Chamber Music Research Articles

Boy with a Ball

Boy with a Ball Slavko Mihalić (bio) Translated from Croatian by Dasha C. Nisula Slavko Mihalić, Dasha C. Nisula, poetry Look only at your own ballNot sideways but straight onLet everything else turn offHouses that drown or fly to the skyMorning cries of angry womenMen's rushing with horns, bells The ball is your new earthCarefully hit it with your palmExactly in the center so it gathers all into oneAnd flies to the ground exactly as you commandThen it smiles recognizing the gameAnd returns to the extended hand Don't think about the hit, it's already in youIt waits to be awakened by two fiery eyesTo be lifted from within intuitivelyTo grow strong in the hand and land on the ballVisually always vertically yet a centimeter furtherUnwinding in silvery space Don't listen to the voices around youIn them idles your indecisivenessOnly one incorrect hit: too hard or too softOnly one hit from the sideAnd your planet will extinguishIn some puddle, on some sad hearth [End Page 78] This ball is you yourself, your own worldThis is you rebounding, this is you returningTaking down spider threads of boundariesThis is you extending, this is you multiplyingIn a game that has no other purposeExcept to play yourself to the end [End Page 79] Slavko Mihalić One of the giants in Croatian literature of the second half of the twentieth century, slavko mihalić was born in 1928 in Karlovac, Croatia. He moved to Zagreb, where he worked for a newspaper and published his first book of poetry, Komorna muzika (Chamber Music) in 1954. He authored over twenty books of poetry and established several literary journals, including Most (Bridge), which brought Croatian literature to international readers. Translated into many major world languages, he won numerous literary awards, among them City of Zagreb, Matica Hrvatska, Miroslav Krleža, Goranov Vjenac, and others. Dasha C. Nisula dasha c. nisula is a professor emerita and Lee Honors College Fellow at Western Michigan University. Author of four books, her translations have appeared in An Anthology of South Slavic Literatures, and in such journals as Modern Poetry in Translation, International Poetry Review, Colorado Review,and American Journal of Ophthalmology among others. A member of the American Literary Translators Association, she lives and works in Kalamazoo, MI. Copyright © 2019 The Massachusetts Review, Inc.

James Joyce and Absolute Music by Michelle Witen

Reviewed by: James Joyce and Absolute Music by Michelle Witen Simon Haworth (bio) JAMES JOYCE AND ABSOLUTE MUSIC, by Michelle Witen. London: Bloomsbury Academic Press, 2018. xiii + 299 pp. $114.00 cloth, $89.39 ebook. Michelle Witen begins her fascinating and far-reaching new study of Joyce by establishing the inseparability of Joyce's literary and musical lives and then precisely and assuredly overhauls our perspective on this aspect of his literary output. The work initially concerns itself with the changes to music during the nineteenth century in different ways, principally the gradual aesthetic shift from Romanticism into modernism. Later, Witen's attentions narrow to the development of the fugue as a musical form, which was not truly defined until the sixteenth century when "Gioseffo Zarlino first differentiated the fuga into the categories of fuga legata and fuga sciolta, denoting the sustained flight of the canon and the segmented flight of the fugue respectively" (115). Witen is specifically interested in how Joyce understood the fugue form and in adjusting critical discrepancies and misconceptions in the way he transposed it into literature in Ulysses's "Sirens" episode. She rigorously locates and contextualizes the writing of this section, one that has already been the subject of much discordant cross-examination, by devoting significant space to a necessary musical reorientation of most of Joyce's oeuvre and its innately musical predispositions. That Joyce's use of musical structure and thinking was a progressive action within his works is established early in Witen's text. The book moves intelligently and chronologically to promote her ideas about how literature and music were sensorily and artistically parallel in many areas of Joyce's creative life and consequently found expression in his literary output. For Witen, Joyce's debt to music in his writing runs much deeper than simply alluding to and referencing songs or other forms of music. Rather, her stance is that Joyce's musical involvement was deeply theoretical and formal, even in works such as Chamber Music and Dubliners.1 Scraps of correspondence add narrative color from the outset and enhance her approach. At this point, [End Page 444] we see communications with Anthony Burgess, George Antheil, and Joyce himself (3, 4, 6, 7). After some consideration of Joyce's vocal abilities and notable scholarship investigating allusions to song in his writing, Witen leans firmly on her fugal line of inquiry: "[m]y interest is to interrogate Joyce's claim of having written the 'Sirens' episode of Ulysses as a fuga per canonem, and his choice of the fugue as his vehicle" (2). Chapter 1, "Toward a Modernist Condition of Absolute Music" (17-82), like all of the chapters, is divided into helpful subsections. This is a sweeping consideration of the dramatic changes in music during the nineteenth century and the early twentieth century. Included here is effective visual attention to changes in concert-hall arrangements and etiquette as concert halls, orchestras, performances, and music itself evolved. The chapter's combination of historical, technological, aesthetic, and philosophical angles proves extremely illuminative. Witen is attuned to the similarly (r)evolutionary sonic and compositional changes in music as it transitioned into the era of the great Romantic composers such as Ludwig van Beethoven, Johannes Brahms, Pyotr Ilyich Tchaikovsky, and Antonín Dvořák. She also devotes significant space to E. T. A. Hoffmann's review of Beethoven's Symphony No. 5 in C Minor, Op. 67, which became "[not only] a landmark in styles of reviewing music, but it also, for the first time, articulated the presence of a debate surrounding instrumental music and the hierarchies within music" (21).2 For Joyce, the musical aspect of language accrued complexity as his writing developed, and the idea of absolute music internalized and subsumed by a literary work assumed a more elevated hierarchical significance and primacy by the time of his later works such as Finnegans Wake, the subject of Witen's concluding chapter. It is clear that Witen is treating Joyce as a composer as much as a writer, but which came first: composer-writer or writer-composer? Also instructive in the first chapter is Witen's consideration of nineteenth-century philosophical and aesthetic thought concerning music...

