Chamber Concerto Research Articles

Жанр фортепианного концерта в творчестве отечественных композиторов XX–XXI веков

The genre of piano concerto by Russian composers of the second half of the 20th and the beginning of the 21st centuries is considered in the aspect of embodying sacred themes. The compositions of A. Karamanov ("Concerto No. 3 'Ave Maria'", 1964), S. Gubaidulina ("Introitus", 1978), A. Lubchenko (chamber concerto "Prayer Song", 2006), and I. Sokolov (concerto, 2020) are analyzed. Conclusions are drawn regarding the general and individual characteristics of the works, their dramaturgy, hidden meanings, and the use of musical expressive means. The scientific novelty lies in the analysis of concertos by A. Lubchenko and I. Sokolov not previously presented in musicology.

Symbolism of the Second Chamber Concerto op. 10 by Ch. Alkan

Symbolism of the Second Chamber Concerto op. 10 by Ch. Alkan

Civic Hall, Stratford-Upon-Avon: John McCabe's Trumpet Concerto ‘La Primavera’

Although John McCabe's Rainforest II, of 1987, is in effect a chamber concerto for trumpet and 11 strings, his extensive body of concertante works has lacked an official trumpet concerto. La Primavera, which had its première on 15 June 2012, now happily fills that gap. The subtitle derives from McCabe's consideration of two aspects of the approach of Spring: the vitality of burgeoning growth and the flowering of the new or refreshed life as it expands.

Review of Patricia Hall,Berg’s “Wozzeck”(Oxford University Press, 2011)

[1] The release of Patricia Hall's sketch-based study of composer Alban Berg's first opera Wozzeck, fifteen years after her earlier parallel study of Berg's second opera Lulu (Hall 1996, awarded the ASCAP Deems Taylor Award), is a seminal event in Berg scholarship. I have previously defined three stages in Berg research (Headlam 1993). The first encompasses writings of Berg himself and his circle of students and correspondents, notably Willi Reich and Theodor W. Adorno. The second stage begins with the writings of Hans Redlich in the 1950s and extends through seminal studies of individual works and overviews of Berg's oeuvre by writers such as George Perle, Mark DeVoto, and Douglas Jarman in the 1970s and 80s. This stage also includes the onset of comprehensive studies of sketches and other materials, and the revelations of the secret programs in Berg's music. The third stage is a continuation and expansion of the directions in the second; it includes my own book (Headlam 1996), Hall's Lulu book (Hall 1996), exegeses of further secret programs in the Chamber Concerto, Violin Concerto and other works, and a number of collected and individual volumes on Berg's music.(1) Hall's present book and the passing of George Perle (January 2009) may turn out to mark the completion of this third stage. In this review, I will consider Hall's book in this context and try to frame some questions that might set the stage for the next generation, which should properly provide a complete biography of Berg as well as new directions for analysis.[2] In her Wozzeck study, Patricia Hall deploys the exemplary sketch and analytical techniques evident in her earlier book. Hall is the undisputed English-language expert on the Berg sketch and biographical material, and this welcome second volume offers the same high level of scholarship and insight into the working methods of this fascinating composer familiar from the first study on Lulu. Readers will come away impressed by the detailed analytical nature of Berg's compositional method, and by the thorough and self-conscious way in which he approached musical and related dramatic questions. Berg was a careful analyst of his own and others' music, and the notes and letters surrounding his first opera confirm that he was sensitive to subtle dramatic and formal points and all aspects of musical and text combinations; his notations characterizing the psychological aspects of Schoenberg's orchestration in Erwartung provide further evidence of this propensity (see pages 103-7). Berg's analytical and communicative abilities are exemplified in the famous lecture presented before some performances of Wozzeck in the 1920s, as well as in several analytical letters to Schoenberg.[3] As in her earlier book, Hall expertly takes us through not only the immediate sketches, but also through other surrounding sketch and biographical material to support her narrative. Hall's assessment allows us to extrapolate a provocative parallel with Lulu. As early as 1985 Hall pointed out a two-part compositional structure for Lulu: measures 85-528 in Act I are, with a few exceptions, based on the original sketch material (1927), and the Prologue (written last) and remaining sections of the opera follow from correspondence between Berg and Willi Reich and the composition of Der Wein (1929). This in turn leads to an expanded set of materials derived from the row, most notably the order position cycles creating most of the character rows of the opera (Hall 1985). We can detect an analogous two-part compositional process for Wozzeck, based on the increased use of permutational alignments of intervals cycles (described by Berg in a letter to Schoenberg of 1920) and his general implementation of serial ordering, but in a more comprehensive fashion than before (110, identified in sketches from 1919). The notable increase in these algorithmic procedures-some foreshadowing the coming twelve-tone techniques-suggests an analogous bifurcation in the composition of Wozzeck, which Hall divides into three phases: 1914-18, 1919-22, and 1923-25 (the latter more concerned with arranging and preparing for the premiere in 1925). …

