DOCSLIB.ORG

The Percussion Ensemble Music of Robert Moran Lucas James Bernier University of Iowa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Percussion Ensemble Music of Robert Moran Lucas James Bernier University of Iowa University of Iowa Iowa Research Online Theses and Dissertations 2012 The percussion ensemble music of Robert Moran Lucas James Bernier University of Iowa Copyright 2012 Lucas J. Bernier This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/3430 Recommended Citation Bernier, Lucas James. "The percussion ensemble music of Robert Moran." PhD diss., University of Iowa, 2012. http://ir.uiowa.edu/etd/3430. Follow this and additional works at: http://ir.uiowa.edu/etd Part of the Music Commons THE PERCUSSION ENSEMBLE MUSIC OF ROBERT MORAN by Lucas James Bernier An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa 1 December 2012 Essay Supervisor: Professor Daniel Moore Copyright by LUCAS JAMES BERNIER 2012 All Rights Reserved 2 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL _______________________ D.M.A. ESSAY _______________ This is to certify that the D.M.A. essay of Lucas James Bernier has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the December 2012 graduation. Essay Committee: ___________________________________ Daniel Moore, Essay Supervisor ___________________________________ David Gier ___________________________________ David Gompper ___________________________________ William LaRue Jones ___________________________________ Kristin Thelander To Robert Moran 2 ii ACKNOWLEDGMENTS First and foremost I must thank Dan Moore. I have the privilege of calling him my teacher, mentor, and friend. The wisdom, guidance, and support he continues to provide are more than I ever could have imagined. For this, I am forever grateful. I would also like to give a special thank you to Liesa Moore. Thank you for your friendship and for keeping me on task. I would to thank my committee members Dr. Kristin Thelander, Dr. David Gompper, Dr. William Larue Jones, and Dr. David Gier. These individuals have supported me through two degrees, served on numerous recital and exam committees, and have always looked out for my future. I owe a great deal of gratitude to Robert Moran for his music, humor, and for allowing me to write about him. He has been more than supportive throughout the writing process and I feel honored to call him my friend. My family also deserves a big thank you. I want to thank my Mom for putting up with my drumming in the house, my Dad for encouraging me to read, my brothers Ben for always having my back, and Chris for being my inspiration to pursue music. Thank you to my teachers at both The University of Iowa and Minnesota State University Moorhead who have also been encouraging throughout my education and professional career. 3 Finally and most importantly, I would like to thank my wife Niki. There is no one person who has been more supportive and encouraging. Without her unending love and patience, this document and degree would not be possible. As my editor and critic on many projects, she has helped me organize my thoughts and write clearly. There are no words that can describe the amount gratitude I have for her. Her emotional support has helped me through the most challenging times of three degrees and her ideas about life and education have helped me become a better person and teacher. iii TABLE OF CONTENTS LIST OF TABLES............................................................................................................. vi LIST OF FIGURES .......................................................................................................... vii CHAPTER I. INTRODUCTION ............................................................................................1 Statement of Problem and Need for Study .......................................................1 Purpose .............................................................................................................2 Procedures.........................................................................................................3 Limitations........................................................................................................3 Review of Related Literature............................................................................4 II. BIOGRAPHY...................................................................................................7 Education ..........................................................................................................7 The San Francisco Years ................................................................................10 Northwest, Northeast, and Northwestern........................................................11 New York........................................................................................................12 Philadelphia ....................................................................................................13 1990s...............................................................................................................14 2000 and Beyond ............................................................................................15 III. OVERVIEW OF COMPOSITIONAL STYLE..............................................16 City Pieces ......................................................................................................17 Theatrical, Interactive, and Media Works ......................................................20 Drone Pieces ...................................................................................................21 Dance Pieces ..................................................................................................22 Opera and Choral Works ...............................................................................23 Graphic Scores................................................................................................24 Percussion Ensemble Compositions...............................................................28 4 IV. OBRIGADO ...................................................................................................31 Form and Harmony ........................................................................................32 Rhythm ...........................................................................................................35 Texture and Thematic Material .....................................................................36 V. BOMBARDMENTS NO.2.............................................................................39 