Form and the Large-Scale Connection: Motivic Harmony and the Expanded Type-1 Sonata in Dvořák’s Later Chamber Music

Form and the Large-Scale Connection: Motivic Harmony and the Expanded Type-1 Sonata in Dvořák’s Later Chamber Music

An Irish-American in Paris: Swan Hennessy (1866–1929)

(Edward) Swan Hennessy (1866–1929) was an Irish-American composer resident in Paris from c1903, where he developed a reputation as a ‘Celtic’ composer, drawing mainly on his Irish heritage. Although the majority of his known works (numbering more than 80) are still in print and occasionally performed, especially by chamber musicians, his life and career have hitherto remained largely unknown. Condensing aspects of the author’s forthcoming life-and-works monograph on the composer, this article is the first academic study to trace Hennessy’s biography and to provide a critical assessment of his music. It draws on genealogical information, archive material in the Hennessy family’s possession and other sources for establishing the composer’s Irish roots, the circumstances of his education, early career and travels in Europe. His network of contacts and influences in France and his reception on the musical scene and in the press are also examined, with extensive use of sources from England, Ireland and Germany as well as France, including reviews of concerts and his published music. While the focus of the article is on the nature of and reasons for Hennessy’s musical celticism, the assessment of his music also encompasses the non-celticist works that reveal an impressionist voice influenced by Debussy and Ravel. The article concludes with a comprehensive catalogue of Hennessy’s compositions.

The Gutenberg English Poetry Corpus: Exemplary Quantitative Narrative Analyses

This paper describes a corpus of about 3000 English literary texts with about 250 million words extracted from the Gutenberg project that span a range of genres from both fiction and non-fiction written by more than 130 authors (e.g., Darwin, Dickens, Shakespeare). Quantitative Narrative Analysis (QNA) is used to explore a cleaned subcorpus, the Gutenberg English Poetry Corpus (GEPC) which comprises over 100 poetic texts with around 2 million words from about 50 authors (e.g., Keats, Joyce, Wordsworth). Some exemplary QNA studies show author similarities based on latent semantic analysis, significant topics for each author or various text-analytic metrics for George Eliot’s poem ‘How Lisa Loved the King’ and James Joyce’s ’Chamber Music’, concerning e.g. lexical diversity or sentiment analysis. The GEPC is particularly suited for research in Digital Humanities, Natural Language Processing or Neurocognitive Poetics, e.g. as training and test corpus, or for stimulus development and control.

