555350 Bk Yamadaec 12/12/2003 14:53 Pm Page 12

Total Page:16

File Type:pdf, Size:1020Kb

555350 Bk Yamadaec 12/12/2003 14:53 Pm Page 12 555350 bk YamadaEC 12/12/2003 14:53 pm Page 12 Hana zur Uraufführung brachte. 1918 und 1919 führte Schülern gehören Hidemaro Konoye, Tamezo Narita, DDD er seine Werke mit dem New York Symphony Kiyomi Fujii, Toraji Onaka, Teiji Miyahara, Wen-ye Orchestra (dem heutigen New York Philharmonic) in Jiang und Ikuma Dan. Er entdeckte junge Talente wie 8.555350 der Carnegie Hall auf. Bei dieser Gelegenheit wurde Kazuo Yamada, Urato Watanabe, Fumio Hayasaka und auch Das dunkle Tor uraufgeführt. Während seines Akira Ifukube. Im Laufe seiner Karriere wandte sich Aufenthalts in den Vereinigten Staaten begegnete er Yamada mehr und mehr der Oper zu. Mit Ayame (1931) Kôsçak Rachmaninow, Prokofjew und Ornstein. Die und Yoake (1940) gelangen ihm zwei Meisterwerke. Verfeinerung und Perfektionierung seines typischen Eine große Oper über die chinesische Geschichte mit Kompositionsstils führte ihn zur Vollendung seiner dem Titel Die Prinzessin Shian-Fei, die er im von Japan YAMADA epochalen Sinfonie „Inno Meiji“ (1921), in der er besetzten China aufzuführen hoffte und mit der er der traditionelle japanische Instrumente solistisch in ein Welt die Qualitäten asiatischer Musiker demonstrieren Symphony in F major ‘Triumph and Peace’ Sinfonieorchester europäischer Prägung integriert. Er wollte, blieb Fragment (sie wurde von seinem Schüler war der Gründungsvater des führenden japanischen Ikuma Dan vollendet und 1981 uraufgeführt). Ulster Orchestra • New Zealand Symphony Orchestra Orchesters, des heutigen NHK Symphony Orchestra, 1948 erlitt Yamada einen Schlaganfall. Er musste mit dem er zahlreiche Werke von Mozart und seine aktive Laufbahn beenden und komponierte nur Takuo Yuasa Beethoven bis hin zu Kompositionen junger japanischer noch einzelne kurze Lieder. Er starb am 29. Dezember Nachwuchsmusiker zur Aufführung brachte. Daneben 1965. So groß war Yamadas Bedeutung in Japan, dass schuf er eine Vielzahl von Liedern, die heute in Japan sein Leben für das Fernsehen in dramatisierter Form weithin bekannt sind, schrieb Bücher über Musik und verfilmt wurde. Musiktheorie, komponierte Musik für die ersten japanischen Tonfilme und dirigierte als prominenter Morihide Katayama Japaner in den 1930er Jahren die Berliner und Leningrader Philharmoniker. Zu seinen zahlreichen Deutsche Fassung: Bernd Delfs 8.555350 12 555350 bk YamadaEC 12/12/2003 14:53 pm Page 2 Kôsçak YAMADA (1886-1965) und ein chromatisches (A-Gis-G-F) werden vorgestellt Das Werk erfordert ein großes Orchester mit und erzeugen eine düstere Atmosphäre. Plötzlich dreifachem bzw. vierfachem Holz und Tenorsaxofon. Overture in D major • Symphony in F major ‘Triumph and Peace’ steigert sich die Musik zu einem kakophonischen, vom Die melodiöse Musik wird hauptsächlich von zwei Symphonic Poem ‘The Dar Gate’ • Symphonic Poem ‘Madara No Hana’ Schlagzeug dominierten Presto. Nach einem Intervallen dominiert, einer perfekten Quart (C-F) und Augenblick der Beruhigung löst ein Sforzato in den einer Durterz (C-As). Das in Harfe und Violine Kôsçak Yamada belongs to the group of the first fully- boy was seven years old. In poverty, his brother left the Pauken weitere Klangexplosionen aus. Dieser Teil stellt emporsteigende Eröffnungsmotiv steht für die „im fledged composers that Japan produced. He was also a family and his father died of cancer when Yamada was das