Graphic Notation and Its Relation to Improvisation ......................................41 Instrumentation...............................................................................................42 Navigation of the Score ..................................................................................44 Symbols ..........................................................................................................45 Analysis of Dan Moore’s Solo Version of Bombarments No. 2 ....................46 iv VI. BY ANY OTHER NAME..............................................................................49 Movement 1: Munich Miniatures- Var. I .......................................................50 Movement 2: Satyagraha Variation ...............................................................54 Movement 3: Libations...................................................................................58 VII. STIRLING: IT’S RAINING CATS AND DOGS..........................................63 Analysis .........................................................................................................66 VIII. CONCLUSION...............................................................................................72 APPENDIX A BIBLIOGRAPHY OF ROBERT MORAN’S PERCUSSION COMPOSITIONS..............................................................................................................74 Percussion Ensemble Works...........................................................................74 Variable Ensemble Works ..............................................................................78 APPENDIX B CONCERT PROGRAMS .........................................................................79 Percussion Music of Robert Moran: Iowa Percussion....................................79 New Literature Session PASIC 2011: Iowa Percussion.................................84 BIBLIOGRAPHY..............................................................................................................92 5 v LIST OF TABLES Table 4.1 Obrigado, Instrumentation .......................................................................................32 4.2 Obrigado, Ternary Form...........................................................................................32 4.3 Obrigado, Modified Rondo Form.............................................................................33 5.1 Bombardments No. 2, Instrumentation .....................................................................44 5.2 Bombardments No. 2, Instrumentation for Dan Moore’s Solo Realization..............47 6.1 By Any Other Name, Modified Rondo Form ............................................................59 7.1 Stirling: It’s Raining Cats and Dogs, Instrumentation.............................................63 7.2 Stirling: It’s Raining Cats and Dogs, Themes, Groups, and Tonal Centers.............66 6 vi LIST OF FIGURES Figure 3.1 Salagrama, Excerpt from Score, pg. 1......................................................................22
Load more

Recommended publications
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • Motion Tracking of a Fish As a Novel Way to Control Electronic Music Performance
    Artists’ Article Motion Tracking of a Fish as a Novel Way to Control Electronic Music Performance S h a l T i E l Eloul, Gil Zi S S u , Y E h i E l h . a M o a n d N o r i J a C o b Y The authors have mapped the three-dimensional motion of a fish T of Aristotle, who, in the 4th century BCE, tried to relate a C onto various electronic music performance gestures, including loops, fish’s fins to its straight motion, somewhat anticipating Isaac r melodies, arpeggio and DJ-like interventions. They combine an element S Newton’s identification of the fins as the physical basis of of visualization, using an LED screen installed on the back of an ABT a aquarium, to create a link between the fish’s motion and the sonified the generation of thrust for locomotion in water in the 17th music. This visual addition provides extra information about the fish’s century [2]. role in the music, enabling the perception of versatile and developing This unique locomotion can be both patterned and ran- auditory structures during the performance that extend beyond the dom, and therefore our translation of the fish’s movement sonification of the momentary motion of objects. into musical syntax observed the following rules: On the one hand, the fish’s repetitive paths could be captured as rhythm, Popular electronic music performances are situations in while on the other hand, occasional random movements which highly structured music defines the mood and social could trigger surprising musical responses and effects.
    [Show full text]
  • SWR2 Musikstunde Der Klang Der Moderne – Wien Um 1900 (1-5) Folge 5: Zwischenkriegszeit, Zweite Wiener Schule Und Zersprengung Von Andreas Maurer
    SWR2 Musikstunde Der Klang der Moderne – Wien um 1900 (1-5) Folge 5: Zwischenkriegszeit, Zweite Wiener Schule und Zersprengung Von Andreas Maurer Sendung vom: 13. August 2021 Redaktion: Dr. Ulla Zierau Produktion: SWR 2021 SWR2 können Sie auch im SWR2 Webradio unter www.SWR2.de und auf Mobilgeräten in der SWR2 App hören – oder als Podcast nachhören: Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Die SWR2 App für Android und iOS Hören Sie das SWR2 Programm, wann und wo Sie wollen. Jederzeit live oder zeitversetzt, online oder offline. Alle Sendung stehen mindestens sieben Tage lang zum Nachhören bereit. Nutzen Sie die neuen Funktionen der SWR2 App: abonnieren, offline hören, stöbern, meistgehört, Themenbereiche, Empfehlungen, Entdeckungen … Kostenlos herunterladen: www.swr2.de/app Lange schwankte die Habsburger Monarchie zwischen Schönheit und Abgrund. Nun ist der Erste Weltkrieg vorbei. Die Monarchie ist Geschichte, die Republik wird ausgerufen. Doch was ist mit der Kunst passiert? Herzlich Willkommen zum 5. und letzten Teil unserer Musikstunde zur Wiener Moderne. Mein Name ist Andreas Maurer, schön, dass Sie wieder dabei sind. Wien 1918. Nichts ist nach dem Ersten Weltkrieg wie zuvor. Die Stadt ist erschüttert, Familien zerrissen. Das Jahr beginnt mit Streiks der Arbeiterbewegung. Unweit des Stephansdoms, in der Kärtnerstrasse, reißt ein wütender Mob den Doppeladler von den Wänden der Hoflieferanten. Hunger und Unterernährung, extremer Mangel, Kälte, Krankheiten und Epidemien wie die Spanische Grippe oder die Tuberkulose fordern viele Tote. Vier Hauptprotagonisten der Wiener Moderne - Gustav Klimt, Egon Schiele, Otto Wagner und Kolo Moser – sterben noch im selben Jahr.