Music Received

Music Received Kathleen A. Abromeit INTRODUCTION This column presents a comprehensive list of new music publications that have been sent recently by publishers and distributors for possible review in Notes. Additionally, the list has been supplemented with selective items extracted from the Theodore Front Musical Literature, Inc. webpage. Self-published music is listed when a source of acquisition is provided. The primary aim of this column is to provide brief listings of a broad range of new editions of music, thereby assisting in selection and ordering for libraries or personal collections. After the listing is prepared, the publications are sent selectively to Keith Cochran, the "Music Reviews" column editor. Many thanks to Paul Schubert for his assistance with this column. ORGANIZATION AND SCOPE NOTES Scholarly & Historical Editions: Primarily volumes of collected editions and monumental series. Extensive critical apparatus is generally assumed and therefore not noted in the entries. Facsimile Editions: Limited to publications presenting a reproduction of an item that emphasizes its nature as a primary source rather than its simple intellectual content. Orchestral Music: Works for full and chamber orchestra, and chamber groups of more than nine players. Full scores of concertos are included, but reductions for solo instrument(s) with keyboard are listed in the appropriate chamber music category. Band Music: Brass and wind ensemble music intended for more than one player to a part, and wind chamber groups of more than nine players. Choral Music: Includes all types of nondramatic choral works, in full scores or vocal scores. Dramatic Music: Operas, musicals, and ballets, in full or vocal scores. Chamber Music with Strings; Chamber Music without Strings: Duets through nonets other than one instrument with keyboard. "Strings" includes harp and guitar, but excludes keyboard instruments. String Instrument with Keyboard; Woodwind Instrument with Keyboard; Brass Instrument with Keyboard: Includes reductions for one solo instrument with keyboard (including organ). Music for more than one instrument with keyboard is listed as Chamber Music. Music for solo instrument with basso continuo is listed here, however, since the bass part is often presented as optional or for a choice of instruments. Solos for Bowed or Plucked Strings, Unaccompanied; Solos for Wind Instruments, Unaccompanied: Music for single solo instrument. Studies are included here unless they are technical exercises, orchestral studies, or methods. Music for Organ: Solo organ music, duets, arrangements, and reductions. Music for Piano or Harpsichord: For any keyboard instrument other than organ. Includes solo music and like-instrument ensembles such as 4-hand piano and 2-piano duets, keyboard reductions of piano concertos, and larger keyboard ensembles. Music for Percussion: Includes percussion solos (with or without keyboard accompaniment) and ensembles. Chamber music with other instruments is listed in the appropriate category above. Music for Voice: Music for one or more solo voices (one singer per part) with any accompaniment, including chamber ensemble. Opera excerpts, such as collections of arias, are included, but complete opera vocal scores are listed under Dramatic [End Page 153] Music. Other works for solo voices with chorus are listed under Choral Music. Methods and Studies: Includes method books, technical exercises, and orchestral studies; studies that might be used in performance are listed above as solo music. Music for Children: Materials designed for study and performance by children of preschool or elementary school age. Miscellaneous: For music that defies inclusion in the categories above. CITATION STYLE Citations include publishers' numbers or plate numbers, ISBN, and ISMN, where available. In order to keep the citations brief, description of introductory notes, critical reports, etc., is not included unless the material is considered unusual for the type of publication, or an indication of languages is warranted. Abbreviations for publishers are listed at the end of the column with complete imprints, U.S. distributors, and Web sites. Some well-known collected works series titles are abbreviated according to usage in works lists of The New Grove Dictionary of Music and Musicians, 2nd ed. Most other abbreviations follow The Chicago Manual of Style and the Notes Style Sheet. SCHOLARLY & HISTORICAL EDITIONS Arie a voce sola de diversi auttori (Venice, 1656). Edited by Paolo Alberto Rismondo. (Recent Researches in the Music of the Baroque Era, Vol. 198). A-R, 2018. B 198. ISBN...

Povodom jubileja Narodnog pozorišta u Beogradu - sto pedeset godina od osnivanja - češka muzika i muzičari na sceni Narodnog pozorišta u Beogradu do 1914. godine

This year's jubilee of the National Theatre in Belgrade is an opportunity to remind ourselves of the presence and contribution of Czech musicians at that institution. We meet them as members of the orchestra, bandleaders, authors of operas, operettas, and stage music, and, to a lesser extent, as vocal soloists in numerous works of stage music and chamber musicians. Many of them showcased their concert activities on the stage of this institution, including even some who were internationally renowned musicians at the time.