wiederholte Klopfen an das Tor dar. Danach Abendrot leuchtende Sonne“. Die folgende, prominent conductor, organizer, and leader of the nine. Immediately after that, he was sent to a dormitory herrscht erneutes Schweigen, das aber bald von einem verschwommene Oboenmelodie evoziert die Japanese music world. As a great pioneer, he played a school (a night school with printing facilities), which ansteigenden Viertonmotiv beendet wird, das aus der geheimnisvolle Welt. Allmählich steigert sich die definitive rôle in helping Western music take root in was run by a clergyman in Sugamo, in the northern part Umkehrung des fallenden Motivs gewonnen wird. Musik, als der Sohn dem Vater nacheilt. Die fallende Japan. In the 1860s, after 250 years of isolation, Japan of Tokyo. In this school he started a life of work, studies Beide Motive, Todesresignation und Todesekstase choralartige Melodielinie (F-C) suggeriert die restored extensive contacts with Western civilization, and hymns, dreaming of becoming a composer, but symbolisierend, werden miteinander verknüpft. Das herabfallenden, am Boden verstreuten Madara no including music. Military bands were formed and in heavy work had a serious effect on his health, which Werk endet in den sanften Klängen der tiefen hanas. Im abrupt einfallenden Fortissimo wird der „hell 1879 Ongaku-Torishirabe-Gakari, a national research forced him to spend two years in Kamakura, attended Instrumente. leuchtende Palast“ sichtbar. Ekstatisch fährt die Musik centre of Western music (later to become the Tokyo by his mother. After recovering from illness, he worked Madara No Hana basiert auf dem gleichnamigen fort. Music School), was founded. Japanese traditional as an errand-boy in Shimbashi Station and when he was Gedicht von Yamadas engem Freund Kazo Saito, einem Diese beiden sinfonischen Dichtungen stellen einen musicians under the Emperor started to learn Western fourteen, he went to Okayama, in the West of Japan, vielseitig begabten Kommilitonen aus der Berliner Zeit, Prototyp japanischer Kompositionsart dar, wie sie music, and Japanese people were eager to make up for where his thirteen-year-older sister lived. His sister had der sich u.a. von Kandinsky und Bruno Taut inspirieren später auch bei Toru Takemitsu begegnet. Während die lost time in every field. married an Englishman, Edward Gauntlet, who had ließ. Madara no hana sind Blumen, die im Werke verschiedene Elemente aus Romantik, Yamada was born in these surroundings on 9th June come to Japan through his keen interest in the Orient buddhistischen Himmel blühen. Das Gedicht hat Impressionismus, Yamadas geliebter Miltärmusik und 1886, the sixth of seven children. His father was and was teaching English at the Sixth High School of folgenden Inhalt: geistlichen Liedern absorbieren, zeigen sie auch die formerly a samurai of lower grade in the Mikawa Okayama, one of the leading schools in Japan. This Die Sonne leuchtet im Abendrot. Ich sehe die Vorliebe des Komponisten für miniaturhafte district (today’s Aichi Prefecture), but the end of brother-in-law was from a well-connected family and Lichter des Palastes und einen alten Mann, der seine musikalische Architektur, für kurze, zerbrechliche Japanese feudalism, with the collapse of the shogun was an amateur musician and an organist for the Augen im See wäscht. Ich wandere durch dieses fremde Melodien, komplexe Klangfarben, asymmetrische regime, involved the disappearance of the samurai