V prispevku je predstavljena frekvenca kompozicij Ludwiga van Beethovna na koncertih Filharmonične družbe do leta 1872. Pregled izvedb je dopolnjen s pregledom kompozicij, navedenih v družbinih ...katalogih in stanjem dejanskega ohranjenega gradiva v Glasbeni zbirki Narodne in univerzitetne knjižnice.
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St. Petersburg Academic Philharmonic Society named after D. D. Shostakovich began its history with the Court Orchestra in 1882. The library has collections of rare 17th- and 18th-century scores of ...Lully, Grétry, Graun, Lesueur, Martini, Méhul, Piccini, and others and was augmented after the 1917 revolution with material from private collections and musical societies. The library also has extensive newspaper cuttings on music from Russian-language newspapers since the Leningrad Philharmonic's foundation. Their greatest achievement is the collection of all the programmes and posters from all the performances of the Philharmonic both at home and on and all foreign tours from the first concert on 12 June 1921 to the present day. L'histoire de la Société philharmonique académique de Saint-Pétersbourg D. D. Chostakovitch a débuté en 1882 avec l'Orchestre de cour. La bibliothèque possède des partitions rares des XVIIe et XVIIIe siècles (Lully, Grétry, Graun, Lesueur, Martini, Méhul, Piccini et autres) et s'est enrichie après la révolution de 1917 de documents provenant de collections et de sociétés musicales privées. La bibliothèque conserve également de nombreuses coupures de presse sur la musique, provenant de journaux en langue russe depuis la création du Philharmonique de Leningrad en 1921. Son fonds le plus remarquable est la collection de tous les programmes et affiches de l'ensemble des concerts du Philharmonique, tant en Russie que lors de ses tournées à l'étranger, et ce depuis le premier concert du 12 juin 1921 jusqu'à nos jours. Die Geschichte der St. Petersburger Akademischen Philharmonischen Gesellschaft, die nach D. D. Shostakovich benannt ist, beginnt mit der des Hoforchesters im Jahre 1882. Die Bibliothek hat Sammlungen seltener Partituren des 17. und 18. Jahrhunderts von Lully, Grétry, Graun, Lesueur, Martini, Méhul sowie Piccini und anderen und vergrößterte sich nach der Revolution 1917 durch Werke privater Sammlungen und musikalischer Gesellschaften. Die Bibliothek hat auch umfangreiche Zeitungsausschnitte über Musik russischsprachiger Zeitungen seit der Gründung der Leningrader Philharmoniker im Jahre 1921. Ihre größte Bedeutung beruht in der Sammlung aller Programme und Plakate aller Aufführungen der Philharmoniker sowohl in ihrer Heimatstadt als auch von allen ausländischen Tourneen seit dem ersten Konzert am 12. Juni 1921 bis zum heutigen Tag.
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6.
A Musical popularity poll Blanks, Fred R.
Musicology Australia,
12/1974, Volume:
4, Issue:
1
Journal Article
Peer reviewed
The composer whose music is performed most frequently and who has the largest number of different works in the repertoire is Johann Sebastian Bach.
The present article which is based on interviews with the professors-pianists of the Higher Education Musical Instutision from the Republic of Moldova — L. Vaverco and S. Covalenco, shows the ...panorama of the concert life from Chisinau in the second half of the 20th and leginning of the 21st centuries. The musicians, witnesses of the original concerts given by S. Richter, E. Ghilels, L. Kogan, M. Rostropovici and many other performes of international level, share their impressions about the concerts held on the stage of the Big Hall of the State Conservatory from Moldova. The stage of the Academy of Music, Theatre and Fine Arts saw chamber music nights that became a notable event in the cultural life of Chisinau. Such professors and their pupils as E. Revzo, E. Verbetsky, A. Causansky, A. Bonduryansky, O. Maisenberg, Y. Gubaidulina, S. Filioglo, L. Şolomei, S. Pilipeţchi a.o. took part in these concerts.
Engaging Cultural Ideologies offers a recontextualization of the effects of Poland's cultural practices on the genesis and performance of contemporary Polish compositions from 1918 to 1956.
The recreation of Jenny Lind's first American concert by soprano Frieda Hempel in 1920 was a popular success, but raised a number of questions for critics. Examining its reception—and that of the ...concert on tour in Britain—shines light on postwar attitudes toward music history, as manifest in responses to particular repertoires, and to sound recordings. Hempel's hybrid programs, which included operatic coloratura arias, lieder, and American popular song, ran counter to the trend elsewhere toward specialization. At the same time, they resonated with attempts to cultivate a newly minted sociocultural group, the middlebrow. And, while the Lind project on many levels strove for historical accuracy, on others it overturned ideas of authentic performance. An altogether more complex picture of vocal performance in the age of mechanical reproduction thus emerges.
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