‘What's my Line?’ Performing Meaning in Mozart's Chamber Music

‘What's my Line?’ Performing Meaning in Mozart's Chamber Music

The Value of James Joyce by Margot Norris

Reviewed by: The Value of James Joyce by Margot Norris Karen R. Lawrence (bio) THE VALUE OF JAMES JOYCE, by Margot Norris. Cambridge: Cambridge University Press, 2016. 157 pp. $44.99 cloth, $17.99 paper. No scholar has contributed more to the ongoing critical project of reading James Joyce’s works than Margot Norris. Returning again and again to Joyce’s oeuvre during her long productive career, she has also used each new book as an occasion to rethink her own methodological approach in light of important developments in literary theory and criticism. Although Norris must have been a “virgin” reader of Joyce at some point, in her “veteran” criticism she has dedicated herself to guiding all sorts of readers, from first-time to recidivist, as they encounter his works. The title of her 2011 study, Virgin and Veteran Readings of “Ulysses,” highlights her pedagogic focus on the reading process and the meaningful interpretive differences that result depending on one’s familiarity with Joyce’s text.1 From Norris’s ground-breaking first book, The Decentered Universe of “Finnegans Wake,” which introduced a structuralist approach to the novel, through Joyce’s Web: The Social Unraveling of Modernism, Suspicious Readings of Joyce’s “Dubliners,” Virgin and Veteran Readings of “Ulysses,” and now The Value of James Joyce, her criticism has gravitated toward a consistent set of themes.2 First, Norris has trained us to focus on what is not said in the text, that is, to attend to its silences, omissions, repressions, unsolved mysteries, secrets, and lies. She counsels us to mind the gap between manifest and latent meanings in the Wake (Decentered Universe), to follow the misleading cues and omissions in Dubliners (Suspicious Readings), and to make visible the occluded social and political forces in Stephen Dedalus’s modernist doctrine of the autonomy of art (Joyce’s Web). Despite the variety of her critical approaches, Norris’s readings and re-readings share another feature: in them, the mysteries of Joyce’s texts are coaxed to yield their meanings through complication rather than annotation. Norris has insistently asked what it feels like for the Joycean reader not to know, probing the anxieties and ethical dilemmas that arise when we are in the dark. In her many books on Joyce, this brave and honest critic has also taken on the implications of her own “not knowing,” as she rereads [End Page 346] her previous work along with Joyce’s. Particularly in Joyce’s Web, she looks back at her own methodological occlusions in The Decentered Universe, faulting its “ahistori[cal]” structuralist approach and admitting to insufficiently anchoring her readings in material, historical conditions (3). In retreading the ground of her earlier study, she now finds in Joyce’s texts what she calls a critique of the modernist myth of the autonomy of art, a myth that erases complex social and political forces at the text’s origin. It is in Penelope’s crafty weaving and unweaving that Norris locates Joyce’s powerful “counter-myth” (8) of artistic creation opposing the canonical image of the Dedalian artist, “paring his fingernails.” In The Value of James Joyce, Norris brings to bear the considerable tools of her veteran readings, this time in the service of guiding the common reader to recognize the “democratic impulses” in Joyce’s works—from Chamber Music to the notoriously difficult Ulysses and Finnegans Wake (3). Norris leads this non-specialist, who might be “overwhelmed” by the aesthetic difficulty of his or her work, toward the discovery of the “remarkable generosity in his embrace of all that is human” (2). For Norris, this humanity resides as much in the diversity of Joyce’s subject matter as it does in his celebrated use of language and myth. While many critics have emphasized the “metaphorical qualities” of the city of Dublin at the heart of Joyce’s work, Norris instead insists that “the endless details of its ordinary materiality and activity . . . cannot be troped away” (9). The book argues that it is the very range and depth of these “ordinary” moments that make Joyce’s work so extraordinary. In its attempt to expand Joyce’s readership to include more non-specialists, The Value...