Anglican Church. Playing instruments and singing Land. Dann geht der alte Mann an mir vorbei und eilt Rhythmen, sanfte Klänge und Stille sowie mehrdeutige class. Yamada’s father started his new life as a hymns with him, Yamada’s dream of becoming a zum Palast. Ich folge ihm, doch er entschwindet Sensibilitäten (die er in seiner Ouvertüre D-Dur noch speculator in Tokyo, which brought him a large amount composer grew. His brother-in-law advised him to be a meinem Blick. Einsam und weinend wandere ich weiter zurückgewiesen hatte). of money and a life of debauchery, but it did not last musician and helped him financially. His mother was at und gelange an einen Ort, an dem überall Madara no Diese vier Werke markieren den Beginn der long, and soon after Kôsçak was born, the family moved first against the idea of a samurai’s child becoming a hanas auf der Erde verstreut sind. In der Ferne leuchtet japanischen Orchestermusik. Leider ergab sich für to Yokosuka, where his father started a bookstore. In musician, but when Yamada was seventeen, she died, der Palast, der mich durch seine Schönheit bezaubert. Yamada keine Aufführungsgelegenheit in Deutschland. this naval city, as the Sino-Japanese War drew near, leaving a will that allowed him to follow this course. Doch wenig später wird es dunkel und nur die Madara Nachdem er 1913 vorübergehend nach Tokio Yamada was enchanted by military bands marching Thus in 1904 Yamada entered the Tokyo Music School, no hanas setzen ihren Weg fort. zurückgekehrt war, zwang ihn der Ausbruch des 1. around the city, and he tirelessly followed them. He also after studying at Kwansei Gakuin High School (a Unmittelbar nachdem er das Gedicht vollendet Weltkriegs, gegen seinen Willen in Japan zu bleiben. Er became familiar with hymns sung in church, as his missionary school) and having experience in choral hatte, erhielt Saito aus Japan die Nachricht vom Tod hatte gehofft, sich in Europa als Komponist zu mother’s side of the family was devout Protestant and it work and organ playing. seines Vaters. Als Mystiker, der er war, interpretierte etablieren, aber schließlich machte er es sich zum Ziel, is said that his family had a harmonium. Yamada’s Although his desire was to become a composer, Yamada das Gedicht als Omen des Todes von Saitos die japanische Musik im Land selbst zu unterstützen. Zu starting-point as a musician was these sounds of Yamada’s major study at the Tokyo Music School was Vater. Der Vater (im Gedicht der alte Mann) wird in dieser Zeit gab es in Japan noch keine Berufsorchester military bands, melodies of hymns, and the timbre and singing, as the school had no composition department Buddhas Paradies (zum Palast) berufen, bedeckt von oder Operngesellschaften. In Tokio stellte Yamada ein harmonies of the harmonium. until the 1930s. It seems that the Japanese government Madara no hanas. In diesem Sinne komponierte Orchester zusammen, mit dem er zwischen 1914 und Yamada’s life in Yokosuka was brief, as the family in those days only thought of training performers and Yamada seine sinfonische Dichtung. 1915 seine Ouvertüre, die Sinfonie und Madara No lost everything in a fire, returning to Tokyo when the educators in the field of Western music. Students who 8.555350 2 11 8.555350 555350 bk YamadaEC 12/12/2003 14:53 pm Page 10 zweiten Satz erklingt dreimal ein langsamer Marsch in Vorbilder im folgenden Jahr Richard Strauss, Debussy hoped to be composers were left to their own devices.