    [Show full text]
  • Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
    Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8.
    [Show full text]
  • Gerhard Samuel Collection ARS.0049
    http://oac.cdlib.org/findaid/ark:/13030/kt8779s460 No online items Guide to the Gerhard Samuel Collection ARS.0049 Finding aid prepared by Franz Kunst Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] © 2011 The Board of Trustees of Stanford University. All rights reserved. Guide to the Gerhard Samuel ARS.0049 1 Collection ARS.0049 Descriptive Summary Title: Gerhard Samuel Collection Dates: 1940-2007 Collection number: ARS.0049 Creator: Samuel, Gerhard Collection size: 104 boxes: 695 reels ; 889 audiocassettes ; 10 DATs ; 13 phonogram discs ; 5 compact discs ; 19 CD-Rs ; 11 videocassettes ; 1 DVD-R ; 26 computer discs ; approximately 5 boxes of photographs, film, microfilm, and slides. Remainder are paper files. Repository: Archive of Recorded Sound Abstract: Papers and recordings from American conductor and composer Gerhard Samuel (1924-2008), particularly from his years conducting the Oakland Symphony, Minneapolis Symphony, and University of Cincinnati. Language of Material: Multiple languages Access Open for research; material must be requested at least two business days in advance of intended use. Contact the Archive for assistance. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation Gerhard Samuel Collection, ARS-0049. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. Source The Gerhard Samuel Collection was donated to the Stanford Archive of Recorded Sound by Erica Wilhelm in 2009.
    [Show full text]
  • Zur Rezeption Der Wiener Schule in Agram/Zagreb Und Kroatien
    Eva Sedak (Zagreb/Kroatien) = Zur Rezeption der Wiener Schule in Agram/Zagreb und Kroatien 1. Was ist die Wiener Schule? 1.1 Zeitliche Abgrenzungsversuche in Bezug auf den Wirkungskreis dieser ‚Schule‘, auch für die Zeit nach Arnold Schönbergs Übersiedlung(en) sowie nach seinem Tod. 1.2 ‚Schule‘ als Ideengeschichte. Die Gleichberechtigung der ‚Lehrerper- sönlichkeiten‘ von Alban Berg und Anton Webern. Die Verschieden- heit ihrer pädagogischen Ansätze und Ausstrahlungen in der ‚Neuzeit‘ und ihr eventueller Bezug zur ‚Postmoderne‘. 1.3 Zur Gefahr der Einengung des Begriffs ‚Wiener Schule‘ auf die tech- nische und anekdotische Ebene wie auch auf ästhetische Stereotype als von der ‚allgemeinen‘ Entwicklung abgesonderte Einzelsymbole. 2. Was ist Rezeption? 2.1 Methodologischer Ansatz in historischer Perspektive. Rezeptionsfor- schung als Datensammlung und Kritikerübersicht (vgl. Carl Dahl- haus) oder Rezeption als Transzendierungsprozeß. Positivismus oder Kritizismus? 2.2 Neubewertung mit Möglichkeit der Abwertung? Ist Schönberg passé? Ist die ‚Schule‘ passé? 2.3 Das Territorium (die Orte) – die Zeit. (Beides ist aus den oben auf- gestellten Untersuchungsprämissen abzuleiten und zu begründen.) Leider ist Frau Eva Sedak vor der endgültigen Ausarbeitung ihres Beitrags verstorben. Wir sind ihrer Zagreber Kollegin, Frau Nada Bezić, sehr dankbar, gemeinsam mit der Tochter von Frau Sedak sowohl den Artikel als auch die Anhang-Übersichten aus der Hinterlassenschaft der Autorin ‚gerettet‘ zu haben. Frau Bezić und Herrn Nikša Gligo danken wir zusätzlich für die kompetente Durchsicht der Unterlagen. Zu den Punkten „1. Was ist die Wiener Schule?“ und „2. Was ist Rezeption?“ hat Frau Sedak im Symposion gemäß ihren hier abgedruckten Stichworten frei gesprochen. Zur Rezeption der Wiener Schule in Agram/Zagreb und Kroatien 163 3.