What Do I Hear Now,Groupwise?

[1] Groupwise (1983) is a chamber work from Babbitt's third stylistic period consisting of flute (doubling alto flute and piccolo), violin, viola, violoncello, and piano. The structural foundation of compositions from this period is known in the literature as a superarray, a composite of multiple simultaneously unfolding all-partition arrays (Mead 1994). In a paper presented at the 1989 SMT national conference, I argued superarray compositions appear to be fundamentally different from the compositions of the preceding periods (Scotto 1989). They appear to embody a change in the aggregate compositional process where the perception of aggregate boundaries is essential to aurally differentiating one aggregate, the basic linear and columnar unit of aggregate composition, from another. The pitch duplications generated by a superarray obscure the perception of chromatic completion, which is one method of aurally differentiating aggregates. Perceiving aggregate boundaries in a superarray composition is analogous to perceiving state lines on a cross-country drive of the United States. The map directing the trip indicates crisp divisions between all states. The experience of those divisions while driving can be crisp, imperceptible, or anything in between. Sometimes, especially in the Plains States, the map may be the only indication that a state line has been crossed. Other times, the change is crisp and immediately detectable, such as crossing the Columbia River from Portland, Oregon, to Vancouver, Washington.[2] In a later article, I argued superarray compositions might also signal a change from a generative model of motivic structure to a holistic model where the development of motivic material is a non-hierarchical and non-teleological process (Scotto 2002). In this model, motives are analogous to plateaus that form from areas of coagulation and rise above a plane, and then they collapse and are absorbed back into the plane. Their common planar origin makes all plateaus motivic. Although the plateaus emanate from the same source, they can be structurally non-equivalent as well as similar or even equivalent. Associations among plateaus create a constantly developing non-hierarchical and non-teleological motivic surface. The contrapuntal arrangement of component arrays in the superarray of Groupwise facilitates making associations among plateaus. Moreover, while the pitch duplications of the superarray may obscure crisply perceiving aggregate boundaries, they may actually facilitate making structural associations among plateaus, which will also facilitate hearing the effect of aggregate changes (rather than their boundaries) as the piece progresses.[3] The all-partition array functioning as the building block of the superarray for Groupwise consists of six simultaneously unfolding twelve-tone rows and fifty-eight partitions. To fill out all fifty-eight partitions, the array uses all forty-eight members of the row class, and the beginning and end of a group of six rows divides the fifty-eight partitions into eight subgroups or blocks. The D-hexachord 6-32[0,1,2,6,7,8], which generates three hexachordal areas, serves as the foundation of the twelve-tone row for Groupwise. Row pairs within each array block are hexachordally combinatorial, and since each row pair represents one of the D-hexachord's three hexachordal areas, each block contains rows from all three hexachordal areas (Mead 1994).Example 1. Hexachordal area assigned to the pitch ranges of the string instruments.[4] The instrumental assignment of all-partition arrays in Groupwise suggests the work is a chamber concerto for flute with accompaniment. The superarray consists of five complete all-partition arrays. The pitch range of each instrument is divided into three pitch-spans (low-range, mid-range, and high-range), and a pitch range is assigned to a hexachordally combinatorial row pair from one of the three hexachordal areas. The hexachordally combinatorial row pairs for the flute and piano all belong to a single all-partition array while the hexachordally combinatorial row pairs for the violin, viola, and 'cello belong to three different arrays. …