Recommended publications
  • Activities Overview 2018,2019 Success of Rohm Music Friends
    Activities overview 2019 1 Nishinakamizu-cho, Saiin, Ukyo-ku, Kyoto 615-0044, Japan +81-75-331-7710 +81-75-331-0089 https://micro.rohm.com/en/rmf/ INDEX Objective, Detail of Operation, and Outline of the Foundation ………… 1 Directors, Trustees, Advisors and Members of Selection Committee … 2 Activities 2018 …………………………………………………………………………… 3 2019 …………………………………………………………………………… 9 Success of ROHM Music Friends …………………………………………… 15 (In chronological or alphabetical order.) 2019.9 Objective Directors Our foundation aims to contribute to the dissemination and development of the Japanese musical Chairman Ken Sato Chairman Emeritus ROHM CO., LTD. culture through the implementation of and financial support for music activities, and the provision of Managing Director Akitaka Idei Former Director, Member of the Board ROHM CO., LTD. scholarships for music students. Director Nobuhiro Doi President, Chairman of the Board The Bank of Kyoto, Ltd. Tadanobu Fujiwara President, Detail of Operation Chief Executive Officer ROHM CO., LTD. Yukitoshi Kimura Former Commissioner of the National Tax Agency Board Chairman, Zaikyo 1. Organizing music concerts and providing financial support for music activities Koichi Nishioka Journalist Director, Member of the Board ROHM CO., LTD. 2. Providing scholarships for both Japanese music students studying in Japan or abroad and overseas Seiji Ozawa Conductor music students studying in Japan Yasuhito Tamaki Lawyer Midosuji Legal Profession Corporation 3. Collecting, investigating and analyzing material related to music Mazumi Tanamura Guest Professor Tokyo College of Music Specially Appointed Principal Violist Tokyo Metropolitan Symphony Orchestra 4. Supporting overseas music research Shunichi Uchida Former Commissioner of the Consumer Affairs Agency President Kyoto International Conference Center Yasunori Yamauchi President and Editor in Chief The Kyoto Shimbun Newspaper Co., Ltd.
    [Show full text]
  • ASIAN SYMPHONIES a Discography of Cds and Lps Prepared By
    ASIAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis KOMEI ABE (1911-2006, JAPAN) Born in Hiroshima. He studied the cello with Heinrich Werkmeister at the Tokyo Music School and then studied German-style harmony and counterpoint with Klaus Pringsheim, a pupil of Gustav Mahler, as well as conducting with Joseph Rosenstock. Later, he was appointed music director of the Imperial Orchestra in Tokyo, and the musicians who played under him broadened his knowledge of traditional Japanese Music. He then taught at Kyoto's Elizabeth Music School and Municipal College of the Arts. He composed a significant body of orchestral, chamber and vocal music, including a Symphony No. 2 (1960) and Piccolo Sinfonia for String Orchestra (1984). Symphony No. 1 (1957) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) Sinfonietta for Orchestra (1964) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) NICANOR ABELARDO (1896-1934, PHILIPPINES) Born in San Miguel, Bulacan. He studied at the University of the Philippines Diliman Conservatory of Music, taking courses under Guy Fraser Harrison and Robert Schofield. He became head of the composition department of the conservatory in 1923. He later studied at the Chicago Musical College in 1931 under Wesley LaViolette. He composed orchestral and chamber works but is best-known for his songs. Sinfonietta for Strings (1932) Ramon Santos/Philippine Philharmonic Orchestra UNIVERSITY OF THE PHILIPPINES PRESS (2004) YASUSHI AKUTAGAWA (1925-1989, JAPAN) He was born in the Tabata section of Tokyo. He was taught composition by Kunihiko Hashimoto and Akira Ifukube at the Tokyo Conservatory of Music.
    [Show full text]
  • Recording Master List.Xls
    UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre
    [Show full text]
  • JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ Hudební
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ Hudební fakulta Katedra dechových nástrojů Hra na lesní roh Dirigent Hidemaro Konoe Bakalářská práce Autor práce: Chisako Bunya Vedoucí práce: prof. Mgr. Jan Zbavitel Brno 2021 Bibliografický záznam BUNYA, Chisako. Dirigent Hidemaro Konoe [Conductor Hidemaro Konoe]. Brno, 2021, počet s.29 Bakalářská práce. Janáčkova akademie múzických umění v Brně. Vedoucí práce: prof. Mgr Jan Zbavitel. Anotace Bakalářská práce „Dirigent Hidemaro Konoe“ pojednává o životě japonského dirigenta Hidemara Konoe a věnuje se zejména sumarizaci jeho života. Abstract The bachelor's thesis "Conductor Hidemaro Konoe" deals with the life of the Japanese conductor Hidemaro Konoe and focuses on summarizing his life. Klíčová slova Hidemaro, Konoe, Japonský dirigent Keywords Hidemaro, Konoe, Japanesse conductor Prohlášení Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené prameny a literaturu. V Brně dne 9.5. 2021 Chisako Bunya Poděkování Na tomto místě bych ráda poděkovala všem, kteří mi pomohli při překladech a při zpracování mojí Bakalářské práce. Obsah Úvod ............................................................................................................................. 7 Stav bádání ................................................................................................................... 8 1. Stručný životopis .................................................................................................. 9 1.1. Počátky .........................................................................................................
