Small Instrumental Works: Opp. 11, 16, and 19 and Three Pieces for Chamber Orchestra

2000 ◽  
pp. 59-88
Author(s):  
Bryan R. Simms
Keyword(s):  
Chamber Orchestra ◽  
Instrumental Works

The Instrumental Music of Nicholas Maw: Questions of Tonality

Tempo ◽  
1973 ◽  
pp. 26-33
Author(s):  
Arnold Whittall
Keyword(s):  
Instrumental Music ◽  
Chamber Orchestra ◽  
New Approach ◽  
Mixed Chorus ◽  
Instrumental Works ◽  
Piano Composition

This year two important new instrumental works by Nicholas Maw have received their first performances: the Serenade for chamber orchestra (Singapore, 31 March) and Life Studies for 15 solo strings (Cheltenham, 9 July). With the Five Irish Songs for mixed chorus (Cork International Choral Festival, 4 May) and a new piano composition (Personae, London, 2 August), 1973 looks like being one of Maw's most productive years. Stylistically it may also prove to have been the most crucial since 1962, when Scenes and Arias was first heard. Even after a single performance, I think there can be no doubt that Life Studies is a remarkable and convincing composition which could inaugurate a new approach by Maw to the whole question of form in instrumental music.

Engaging young string players in metacognition

2018 ◽  
Vol 36 (4) ◽  
pp. 659-670 ◽  
Author(s):  
Anne M. Power ◽  
Sarah J. Powell
Keyword(s):  
Focus Groups ◽  
Chamber Orchestra ◽  
Performing Arts ◽  
Role Models ◽  
Dynamic Control ◽  
Music Program ◽  
Technical Issues ◽  
Youth Music

This article is about one focus of a two-year project researching the Penrith (NSW Australia) Youth Music Program offered at the Joan Sutherland Performing Arts Centre. The Penrith Youth Music Program has been designed to encourage young string players through a program of guided rehearsals and tutorials with mentoring by performers from the Australian Chamber Orchestra. This article focuses on a part of the research that has engaged the young string players in reflection on their own progress. Eight young string players are the focus here, drawn from the whole study that encompasses 27 instrumentalists. In focus groups they were asked at intervals (at the end of each session of three ensemble rehearsals, spaced approximately 6 weeks apart) about their learning and about their practice strategies. This article presents the voices of the eight instrumentalists as they talk about technical issues, ensemble cuing, issues of balance and dynamic control. It also provides data that benefits in performance were achieved without an increase in the reported time given to practice but rather through thoughtful attention by the instrumentalists to their practice and to the proximity of the expert mentors as role models.

Leonīds Vīgners – komponists

2021 ◽  
pp. 352-360
Author(s):  
Inese Žune
Keyword(s):  
20Th Century ◽  
Practical Method ◽  
Creative Work ◽  
Piano Sonata ◽  
Extensive Form ◽  
Musical Education ◽  
Composition Class ◽  
Percussion Instruments ◽  
Instrumental Works

The aim of the article is to highlight the creative work of the outstanding 20th- century Latvian conductor and pedagogue Leonīds Vīgners in the field of composition. The facts are based on the materials of Leonīds Vīgners’s archives found in the Museum of Literature and Music, which allows tracing the entire, versatile activities of the musician. Leonīds’s understanding of music, much like that of his sisters Beatrise, Meta, and prematurely deceased brother Vitālis, developed early in childhood, when they became the examples of the success of the new practical method of absolute musical hearing championed by their father Vīgneru Ernests. Later, the talented musician received a comprehensive musical education at the Latvian Conservatory. In addition to conducting the orchestra, playing the organ and percussion instruments, he also graduated from the composition class of Jāzeps Vītols. In the 1920s and 1930s, Leonīds Vīgners composed a range of instrumental works, from simple minuets to an extensive form of a piano sonata. In total, the museum’s collection contains 16 manuscripts of his instrumental works. The largest part of Leonīds Vīgners’s work consists of his solo and choir songs composed or reworked in different periods of time. He has mentioned that he has composed about 80 solo and 300 choir songs, but some of them perished during the war. Examining the manuscripts of Leonīds Vīgners’s songs, as well as many drafts that have been included in the collection of the Museum of Literature and Music, it can be concluded that he attached great importance to the words that evoked his musical ideas. Leonīds Vīgners always remained himself, with his own views on music and Latvian nationalism. However, behind his seemingly harsh exterior, there was a sensitive and fragile soul, which is truly revealed in his compositions with the plastic, bittersweet sense of melody characteristic to the Romantics and at times the impressionistic freshness and subtlety of his harmonies.

scholarly journals Интерпретации «Хайтармы» А. Спендиаряна в творчестве современных исполнителей республики Татарстан

2021 ◽  
pp. 44-51
Author(s):  
Лилия Бородовская
Keyword(s):  
Folk Music ◽  
Chamber Orchestra ◽  
Folk Dance ◽  
Professional Musicians ◽  
Historical Information ◽  
Wide Range ◽  
Musical Arrangements ◽  
Crimean Tatar

This article presents two musical arrangements of "Haytarma" from A. Spendiaryan's suite "Crimean Sketches" (part 1), performed by Kazan musicians and composers - R.E. Ilyasov for the "Kazan Nury" folk instrument orchestra and R.Yu. Abyazov for the "La Primavera" string chamber orchestra. A brief historical information about the work of A. Spendiaryan connected with the Crimean Tatar music is given. Also presented is material about the peculiarities of the Crimean Tatar folk dance "haitarma", about its different musical variants. This work will be useful to a wide range of professional musicians, as well as researchers of the Crimean Tatar folk music.

‘Ordre et beauté’

2021 ◽  
Vol 21 (3) ◽  
pp. 419-436
Author(s):  
Michael Downe
Keyword(s):  
Charles Baudelaire ◽  
Literary Canon ◽  
Sacred Texts ◽  
Musical Time ◽  
Instrumental Works ◽  
Fleurs Du Mal

The British composer Jonathan Harvey is generally associated with Eastern sacred texts rather than the secular Western literary canon. However, evidence from works composed over several decades suggests that Charles Baudelaire was a significant if subterranean influence upon his music. This article considers these works in detail. ‘L’Horloge’ [‘The Clock’] (1963) is a remarkable interpretation of Baudelaire’s text which reveals in it parallels with Harvey’s own contemporary preoccupations with the nature of musical time. Correspondances (1975) is a sequence of settings from Les Fleurs du mal and interludes and ‘fragments’ for piano which may be arranged in numerous orders at the discretion of the performers. Finally, the instrumental works Hidden Voice (1996) and Hidden Voice II (1999) demonstrate that the poet’s ideas remained an inspiration to Harvey well into his compositional maturity. Particularly striking is the variety and originality of these musical responses. Baudelaire’s real significance for Harvey was perhaps as an exemplar of aesthetic ideals - of ‘order and beauty’ - rather than merely as a source of musically suggestive images and phrases.

Lucie Brosseau, Music Librarian, Les Violons du Roy (Chamber Orchestra) and La Chapelle de Québec (Chamber Choir)

2022 ◽  
pp. 231-238
Author(s):  
Patrick Lo ◽  
Robert Sutherland ◽  
Wei-En Hsu ◽  
Russ Girsberger
Keyword(s):  
Chamber Orchestra ◽  
Chamber Choir
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