Alban Berg and Hanna Fuchs: The Story of a Love in Letters (review)

Reviewed by: Alban Berg and Hanna Fuchs: The Story of a Love in Letters Bryan R. Simms Alban Berg and Hanna Fuchs: The Story of a Love in Letters. By Constantin Floros. Translated by Ernest Bernhardt-Kabisch. Bloomington: Indiana University Press, 2008. [xx, 145p. ISBN-13: 9780253349668. $24.95.] Illustrations, music examples, bibliographic references, index. Constantin Floros's Alban Berg and Hanna Fuchs is an installment in the still growing literature on Berg's affair with Hanna Fuchs-Robettin and the incorporation of its details into his music, especially the Lyric Suite. Information about the affair began to appear in print in 1977, and it is now the subject of more than twenty books and articles, a BBC documentary, and at least two novels. Briefly, here's what happened. In mid-May 1925 Berg visited Prague for a festival of modern music at which his Wozzeck Fragments were to be performed, and he accepted an invitation [End Page 507] from Herbert Fuchs-Robettin—brother-in-law of his friend Franz Werfel—to stay with him and his family in the Prague suburb of Bubenec.. Berg was in high spirits during the festival: his music was enjoying success as never before, and just as he arrived he learned from the conductor Erich Kleiber that Wozzeck would definitely receive its premier performance at the Berlin Staatsoper in the near future. "My brain is on fire," he wrote to his wife, Helene. Berg was especially charmed by the Fuchs-Robettins' two children and fascinated by their luxurious life style. "My hosts spoil me," Berg wrote to Helene on the day after he arrived. "Room with hot water, glorious view, Roger Galet soap, Venetian blinds so that you can sleep with the windows open at night" (Alban Berg, Letters to his Wife [New York: St. Martin's Press, 1971], 337). In his letters to Helene, Berg did not, of course, mention the principal attraction during his stay—Fuchs-Robettin's wife, Hanna, who was pretty, at thirty some ten years younger than her husband or Berg, and known as something of a flirt. Soma Morgenstern described her as a "scharfe Dame," and Adorno summed her up as an opportunist, "a bourgeoise through and through, who was once touched by the possibility of being other, without ever being able to realize that possibility" (p. 128). Judging from Berg's later correspondence with Hanna—all that is known is given in this book for the first time in English—the flirting between the two got heavier during his weeklong stay, leading in all likelihood to a sexual encounter, ("that blissful half hour," as Berg described it), probably on the morning of 20 May. After the festival, the composer returned to Vienna to finish the Chamber Concerto, prepare for the Wozzeck premiere, and take on new compositional challenges. The correspondence that passed between Berg and the Fuchs-Robbetins after the incident in Prague is the centerpiece of this short book by Constantin Floros. Thirteen of the items are passionate and rambling letters that Berg wrote privately to Hanna between June 1925 and December 1934. They are filled with rapturous professions of love, hopelessness and despair, and some contain information about Berg's enshrinement of the affair in his music. These letters, which were acquired in 1992 by the Austrian National Library, plus thirteen additional pieces of correspondence between Berg and the Fuchs-Robettins, first appeared in the Österreichische Musikzeitschrift (50 [special issue, 1995]: 30–71), edited by Floros. They were republished in 2001 in Floros's Alban Berg und Hanna Fuchs: Die Geschichte einer Liebe in Briefen (Zürich: Arche, 2001) where Floros added a concise historical background and interpretation of the relevance of the letters to the Lyric Suite and aria Der Wein. This is the work that is given here in an excellent and careful English translation by Ernest Bernhardt Kabisch. Few readers in the present day will find Berg's adventure in Prague in May 1925 to be all that unusual. How many composers facing middle age have had affairs with younger women, often leading to a renewed level of productivity? On the surface, at least, Berg's affair is not that different from...