    [Show full text]
  • Saburo Sumi's Life and Influence on Violin Music by Junko Hayashi A
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository Saburo Sumi's Life and Influence on Violin Music by Junko Hayashi A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2012 by the Graduate Supervisory Committee: Katherine McLin, Chair Gary Hill, Member Amy Holbrook, Member ARIZONA STATE UNIVERSITY December 2012 ABSTRACT The life and pedagogy of Saburo Sumi (1902-1984) has had a major influence on the violin world, particularly in Japan. Born of humble origins and lacking any formal musical training until his adulthood, Sumi nevertheless rose to become one of the most important violin pedagogues of Japan. His non-traditional musical background had a profound effect on the teacher he became and contributed to his tremendous success as a pedagogue. Since most of the existing information on Sumi is written in Japanese, this study is designed to acquaint the Western reader with this amazing pedagogue. The information for this study was gathered through books, articles, and documents related to his life as well as the writer’s personal experiences with the Sumi family. i TABLE OF CONTENTS Page CHAPTER INTRODUCTION……………………………………………………………... 1 1 THE SUMI FAMILY ...................................................................... 3 2 ENCOUNTERS WITH THE VIOLIN .......................................... 17 3 THE KEISEI ELEMENTARY SCHOOL ..................................... 27 4 A RECORD PLAYER .................................................................
    [Show full text]
  • The Reconstruction of Post-War West German New Music During the Early Allied Occupation
    The Reconstruction of Post -War West German New Music during the early Allied Occupation (1945 -46), and its Roots in the Weimar Republic and Third Reich (1918 -45) PhD Submission, 2018 Cardiff University Ian Pace Abstract This thesis is an analysis of the development of new music in occupied Germany from the end of World War Two, on 8 May 1945, until the end of 1946, in terms of the creation of institutions for the propagation of new music, in the form of festiva ls, concert series, radio stations, educational institutions and journals focusing on such a field, alongside an investigation into technical and aesthetic aspects of music being composed during this period. I argue that a large number of the key decisions which would affect quite fundamentally the later trajectory of new music in West Germany for some decades were made during this period of a little over eighteen months. I also argue that subsequent developments up to the year 1951, by which time the infra structure was essentially complete, were primarily an extension and expansion of the early period, when many of the key appointments were made, and institutions created. I also consider the role of new music in mainstream programming of orchestras, opera h ouses, chamber music societies, and consider all of these factors in terms of the occupation policies of the three Western powers – the USA, the UK and France. Furthermore, I compare these developments to those which occurred in during the Weimar Republic and the Third Reich, of which I give an overview, and argue as a result that the post -war developments, rather than being radically new, constituted in many ways a continuation and sometimes distillation of what was in place especially in the Weimar years .
