où le compositeur demande apparemment aux interprètes de répéter le DOI : https://doi.org/10.7202/1014483ar morceau 840 fois. Les opinions des biographes de Satie divergent quant à savoir si Satie voulait ou non une exécution « complète » de la pièce. Dans cet Aller au sommaire du numéro article, l’auteur évalue comment une interprétation littéraire de la Note peut jeter un éclairage sur les intentions de Satie. Il conclut que Vexations n’est pas tant un morceau de bravoure qu’un exercice : un moment musical conçu pour Éditeur(s) dégager les interprètes des notions occidentales conventionnelles de développement linéaire et de réception cumulative, en faveur d’un style Canadian University Music Society / Société de musique des universités musical personnel d’où est absent le développement, et pour les préparer à canadiennes jouer d’autres pièces, telles une Gymnopédie ou une Gnossienne. ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Dawson, C. (2001). Erik Satie's Vexations—An Exercise in Immobility. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 29–40. https://doi.org/10.7202/1014483ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. -
Nicolas Horvath Erik Satie (1866-1925) Intégrale De La Musique Pour Piano • 3 Nouvelle Édition Salabert
comprenant DES PREMIERS ENREGISTREMENTS MONDIAUX SATIE INTÉGRALE DE LA MUSIQUE POUR PIANO • 3 NOUVELLE ÉDITION SALABERT NICOLAS HORVATH ERIK SATIE (1866-1925) INTÉGRALE DE LA MUSIQUE POUR PIANO • 3 NOUVELLE ÉDITION SALABERT NICOLAS HORVATH, Piano Numéro de catalogue : GP763 Date d’enregistrement : 11 décembre 2014 Lieu d’enregistrement : Villa Bossi, Bodio, Italie Publishers: Durand/Salabert/Eschig 2016 Edition Piano : Érard de Cosima Wagner, modèle 55613, année 1881 Producteur et Éditeur : Alexis Guerbas (Les Rouages) Ingénieur du son : Ermanno De Stefani Rédaction du livret : Robert Orledge Traduction française : Nicolas Horvath Photographies de l’artiste : Laszlo Horvath Portrait du compositeur : Santiago Rusiñol Una romanza ©MNAC Couverture : Sigrid Osa L’artiste tient à remercier sincèrement Ornella Volta et la Fondation Erik Satie. 2 1 PRÉLUDE DU NAZARÉEN [EN DEUX PARTIES] ** 10:23 uspud – ballet chrétien en trois actes ** 23:53 2 Acte 1 09:33 3 Acte 2 06:20 4 Acte 3 07:53 5 EGINHARD. PRÉLUDE 02:04 6 DANSES GOTHIQUES ** 10:34 7 VEXATIONS 07:01 8 SANS TITRE, PEUT-ÊTRE POUR LA MESSE DES PAUVRES, [MODÉRÉ] 01:04 9 PRÉLUDE DE « LA PORTE HÉROÏQUE DU CIEL » ** 04:50 0 GNOSSIENNE [N° 6] 02:17 ! SANS TITRE, ?GNOSSIENNE [PETITE OUVERTURE À DANSER] ** 02:09 PIÈCES FROIDES : AIRS À FAIRE FUIR 10:00 @ D’une manière très particulière 04:30 # Modestement 01:09 $ S’inviter ** 04:19 % AIRS À FAIRE FUIR N° 2 (version plus chromatique) * 00:26 PIÈCES FROIDES : DANSES DE TRAVERS ** 06:25 ^ En y regardant à deux fois 02:02 & Passer 01:44 * Encore 02:37 ( DANSE DE TRAVERS II ** 03:12 * PREMIER ENREGISTREMENT MONDIAL DURÉE TOTALE: 85:03 ** PREMIER ENREGISTREMENT MONDIAL DE LA VERSION RÉVISÉE PAR ROBERT ORLEDGE 3 ERIK SATIE (1866-1925) INTÉGRALE DE LA MUSIQUE POUR PIANO • 3 NOUVELLE ÉDITION SALABERT À PROPOS DE NICOLAS HORVATH ET DE LA NOUVELLE ÉDITION SALABERT DES « ŒUVRES POUR PIANO » DE SATIE. -
Open Boerner Thesis.Pdf
The Pennsylvania State University The Graduate School School of Music INTERMEDIAL AND AESTHETIC INFLUENCES ON ERIK SATIE’S LATE COMPOSITIONAL PRACTICES A Thesis in Music Theory by Michael S. Boerner © 2013 Michael S. Boerner Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2013 The thesis of Michael S. Boerner was reviewed and approved* by the following: Taylor A. Greer Associate Professor of Music Thesis Advisor Maureen A. Carr Distinguished Professor of Music Marica S. Tacconi Professor of Musicology Assistant Director for Research and Graduate Studies *Signatures are on file in the Graduate School. ii ABSTRACT Artistic works involving a variety of mediums tend to be approached and analyzed from a single artistic viewpoint, failing to consider the interactions of the different mediums that define the work as a whole. The creative process is influenced by the types of mediums involved, individuals participating in the collaboration, and the overall aesthetic climate of the period. Erik Satie (1866-1925) created numerous intermedial works in the last decade of his life where the medium