Oxford Scholarship Online

Reviewed by: Oxford Scholarship Online Stephen Henry Oxford Scholarship Online. [New York, New York]: Oxford University Press, (2008–). http://www.oxfordscholarship.com/ (Accessed 10 October 2017). [Requires a Web browser and an Internet connection. Subscription and perpetual access purchases are available] Oxford Scholarship Online (OSO) provides full-text access to "over 13,000 outstanding academic books from Oxford University Press" (http://oxfordscholarship.com/page/about-oso/about, accessed 4 October 2017). The books are organized into twenty categories, including music. Oxford updates the collection three times a year. Institutions may subscribe to all of OSO or to individual subject areas or they may make outright purchases of individual titles, complete subject modules, or updates within subject modules. Content Oxford Scholarship Online presents scholarly monographs only. Specifically excluded are Oxford publications meant for general audiences, books in the Handbooks series (which are included in a separate resource, Oxford Handbooks Online), tertiary reference sources (some of which are included in Oxford Music Online), and Richard Taruskin's The Oxford History of Western Music (an entity onto itself, available separately from Oxford at http://www.oxfordwesternmusic.com). In addition, OSO is not to be confused with Oxford Bibliographies Online, which features online bibliographies on various topics. Oxford Scholarship Online exists as a subset of Oxford's umbrella interface University Press Scholarship Online. Through University Press Scholarship Online, subscribers may add titles published by a growing number of "partner presses." Publishers with notable offerings in music include University of California Press (102 titles), University of Chicago Press (41 titles), University Press of Mississippi (38 titles), and Yale University Press (31 titles). University Press Scholarship Online and Oxford Scholarship Online users may elect to search within OSO, within any single partner press, or across all partner presses simultaneously. This review will focus on the content available through Oxford Scholarship Online, but comments on the interface and usability apply equally to University Press Scholar ship Online. There are currently 509 titles in OSO's music subject category. The OSO music component was released in 2008; most titles date from that time or later, although Oxford has added several pre-2008 titles over time with the earliest being Martin Williams's Jazz Changes (1993). While not every scholarly monograph on music released since 2008 is represented in the resource, I found few conspicuous absences. As a way of assessing whether Oxford had included the most important music titles, I looked for the presence of books that had won major awards from the American Musico logical Society (AMS), the Society for Ethnomusicology (SEM), and the Society for Music Theory (SMT) since 2008. All four of the Oxford publications that have won AMS's Otto Kinkeldey Award since 2008 are available in OSO. [End Page 480] In addition, Oxford has included Jane A. Bernstein's, 1998 work Music Printing in Renaissance Venice: The Scotto Press (1539–1572). Furthermore, two Oxford titles currently nominated for the 2017 Otto Kinkeldey Award—Kofi V. Agawu's The African Imagination in Music and Michael Marissen's Bach & God (both 2016)—are also included. Award winning Oxford books in the field of ethnomusicology are similarly well represented, albeit not comprehensively. Four of the five Oxford titles published since 2008 that have won the SEM's Alan Merriam Prize are in OSO, the exception being Carol Silverman's Romani Routes: Cultural Politics and Balkan Music in Diaspora (2012). I was unable to determine why Silverman's book had been excluded, but it is an obvious candidate for inclusion. Unfortunately, the field of music theory does not fare as well. The Society for Music Theory has awarded its Wallace Berry Award to four Oxford books since 2008 and only one of them is in OSO: Elizabeth Hellmuth Margulis's On Repeat: How Music Plays the Mind (2013). Absent from the collection are Giorgio Sanguinetti's The Art of Partimento: History, Theory, and Practice (2012); Janet Schmalfeldt's In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music (2011); and Danuta Mirka's Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 (2009). It is not clear whether these titles have been excluded for content or for licensing...

Massive Salieri

The sacred music of Antonio Salieri is less well known than his dramatic music, even though he served as Hofkapellmeister in Vienna for 36 years. Having held the post of Kammerkomponist from 1774, Salieri took over as Hofkapellmeister in 1788 following Emperor Joseph II’s reorganization of court music after the death of Gluck. (As part of this process, Joseph II also appointed Mozart as court chamber musician from December 1787.) Salieri apparently carried out his duties diligently, directing services, acquiring instruments and filling vacant posts, but was by no means a prolific composer of sacred music: five Masses and a Requiem represent his most substantial achievements. Jane Schatkin Hettrick, one of the leading experts on Salieri and compiler of modern editions of his D major and D minor Masses, has now turned her attention to Salieri’s grandest liturgical work and the only one for two choirs, the Plenary Mass in C with Te Deum. Comprising not only the Mass Ordinary, but also parts of the Proper (Introit, Gradual and Offertory) and movements from outside the Mass (Te Deum, Tantum ergo, Genitori), it is formidable in scale. As Hettrick points out in her informative introduction: ‘In Viennese liturgical practice of the time … it was not unusual for the Te Deum to be appended to the mass, especially on important state occasions (coronations, the monarch’s name day, military victories, peace treatises, anniversaries of battles etc.); it was usually added at the end but in some cases [as in Salieri’s Plenary Mass] at the beginning instead’ (p.ix).