    [Show full text]
  • Zlotnik Letters
    Papers of Asher Zlotnick Special Collections in Performing Arts University of Maryland Libraries Series II: Correspondence About Shumann (detailed listing) Number Sent To Referred by Reply From Position Organization Send Date Reply Date 1 Edwin A. Fleisher Collection Theodore Seder Curator Free Library of Philadelphia 4/2/1962 4/5/1962 2 Dr. George Szell George Szell music director Cleveland Orchestra 4/2/1962 4/3/1962 3 Walter Toscanini Dr. Paul Nettl Walter Toscanini A. Toscanini's son 4/2/1962 4/12/1962 4 David S. Adams Tibor Kozma David S. Adams managing director Boosey & Hawkes 4/2/1962 4/4/1962 5 Dr. Hans Moldenhauer Dr. Paul Nettl, Dr. Delone Dr. Hans Moldenhauer Univ. of Washington School of Music 4/2/1962 5/3/1962 6 Dr. Peter Herman Adler Dr. Paul Nettl Dr. Peter Herman Adler music director Baltimore Symphony Orchestra 4/2/1962 4/19/1962 7 Dr. Paul Paray Jim Pellerite Dr. Paul Paray music director Detroit Symphony Orchestra 4/2/1962 see 523 8 Dr. William Steinberg Dr. Paul Nettl Dr. William Steinberg music director Pittsburgh Symphony Society 4/2/1962 4/19/1962 9 Dr. Gerald Abraham Dr. Paul Nettl Dr. Gerald Abraham 4/5/1962 4/12/1962 10 Dr. Mosco Carner Dr. Mosco Carner critic/musicologist 4/5/1962 4/26/1962 11 Donald Mitchell Dr. Paul Nettl Donald Mitchell 4/5/1962 5/22/1962 12 Dr. Charles Munch Leonard Burkat Music Administrator Boston Symphony Orchestra 4/9/1962 4/11/1962 Edwin Fleisher Collection, Free 13 Charles Seder Jim Pellerite, Bernard Heiden Theodore Seder Curator Library of Philadelphia 4/9/1962 4/18/1962 14 David Cooper Bernard Heiden George Sturm Performance Dept.
    [Show full text]
  • Norbeck, Peters & Ford N #150
    Norbeck, Peters & Ford AUCTION #150 • - -Closing Date: Friday, 17 May, 2019 N #150 • Regarding AUCTION #150 (Closing Date: Friday, 17 May, 2019), The Minimum Bid ("MB") is a guide. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please bid in accordance with whatever a given item means to you. How to Place Bids We are pleased to receive bids via PHONE: [(802) 524-7673] or [(802) 524-4884] TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Saturday, when PETER FORD is available to take bids and answer any questions - or FAX [1 (888) 819 4831] or E-mail ([email protected]), 24 hours a day, 7 days a week. When placing your bids, please list the ITEM NUMBER (in the left column of catalogue) and a brief description of the item. Include your phone & E-mail address and shipping address to which your parcel will be sent on all orders. Table of Contents Piano 78rpm records Nos. M0101 – M0222 Harp 78rpm records Nos. M0222 – M0237 Violin - Viola 78rpm records Nos. M0238 – M0411 Cello 78rpm records Nos. M0412 – M0459 Double Bass 78rpm records Nos. M0460 & M0461 Chamber 78rpm records Nos. M0462 – M0473 Orchestral & Choral 78rpm records Nos. M0474 – M0932 CONDITION GRADING: M-A - nearly MINT, albeit very slightly used Copy. A - slightly used Copy, but with no defects. B - used Copy, with light wear and rubs, not affecting playing.
    [Show full text]
  • The Reconstruction of Post-War West German New Music During
    The Reconstruction of Post -War West German New Music during the early Allied Occupation (1945 -46), and its Roots in the Weimar Republic and Third Reich (1918 -45) PhD Submission, 2018 Cardiff University Ian Pace Abstract This thesis is an analysis of the development of new music in occupied Germany from the end of World War Two, on 8 May 1945, until the end of 1946, in terms of the creation of institutions for the propagation of new music, in the form of festiva ls, concert series, radio stations, educational institutions and journals focusing on such a field, alongside an investigation into technical and aesthetic aspects of music being composed during this period. I argue that a large number of the key decisions which would affect quite fundamentally the later trajectory of new music in West Germany for some decades were made during this period of a little over eighteen months. I also argue that subsequent developments up to the year 1951, by which time the infra structure was essentially complete, were primarily an extension and expansion of the early period, when many of the key appointments were made, and institutions created. I also consider the role of new music in mainstream programming of orchestras, opera h ouses, chamber music societies, and consider all of these factors in terms of the occupation policies of the three Western powers – the USA, the UK and France. Furthermore, I compare these developments to those which occurred in during the Weimar Republic and the Third Reich, of which I give an overview, and argue as a result that the post -war developments, rather than being radically new, constituted in many ways a continuation and sometimes distillation of what was in place especially in the Weimar years .
    [Show full text]