Exiled Modernism: Lithuanian Music Through The Second World War

Exiled Modernism: Lithuanian Music Through The Second World War

Vivaldi's Music for Flute and Recorder (review)

Vivaldi's Music for Flute and Recorder. By Federico Maria Sardelli. Translated by Michael Talbot. Burling - ton, VT: Ashgate in association with Istituto Italiano Antonio Vivaldi/ Fondazione Giorgio Cini, 2007. [xxii, 336 p. ISBN-10 075463714X; ISBN-13 9780754637141. $99.95.] Music examples, illustrations, bibliographies, references, indexes. book under review is an expanded version of Sardelli's La musica per flauto di Antonio Vivaldi (Florence: Leo S. Olschki, 2001), translated by one of the most eminent Vivaldi scholars of today, who also contributed some of the additional material. original book constituted a considerable achievement in woodwind scholarship: the first book-length study of Vivaldi's imaginative music for flute and recorder (in Italian, both kinds of flauto) by someone well-versed in the composer's music in general as well as previous research on the subject and possessing an obvious love for the period. main preoccupations of the book were matters of instrumentation, dating, and the players and occasions for which pieces were written. Perhaps the most stimulating section, on Vivaldi's use of the flute and recorder in vocal music, explored virtually uncharted territory. translation retains the book's division into two parts, of disparate length (54, 134 pp.). In part I, The Recorder and Flute in Italy in Vivaldi's Time, Sardelli looks at the social, musical, and organological evidence for the presence of the instruments, both in the country and in Vivaldi's life. This skillfully assembled mass of evidence supports Sardelli's novel reversal of the received scholarly view that, rather than writing for the recorder in the first two or three decades of the eighteenth century, then switching over to the flute, Vivaldi already preferred the flute in the 1710s and did not start writing for the recorder until the early 1720s. In part II, on the music, Sardelli devotes chapters to the sonatas, chamber concertos, flute concertos, recorder concertos, concertos for flautino, concerto for two flutes, concertos with multiple soloists and orchestra, and finally vocal music. I was especially taken by his evidence and arguments that Vivaldi himself taught the flute and had an insider's view of the technique of both instruments. section showing how Vivaldi reworked the C minor recorder concerto from the violin concerto, RV 202, blends musicological and practical considerations in a masterly way. Sardelli has had two particular advantages in his research. first is a special kind of bibliographical control: my own, still unpublished, catalogue of Vivaldi's selfquotations- a massive accumulation . . . which I hope will appear in print before long (pp. xvi-xvii). book is living proof of Sardelli's opinion that critical analysis of the dense network of borrowings, reworkings and quotations that pervade the entire output of the composer can play its part . . . in establishing more firmly the chronology and filiation of the sources (p. xvii). Second, Sardelli has had private access to Peter Ryom's forthcoming large and complete version (Grosse Ausgabe) of his monumental catalogue, the Verzeichnis der Werke Antonio Vivaldis, which is soon to appear from Breitkopf & Hartel (p. xvii). translator, Michael Talbot, of course knows Italian well, and in general he has achieved his goal of producing a text that reads . . . as if it had been written from the start in English (p. xx). In passing, I did come across one puzzling passage: a reference to the Concerto di flauti by Alessandro Marcello, which the translation claims must have been conceived for the enjoyment of a small group of amateurs who, it appears, were still playing the obsolescent recorder 'consort-style' in all its sizes from descant to bass well into the eighteenth century (p. 19). Of course, the recorder was not yet obsolescent. What the original Italian says is l'intera e pur obsolescente famiglia dei flauti dritti (p. …