    [Show full text]
  • MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A.
    [Show full text]
  • National Endowment for the Arts Annual Report 1993
    L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform­ ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts.
    [Show full text]
  • 4 /3 Jf Daube's General-Bass in Drey
    319 ,A> '«"4 /3 J. F. DAUBE'S GENERAL-BASS IN DREY ACCORDEN (1756): A TRANSLATION AND COMMENTARY DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY by Barbara K. Wallace, B.M., M.M. Denton, Texas May, 1983 Copyright © 1983 by Barbara K. Wallace Wallace, Barbara K., J. F. Daube's "General-Bass in drey Accorden" (1756): A Translation and Commentary. Doctor of Philosophy (Music Theory), May, 1983, 288 pp., bibliography, 138 titles. General-Bass in drey Accorden (1756), the first of Johann Friedrich Daube's theoretical works, is a practical instruction manual in thorough-bass accompaniment. It consists of a sixteen- page preface followed by 215 pages of text and musical examples. The twelve chapters begin with a presentation of interval clas- sification and a discussion of consonance and dissonance. Daube then explains a theory of harmony in which all "chords" are derived from three primary chords. These are illustrated with regard to their sequence in harmonic progressions, their resolutions—common and uncommon—, and their use in modulation. Seventy-two pages of musical examples of modulations from all major and minor keys to all other keys are included. Particular attention is given to the fully diminished seventh chord, which is illustrated in all inversions and in numerous modulatory progressions. Daube devotes one chapter to three methods of keyboard accompaniment. The subject matter includes textures, dynamics, proper doubling, the accompaniment of recitatives, full-voiced accompaniment, the use of arpeggiation, trills, running pas- sages, and ornamentation in general.
    [Show full text]
  • Tradition As Muse Schoenberg's Musical Morphology and Nascent
    Tradition as Muse Schoenberg's Musical Morphology and Nascent Dodecaphony by Áine Heneghan A dissertation submitted in candidacy for the degree of Doctor of Philosophy to The University of Dublin Trinity College March 2006 DECLARATION I, Áine Heneghan, declare that this thesis has not been submitted as an exercise for a degree at this or any other University and that it consists entirely of my own work. I agree that the Library may lend or copy the thesis upon request, this permission covering only single copies made for study purposes, subject to normal conditions of acknowledgement. Signed __________________ Áine Heneghan March 2006 Summary of the Dissertation Tradition as Muse: Schoenberg's Musical Morphology and Nascent Dodecaphony by Áine Heneghan The University of Dublin Trinity College March 2006 This study reappraises the evolution of Arnold Schoenberg's method of composing with twelve tones by examining the interrelationship of his theoretical writings and compositional practice. Premised on the idea that theory and practice were interdependent for Schoenberg, I argue, on the one hand, that the richness and diversity of his nascent dodecaphony can be fully appreciated only in the context of the development of his musical thought and, on the other hand, that his terminological concepts—for example, Grundgestalt, 'unfolding' [Abwicklung], the distinction between Satz and Periode (sentence and period), and the differentiation of 'stable' and 'loose' construction—came about precisely because of his compositional experiments during the early 1920s. The discussion and musical analyses of selected movements from the Klavierstücke, Op. 23, the Serenade, Op. 24, and the Suite für Klavier, Op.