impacted the compositional practices contained within his music. Satie was also tangentially involved in a number of artistic and aesthetic movements, such as Cubism, Dadaism, and early Surrealism, which influenced his integration. His personal relations and collaborations with prominent artists of these movements, such as Francis Picabia, André Breton, and Pablo Picasso. The works investigated in this thesis highlight Satie’s consideration of extramusical influences and include Sports et divertissements (1923), Parade (1917), Relâche (1924), and Cinéma: Entr’acte (1924). Two additional pieces composed by the Dada artist Georges Ribemont-Dessaignes (1884-1974) will also be examined as a point of comparison with Satie’s works. -
SUMMERGARDEN Program Is Dedicated to the Music of Erik Satie (1866-1925) in Celebration of the 125Th Anniversary of His Birth
PROGRAM Summergarden For 1991, The Museum of Modern Art's SUMMERGARDEN program is dedicated to the music of Erik Satie (1866-1925) in celebration of the 125th anniversary of his birth. Under the artistic direction of Paul Zukofsky, the 1991 concert series marks the fifth collaboration between the Museum and The Juilliard School. SUMMERGARDEN, free weekend evenings from July 6 to September 1, 6:00 - 10:00 p.m., is made possible in part by NYNEX Corporation. Concerts, beginning at 7:30 p.m., are performed by young artists and recent graduates of The Juilliard School. The schedule is as follows: July 5 and 6 Complete incidental music to Les Fils des Etoiles (1891) and Three Sarabandes (1887) Emily George, piano July 12 and 13 Music by Bach, Mozart, Rameau, Byrd, Couperin, D. Scarlatti, Clementi, and Satie Emily George, piano July 19 and 20 Veritables Preludes flasques (pour un chien) (1912), Descriptions automatiques (1913), Embryons desseches (1913), Croquis et agaceries d'un gros bonhomme en bois (1913), Chapitres tournes en tous sens (1913), Vieux sequins et vielles cuirasses (1913), Enfantines (1913), Heures secuTaires et instantanees (1914), Les Trois Valses distinguees du precieux degoute (1914), and Avant-dernieres pensees (1915) Michael Torre, piano Friday and Saturday evenings in the Sculpture Garden of The Museum of Modern Art are made possible in part by NYNEX West 53 Street, New York, NY. 10019-5498 Tel: 212-708-9850 C :RNART Telex: 62370 Mi 2 July 26 and 27 Les Heures Persanes (1916-19) Charles Koechlin Karen Becker, piano August -
FRENCH CONCERTOS from the 19Th Century to the Present
FRENCH CONCERTOS From the 19th Century to the Present A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis Composers L-Z ÉDOUARD LALO - see separate page SERGE LANCEN (1922-2005) Born in Paris. After some initial training, he studied the piano with Marguerite Long and Lazare Lévy as well as composition with Noël Gallon and Tony Aubin at the Paris Conservatory. In 1950 he was awarded the "Prix de Rome." He composed various genres of music including chamber music, works for piano, ballet music, a chamber opera and symphonic compositions. He excelled in music for band. Among his unrecorded concertante works are his Piano Concerto (1947-51), Piano Concertino (1949), Harmonica Concerto (1954), Violin Concerto (1966), Concerto Rhapsodie for Piano and Orchestra (1974), Concerto for Violin, Double Bass and Orchestra (1985) and Harp Concerto (1988). Concerto for Double Bass and String Orchestra (1962) Yoan Goilav (double bass)/Clemens Dahinden/Winterthur String Ensemble ( + Cooqui, Montag: Extrême, Bloch: Prayer, Mortari: Duettini Concertati, Schubert: Arpeggione Sonata and Sperger: Sonata à Due) TUXEDO MUSIC TUXCD 1205 (2001) (original LP release: CLASSIC PIC (70-121) (1976) Concerto Champêtre for Harp and Wind Orchestra (1968) Joke Brethouwer (harp)/Jan Cober/Brabant Conservatory Wind Orchestra ( + Trombone Concerto and Parade Concerto) MBCD 31.1016.72 (1990) Hélène Silvie (harp)/Désiré Dondeyne/Orchestra ( + Damase: Harp Concerto, Grandjany: Aria in Classic Style and Dondeyne Quintet for Harp ad String Quartet) QUANTUM QM 7030 (2004) Concerto da Camera for Flute and Orchestra (1962) Pedro Eustache (flute)/Daniel Chabrun/Orchestre de Chambre de l'ORTF ( + Printanieres, Leclair: Violin Concerto, and Boismortier: Flute Sonata) FRENCH BROADCASTING SYSTEM IN NORTH AMERICA, Programs 619-20 (2 non-commercial LPs) (c.