Spanning more than 2700 pages, the notebooks Mordecai Seter had written between 1952 and 1993 feature more than to-do lists, teaching schedules, and other errands involving the musicians and ...functionaries that performed, published or broadcast his music. The notebooks disclose dozens of stylistic self-analyses (whose growing volume in the 1960s and 1970s would signal a creative impasse) alongside numerous citations from books on Jewish mysticism, esotericism, symbolism, philosophy, psychoanalysis, modernism, art history, and musicology that Seter repurposed as borrowed autobiographical snippets. Combined, these two facets shed new light on his aesthetic shifts as well as on the stipulations of the historiography of art music in Israel. And as unsung chapters of Seter's autobiography unfold, they also thicken the biography of a bigger ecosystem, unconditioned by notions of peripherality or Otherness.
La cantata para coro y orquesta Cántico de las siete estrellas, de Antón García Abril, surge como una obra comisionada por la Comunidad de Madrid en el año 2004. Inspirado por la constelación de ...estrellas que circunda el escudo de la Villa, por primera vez en toda su producción vocal el compositor decide escribir él mismo un texto que se apoya en la tradición literaria humanística del XVI, dentro del marco paradigmático del hombre como un pequeño mundo o microcosmos cuya observación del universo es regida por los principios astronómicos y musicales del macrocosmos, tal y como se explicaba en el Quadrivium del medioevo. El atentado terrorista del 11.03.2004, meses antes de su estreno, no solo motivó la dedicatoria de esta obra a sus víctimas, sino que transformó la construcción de un sentido personal y privado en un nuevo significado social y colectivo. Este trabajo propone un examen detallado del contexto de su creación y vida performativa, filiación literaria, vinculación con la expresión del dolor ante la barbarie terrorista y un análisis musical que revele los instrumentos compositivos puestos al servicio de la palabra transformada por la realidad.
Laments were frequent in both cantatas and operas in the seventeenth century. The two emotions expressed in the lament were those that Aristotle connected with the essence of tragedy, namely, pity ...(on the fate of the one who laments) and fear (lest the observer share the same fate). Fear turns to fright in two mid-seventeenth century cantatas, in which a Jewish mother cooks her son, eats his flesh, and licks his blood in order to relieve her hunger, then bemoans her act in a lament. The present study describes examples of laments and female cannibals in Scriptures, identifies the particular female cannibal of the cantatas as Mary of Eleazar in Flavius Josephus’sThe Jewish War, discusses the authors of the text and the composers of the cantatas, concluding with the relationship of the texts to the music. Following Aristotle’s notions of pity and fear, authors and composers maneuver between the contrary feelings of pathos and disgust in the cantatas. The full text of both cantatas appears in the appendix.
Els textos literaris representen una part important del material del qual fa ús el compositor alcoià Amando Blanquer Ponsoda (1935-2005) en moltes de les seues composicions. Al llarg del seu catàleg, ...extens i ben variat, trobem una nòmina notable i heterogènia d’autors els quals, mitjançant les seues creacions literàries, actuen com a font d’inspiració per a la música de Blanquer. De tot aquest conjunt, destaquen els textos medievals hispànics, que tenen en les obres de Juan de Mena, Ausiàs March, Joanot Martorell i Joan Roís de Corella, la seua plasmació. L’estudi de la cantata Vida de Maria (1979-1981), una composició de llarga gestació sobre un text de Corella, és l’objectiu d’aquest paper. L’anàlisi de l’obra i el seu acarament amb el text al qual deu la seua articulació, tracta d’esbrinar les relacions amb la poesia de Corella i la proposta sonora de Blanquer, empresa ben atractiva sempre pel tarannà humanístic en general, i literari en particular, d’aquest compositor.
Article is a reflection upon f. Hugolin Sattner’s cantata “Ode to Soča”, which was created in the time of First World War and great battles of Isonzo. It outlines composer’s ideological, political ...and aesthetic outlook as a basis for his creativity thus applying methods of history of mentalities.
Very little is known about Giuseppe Torti's life. Associated with Milan, he was active in 1752–1780. He made several long journeys, including to the Lithuanian court of H. F. Radziwiłł. I have ...recently discovered three new works by this composer, which means that his known and surviving output now consists of 12 compositions: 9 instrumental pieces, cantatas, and an aria, to which one should add one opera libretto and information about two operas. In Poland, Torti composed at least two (now lost) operas, staged at H. F. Radziwiłł's court theatre. His earlier works, such as
(GroF826),
dedicated to Charles Davers, and the aria
may also have belonged to the ducal court's repertoire. The cantata
was most likely composed in Lithuania.
A notable aspect of Torti's preserved output are the numerous arrangements of his works, which suggests that his music was constantly in circulation, adapted and rewritten for the needs of a given place, in accordance with the audience's tastes. This indirectly confirms that his oeuvre earned the audience's acclaim. The geographic distribution of his compositions in European music centres is impressive indeed, from Edinburgh to Slutsk and from Stockholm to Palermo. This wide distribution testifies to Torti's love of travelling, but also to the popularity of his music.
Much of Webern’s twelve-tone music relies on conventional formal types to structure extended composition and long-range compositional strategy. This article describes how these forms were absorbed ...into his personal twelve-tone style through an exploration of three entwined techniques. His techniques of serial row chaining and associative organization create a deep musical hierarchy that is frequently navigated by a formal principle of large-scale complementation. The analyses appearing here are drawn from across Webern’s twelve-tone period and are elucidated through spatial representations that describe compositional potential and musical realization. In addition to providing a means for analytical interpretation, the analyses reveal how Webern’s fusion of form and twelve-tone technique resemble characteristics of the tonal system while amplifying basic axioms of serial composition.
Music in Arcadia Rice, John A.
Early music,
11/2018, Letnik:
46, Številka:
4
Journal Article
Recenzirano
Odprti dostop
Pompeo Batoni’s portrait of the young noblewoman Giacinta Orsini, leaning on a harpsichord and holding a lyre and a laurel wreath, is well known to historians of 18th-century Italian portraiture. It ...exists in two autograph versions and several 18th-century copies, and has been exhibited and reproduced often. It has attracted attention not only for its beauty and for the amazing accomplishments and talents of its teenage subject, but also because Batoni (familiar today primarily as a painter of Britons on the Grand Tour) made few portraits of Italian women. The many scholars who have commented on the portrait have said little about the prominent role of musical instruments or about the manuscript that rests conspicuously on the music stand, as if inviting viewers to peruse it. The recent identification of the music, its composer and its librettist enhances our understanding of the painting’s programme, which documents Giacinta’s place in Rome’s Arcadian Academy and her status as a member of one of the city’s wealthiest and most powerful families.
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