Vivaldi's music for flute and recorder

Contents: Preface Translator's note. Part I The Recorder and Flute in Italy in Vivaldi's Time: The emancipation of the recorder and flute Straight and cross flutes The recorder and flute in Venice: the rA'le of amateur players The recorder and flute in Venice: the first professional players Other players of the recorder and flute associated with Vivaldi Missing workshops and instruments. Part II Vivaldi's Music for Recorder and Flute: Vivaldi's sonatas for recorder and flute Vivaldi's chamber concertos with recorder or flute Vivaldi's flute concertos Vivaldi's recorder concertos Vivaldi's concertos for flautino The concerto for two flutes The concertos with multiple soloists and orchestra The recorder and flute in Vivaldi's vocal music Remarks on instrumental technique Conclusions Postscript: a late discovery Inventory of the works for recorder and flute by Antonio Vivaldi Bibliography Indexes.

THE SONATE AUF CONCERTENART AND CONCEPTIONS OF GENRE IN THE LATE BAROQUE

Much recent writing concerning the early eighteenth-century sonata has focused on a subgenre that appropriates stylistic elements from more fully scored works. Thus several of J. S. Bach’s solo and trio sonatas signify the concerto in certain movements by adopting ritornello form and establishing instrumental roles of ‘soloist’ and ‘orchestra’, only to undermine the integrity of these roles during the course of a movement. These Sonaten auf Concertenart, and a number of similar examples by Bach’s German contemporaries, have been viewed as responses to Vivaldi’s solo concertos and especially his so-called ‘chamber concertos’, which feature similar kinds of role playing. This study, by re-examining the phenomenon of the sonata in concerto style from a number of perspectives, shows that the genre was more widespread and its origins and meanings more complex than previously recognized. Evidence for this revised view takes the form of generic titles on manuscripts and prints; music by German, Italian and French composers spanning much of the eighteenth century, from Molter to Mondonville to Mozart; some three dozen sonatas by Telemann, who exhaustively explored the genre over several decades and was perhaps its originator in Germany; and literary amalgamations of genre indicative of a broader eighteenth-century fascination with mixed types.

Harp music bibliography: chamber music and concertos

Harp music bibliography: chamber music and concertos

Reference and Association in the Vier Lieder, Op. 2, of Alban Berg

While scholars have focused considerable attention on extramusical references and associations in certain works of Alban Berg (especially the Lyric Suite, Chamber Concerto, Wozzeck, and the Violin Concerto), little attention has been given to these kinds of procedures in Berg's early Vier Lieder, op. 2. Referential associations in the op. 2 songs originate from the composer's relationship with Helene Nahowsky, whose affections he was courting during the time of their composition (1908–10). The references involve the key of D minor (“Helene's key”), an acronym based on the couple's initials (A B H = A B♭ B♭), and quotations and parody alluding to passages from Wagner's Tristan und Isolde.

The Cambridge companion to Berg

Chronology Introduction Part I. Culture and Environment: 1. Defining home: Berg's life on the periphery Christopher Hailey 2. Battles of the mind: Berg and the cultural politics of 'Vienna 1900' Andrew Barker 3. Berg and Adorno Raymond Geuss Part II. From Song to Opera: 4. Early works: tonality and beyond Anthony Pople 5. Berg's aphoristic pieces Kathryn Bailey 6. Berg, Mahler and the Three Orchestral Pieces, Op.6 Derrick Puffett 7. The musical language of Wozzeck Anthony Pople Part III. After Wozzeck: 8. Secret programmes Douglas Jarman 9. Compositional process in Wozzeck and Lulu: a glimpse of Berg's atonal method Patricia Hall 10. Compositional technique 1923-6: the Chamber Concerto and the Lyric Suite Neil Boynton 11. In the orbit of Lulu: the late works Anthony Pople 12. Lulu's feminine performance Judy Lochhead Part IV. Postscript: Berg and the twentieth century Arnold Whittall.