    [Show full text]
  • THE LA SALLE QUARTET Plays HAYDN ∙ BRAHMS ∙ ZEMLINSKY
    THE LA SALLE QUARTET plays HAYDN ∙ BRAHMS ∙ ZEMLINSKY JOSEPH HAYDN (1732 - 1809) Streichquartett D-Dur op. 71 Nr. 2 14:50 01 Adagio – Allegro 04:43 02 Adagio 04:50 03 Menuet. Allegretto – Trio 01:53 04 Finale. Allegretto 03:24 JOHANNES BRAHMS (1833 - 1897) Streichquartett Nr. 3 B-Dur op. 67 32:53 05 Vivace 09:30 06 Andante 06:52 07 Agitato (Allegretto non troppo) 08:08 08 Poco allegretto con variazioni 08:23 ALEXANDER ZEMLINSKY (1871 - 1942) Streichquartett Nr. 3 op. 19 20:41 09 Allegretto. Gemächlich, innig bewegt 06:48 10 Thema mit Variationen 04:51 11 Romanze. Sehr mäßige Achtel. Andante sostenuto 04:09 12 Burleske. Sehr lebhaft. Allegro moderato 04:53 TOTAL TIME 68:49 VON DER ERHITZUNG DER des Klavierquintetts von Dvořák mit Arthur unter anderem im Bereich markanter Auslo- mentalen Vorgehens lesen. Dieser Eindruck Rubinstein am Flügel festgehalten ist. tung dynamischer Grenzwerte bemerkbar. mag auch deshalb entstanden sein, weil die SACHLICHKEIT Und auch im Umfeld lieblicher, beschwich- von Walter Levin und seinen Mitspielern ge- Mit großer Entschiedenheit und ebenso gro- tigender und dann wieder dramatischer wählten Stücke allein schon eine extreme Es handelt sich um eine unvergleichliche ßer Überzeugungskraft widmete sich das Ausdruckselemente genieren sich die vier Konfrontation mit den Hörgewohnheiten der Lebens-, Schaffens- und Wirkungsgeschichte: LaSalle Quartet von Beginn an der Musik Herren nicht, Haydn sozusagen beim Wort Musikfreunde bedeuteten. Hinzu kommt, dass Die 42 Jahre währende künstlerische und insti- des ausgehenden
    [Show full text]
  • Un'altra Dodecafonia – Sul Compositore Josef Matthias Hauer
    Albert Mayr Un’altra dodecafonia – Sul compositore Josef Matthias Hauer © 2014 AlefBet, Firenze ISBN 978-88-902631-5-6 Introduzione Tra le ‘grammatiche’ musicali sviluppate nella prima metà del secolo scorso la dodecafonia (la tecnica compositiva con 12 suoni messi in relazione solo tra loro stessi), con le successive filiazioni: serialismo, puntillismo, ecc., occupa un posto di primo piano. E quando si parla di dodecafonia ci si riferisce (quasi) sempre ad Arnold Schönberg e i suoi allievi Alban Berg e Anton Webern oppure a compositori come Luigi Dallapiccola che hanno sviluppato un loro approccio autonomo a quella tecnica. Già meno si conoscono gli esponenti della “seconda generazione” della scuola dodecafonica viennese, come Hans Erich Apostel o Hanns Jelinek. E solo pochi addetti ai lavori (e pochissimi fuori dall’area di lingua tedesca) si sono occupati dell’austriaco Josef Matthias Hauer (1883 – 1959) inventore, indipendentemente da Schönberg, di una diversa tecnica compositiva dodecafonica. Probabilmente vari fattori hanno contribuito a lasciare nell’ombra Hauer; il verdetto categorico di Stuckenschmidt (1966, p.15 ) sulla marcata inferiorità compositiva di Hauer rispetto al gruppo schönberghiano coglie la verità solo in parte, in effetti Hauer mirava a fare cose sostanzialmente diverse, come vedremo. Infatti, specialmente dagli anni venti del secolo scorso in poi non si considerava tanto un compositore quanto un trasmettitore di una musica cosmica creata da Dio. Il carattere non facile di Hauer ha giocato la sua parte nel rendere conflittuali i rapporti con colleghi e amici (1). E poi il suo pensiero e la sua opera, così distanti da tutte le estetiche in voga durante la sua vita, non ebbero degli apostoli di peso come li ebbe il gruppo schönberghiano – pensiamo solo all’Adorno della Filosofia della musica moderna (2).
    [Show full text]