During the period of social realism, apart from mass songs, composers wrote monumental vocal-instrumental works, including panegyric cantatas with an occasional text. The traditional cantata form was ...at that time enriched with new ideological content, adding importance and expression to what the ‚mass’ forms lacked, without diminishing the cantata’s artistic values. Works of this type, due to their ideology and text relevance, became the record of the composers’ active participation in shaping the political and social scene of the country. The aim of the paper is to analyse and interpret two selected music works which glorify Stalin, i.e. A Word about Stalin: Alfred Gradstein’s cantata for a male choir, solo alto (or baritone) and a symphonic orchestra to Władysław Broniewski’s poem; and the Polish and Soviet versions of Cantata about Stalin for a choir, voice and piano by Aleksandr W. Aleksandrow. In the paper, the author attempts to analyse the purpose which the compositions served at the time.
Tijekom razdoblja socijalističkog realizma skladatelji su uz masovne pjesme pisali monumentalna vokalno-instrumentalna djela uključujući panegiričke kantate na prigodne tekstove. Tradicionalna forma kantate u ono je vrijeme bila obogaćena novim ideološkim sadržajem, dodajući važnost i izražajnost onome što je manjkalo ‚masovnim’ formama, a da pritom nisu umanjivane umjetničke vrijednosti kantate. Zahvaljujući svojoj ideološkoj i tekstualnoj relevantnosti djela ovoga tipa postala su zabilježba aktivnog sudjelovanja skladateljâ u oblikovanju političke i društvene scene pojedine zemlje. Cilj je ovoga članka analizirati i interpretirati dva odabrana glazbena djela koja glorificiraju Staljina, tj. Riječ o Staljinu, kan tatu Alfreda Gradsteina za muški zbor, solo alt (ili bariton) i simfonijski orkestar na pjesmu Władysława Broniewskog, te poljsku i sovjetsku verziju Kantate o Staljinu Aleksandra Vasiljeviča Aleksandrova za zbor, glas i klavir. U članku autorica nastoji analizirati namjere kojima su navedene kompozicije služile u svoje vrijeme.
Maurice Greene (1696-1755), best known for his sacred and secular vocal music on English texts, left a substantial corpus of vocal chamber music set to Italian texts that remained unpublished during ...his lifetime and has not been studied in detail until now. It comprises ten cantatas for soprano and continuo, one cantata and seven chamber arias for voice, violin and continuo, four chamber duets and a cycle, scored variously for soprano and bass voice with continuo, of 15 settings of Anacreontic odes translated into Italian by Paolo Rolli. Greene was the only major English composer contemporary with Handel to produce such a quantity and variety of 'Italian' vocal music, and these compositions, which evidence a very good knowledge of the Italian language and Italian musical style, are of a quality to match their Handelian counterparts. They are subtle, responsive to the text and in certain respects very distinctive and original.
The author analyses the musical architectonics of the cantata Our Dawns by S. Lobel (1954), starting from the poetic form of E. Bukov’s poems, which are the basis of the work. The use of the modified ...strophic form for most parts of the cantata is explained in terms of following the samples of folk poetry, on the one hand, and also from the appeal to the genre of the Soviet mass song with its images and rhetoric system, on the other. Observing the tendency to enlarge the sections by integrating the strophes of the original form as well as different methods of their compositional grouping (periodic repetition, tonal transposition, etc.), the author comes to the conclusion about the association of other form-building principles like rondo, sonata, concentric structure, that led to the formation of the second and even the third plan form.
Working together between 1970 and 1989, Gustav Leonhardt and Nikolaus Harnoncourt created a musical monument that rapidly became an emblem of the entire early music movement: a recording of J. S. ...Bach’s complete cantatas for Das Alte Werk. This pioneering project, for which the two men jointly received the Erasmus Prize in 1980, gained renown for its uncompromising musical choices—of which the use of treble voices was the most striking—as well as for the difference in musical approaches between the two conductors, which they themselves attributed to ‘differences of character only’. In fact, Harnoncourt’s recordings provide important material for comparison, enabling a clearer evaluation of Leonhardt’s approach to the cantatas. Additional insights can be gained from the accounts of those who performed under Leonhardt’s direction. And finally, these recordings must be placed in the context of Leonhardt’s unique career as an organist, conductor, teacher, transcriber and, of course, harpsichordist.
Prädestiniert durch ihre Geschichte - als Zentrum der deutschen Frühaufklärung mit europäischer Wirkung und als einer der Impulsgeber der anthropologischen Wende - gründete die ...Martin-Luther-Universität Halle-Wittenberg 1993 das Interdisziplinäre Zentrum für die Erforschung der Europäischen Aufklärung (IZEA). Bisherige und gegenwärtige Forschungsschwerpunkte des IZEA umfassen die aufklärerische Anthropologie, die Aufklärung im Bezugsfeld frühneuzeitlicher Esoterik, Universitätsgeschichte, den Philanthropismus und das Gartenreich Dessau-Wörlitz, neuere Akzente liegen auf der Frühaufklärung als Experimentierfeld und der Begründung von Kulturmustern für die Moderne. Die Ergebnisse dieser Forschungen erscheinen seit Herbst 1995 in der wissenschaftlichen Reihe des IZEA unter dem Titel »Hallesche Beiträge zur Europäischen Aufklärung«. Hinzu kommen qualifizierte Arbeiten, die extern entstanden sind. Pro Jahr erscheinen zwei bis vier Bände (Monographien, Sammelbände, Quellenkommentare).
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