Berg's Path to Twelve-Note Composition: Aggregate Construction and Association in the Chamber Concerto

Writings on Berg's twelve-note music have illuminated the idiosyncratic techniques of construction and derivation operating among multiple rows within a single composition. The roots of Berg's approach to the twelve notes have been traced to aggregate formations appearing in the pretwelve-note works, such as the theme based on diverging ('wedge'-like) chromatic lines in Song 1 of the Altenberg Lieder, Op. 4, the twelve-pitchclass verticality in Song 3 of the same work, and several important aggregate orderings, including the passacaglia theme of Act I/4, in Wozzeck.' In his twelve-note music, familiar constructive features include the symmetry and intervallic saturation of the primary row in the Lyric Suite and 'tonal' aspects of the primary rows of Der Wein, Lulu and the Violin Concerto.2 Berg's techniques of deriving secondary rows, and of integrating such techniques into his compositional language, are based on well-documented methods of pitch-class redistribution, such as the rearrangement within hexachords in the Lyric Suite and the extraction of regularly spaced order positions in Lulu.3 There is more to say, however, about the early history of Berg's twelvenote practices and in particular about the Chamber Concerto, a transitional work composed in the period following Wozzeck and preceding Berg's first extensive engagement with the twelve-note method in the second version of the song 'Schliesse mir die Augen beide' and the Lyric Suite.4 The scoring and concept of the Concerto are reminiscent of Schoenberg's Chamber Symphony, Op. 9, and Berg dedicated the Concerto to his mentor and made frequent musical and symbolic references to both Schoenberg and Webern throughout the score. Some of the references are explained in a dedicatory letter to Schoenberg, including a mention of 'passages that correspond to the laws set up by you for composition with twelve tones related only to one another'.' Basic features of such passages have been recognized by Jarman, who considers the Concerto 'a bridge between Berg's earlier [aggregate-handling] techniques and those employed in the later twelve-note music',6 and by

Alban Berg, master of the smallest link

Translators' introduction A note on the translation Preface Tone Reminiscence The works Analysis and Berg Piano sonata Seven Early Songs First String Quartet The Altenberg Songs Clarinet pieces Orchestral pieces Towards a characterisation of Wozzeck Epilogomena to the Chamber Concerto Lyric Suite Der Wein Experiences with Lulu About the text Afterword Adorno's principal writings on Berg Index.

RELATIONSHIPS BETWEEN SCORING AND STRUCTURE IN THE FIRST MOVEMENT OF BACH'S SIXTH BRANDENBURG CONCERTO

THE UNQUESTIONABLY VITAL ROLE of 'Vivaldi fever' in the dramatic change around 1713 in J. S. Bach's compositional style in all genres is referred to regularly in recent general studies of his life and works.' In specialized studies on the reception of Vivaldi in Bach's concertos, however, it frequently appears that the approach to this relationship brings with it serious analytical problems. Many historians first construct formal models for Vivaldi, against which they then compare the content of Bach's music. This has an important methodological consequence: although students of Bach's and Vivaldi's music cannot fail to perceive the great richness and complexity of Bach's concertos, they overemphasize his and Vivaldi's stylistic similarities, especially since they consider Bach's concertos to be Vivaldian only when their content is manifestly moulded into Vivaldi's form.2 Bach's chamber concertos (that is, concertos for a group of solo instruments without a separate ripieno section) represent an especially intriguing field for the study of Vivaldi reception, for their surface stylistic features frequently tend, so to speak, to 'distract' us from noticing the application of Vivaldi's ritornello procedures. For example, the opening movements of the First, Third and Sixth Brandenburg Concertos, because of their attenuation of textural and thematic contrasts, have generally been considered to fall outside Bach's involvement with Vivaldi's music. The misleading critical report in the standard scholarly edition of the concertos can be employed to support the suggestion that early versions of these pieces predate the known arrival of Vivaldi's concertos in Germany,3 and this can provide in turn the text-critical basis for objectifying a pre-Vivaldian view of the concertos.4 In this essay, however, I propose to show, by means of a discussion of relationships between structure and scoring in the Sixth Brandenburg Concerto,

Ligeti's Chamber Concerto – Summation or Turning Point?

György Ligeti's music of the 1970s shows a distinct change of direction in its main preoccupation. Up to the middle 1970s his dominant concern was with textural elements, note-cluster development and the use of strict canons to create ‘Mikropolyphonie’. Mikropolyphonie is usually generated by a canonic development where each entry uses the same pitch array but also has a unique rhythmic shape and is therefore unlike-a normal canon (Example 1, below, is a good illustration). Melody, non-cluster harmony, and rhythmic clarity were not usually significant features. However the opera Le Grande Macabre (1974–77) shows a clear, unambiguous change of approach and a greater eclecticism; as Ligeti states: ‘In Le Grande Macabre there is less of the static, slowly, gradually evolving music. I felt I had worn these types out’.

Bowling Green State University Second Annual New Music Festival: A Review

That most new music requires special occasions to be performed is a well known reality of contemporary musical life. Concert audiences in general--and the performers and ensembles who cater to those audiences -seem to have little appetite or tolerance for new music in their programs. Wherever one wishes to assign blame for this situation (and fingers have been leveled in all directions), composers and advocates of new music have had to create and promote occasions for the performance of new scores. Perhaps the most significant of these occasions have been the festivals developed for the performance of music by living composers. Such festivals are now a part of many university calendars and have helped provide opportunity for the performance of music conspicuously absent from most progra ms. Second Annual New Festival at Bowling Green State University (24-25 April 1981) strikes me as a particularly successful example -indeed, a model -of one approach to this type of celebration of new music. Thirty-two works were performed in five concerts during the two-day Festival. emphasis in these works was clearly on the new: over half the works were composed within the last two years and almost all within the last ten. All the composers represented were present at the Festival, and two of them were highlighted: Milton Babbitt, as the special guest and featured composer, and Elliott Schwartz, whose Chamber Concerto IV was commissioned expecially for the Festival. In only its second year, the Bowling Green Festival has already become a popular forum for composers and their music. advance call for scores produced over 500 works for consideration, submitted by composers from across the country. thirty composers at the Festival represented a cross section of established composers and younger, lesser known ones; their music explored a variety of idioms and musical forces. Festival, therefore, offered a microcosm of current compositional activity in this country. New music was not only performed, but also served as the focus of two panel discussions: The Critic and New Music and The Composer and His Audience: Views, both of which produced lively discussion about the position and fate of new music in contemporary society. unqualified success of this ambitious Festival was the direct result of keen organizational skill, the commitment of a fine performance faculty, and proper facilities. That the Festival ran so smoothly and efficiently no doubt attests to the tireless efforts of the co-directors of the Festival: Burton Beerman, John Sampen, and Marilyn Shrude, all members of the Bowling Green faculty. Each of these co-directors was also actively involved in performances, and two of them were represented by compositions.

Chamber Concerto for Cello and 10 players (1963)

Chamber Concerto for Cello and 10 players (1963)

REVIEWS OF RECORDS

REVIEWS OF RECORDS Get access RAMIRO CORTÉS: Chamber Concerto (1957–58) for Violonceilo Solo and Twelve Wind Instruments. Charles McCracken, vcl. WILLIAM SYDEMAN: Music for Flute, Viola, Guitar, and Percussion (1962) and Concerto da camera No. 2 (1960) for Solo Violin with Instrumental Accompaniment. Paul Zukofsky, vn; Contemporary Chamber Ensemble, cond. Arthur Weisherg. CRI 181. KURT STONE KURT STONE Search for other works by this author on: Oxford Academic Google Scholar The Musical Quarterly, Volume L, Issue 4, October 1964, Pages 546–550, https://doi.org/10.1093/mq/L.4.546 Published: 01 October 1964