Josef Beer - The perfect clarinetist

Name: Maryse Gagnon-Legault Main Subject: Historical Clarinet Research Supervisor: Wouter Verschuren Title of Research: Josef Beer - The complete clarinet virtuoso Research Question: What was the importance of the 18th century clarinetist Josef Beer and what made him stand out as the first international virtuoso on the clarinet? Summary of Results: The history of music is punctuated by the rise of crucial players who, by force of skills, influenced the work of composers, brought their instrument to technical improvement, pushed the boundaries of musical possibilities or just popularized a specific way of playing. One player did all those things at the end of the 18th century with the use of his instrument, the clarinet. Although mentioned in all history books about the clarinet, today’s scholars have done little research on Josef Beer. However, when looking closer at Beer’s life, repertoire and works, we notice how much he had the chance to be at the right place at the right moment. A known teacher of many of the greatest clarinet virtuosi, such as Michel Yost and Heinrich Baermann, he had influenced a generation of young musicians, popularizing his instrument all over Europe with his extensive tours. But what do we really know about Josef Beer and what made him stand out to become such an influential musician? This research is about the life and works written for and by this intriguing man, as well as a reflection on the general implication of the soloist in clarinet concerti and how the music he played became extremely personal, by the addition of unique ornamentation and variations of the “skeleton” - the score - made by the composer. Mainly biographical and historical, this work aims also to approach Beer through the performances of works by composers gravitating around him, including his own compositions. Biography: Maryse Legault is currently pursuing a Master’s degree at the Koninklijk Conservatorium Den Haag in historical clarinets in the class of Eric Hoeprich. During her studies in the Netherlands, Maryse has had the opportunity to perform with many ensembles as a soloist, as well as an orchestral and chamber musician, in various countries including France, Belgium, Germany, The Netherlands and Russia. Curious to approach different repertoires, she focuses her research around the role of late 18th-century clarinet soloists and the birth of the pre-romantic German school of clarinet playing. Maryse holds a bachelor degree from McGill University in Montreal and plans to pursue doctoral studies next year in order to deepen her research experience.

Babylon Quartet: Ghosts, Mirrors, and The River

Names: Babylon Quartet: Kellen McDaniel, Danielle Daoukayeva, William McCleish, Leonid Nikishin Main Subject: Chamber Music Research Supervisors: Renee Jonker, Liesbeth Ackermans Title of Research: Babylon Quartet: Ghosts, Mirrors, and The River: A case study in performance and compositional practices of modern electro acoustic music Research Question: What are some of the important challenges faced in creating and performing works which utilize electronics, and what kinds of performance practices and compositional approaches can be used to mitigate and overcome these challenges? Summary of Results: The use of electronics in music composition and performance continues to expand, both in commercially mainstream and artistically niche genres of music. This presents a growing set of demands on classically trained musicians who wish to perform music which uses electronics. This paper is mainly a primary source documentation of performance techniques, challenges and solutions presented by the members of Babylon Quartet in their preparation and performance of an original work for string quartet involving electronics. The piece was written by violist Kellen McDaniel and his brother Marshall McDaniel. It consists of first hand accounts of all four players as well as the two composers, detailing the process of first premiering the work, and then subsequently revising and adapting the work for future performances, as well as relevant technical explanation and documentation. The goal of this research is to provide insight and practical solutions on how some core challenges of electro-acoustic performance can be overcome from both compositional and performance perspectives. Biography: Babylon Quartet is a string quartet based in The Hague. Playing together for the past three years, they have been honored as recipients of Het Kersjesfonds Strijkkwartetstipendium as well as winning first place De Grote Kammermusik Prijs - De Doelen. They consist of violinists Leonid Nikishin (Russia) and Danielle Daoukayeva (Netherlands), violist Kellen McDaniel (USA), and Cellist William McCleish (Canada). Kellen McDaniel and his brother Marshall McDaniel are a composing duo from Los Angeles, California. They have composed works for the concert hall and theater, as well as film and television.

Transcribing Rachmaninoff’s Variations on a Theme of Corelli for Orchestral Ensemble.

Name: Raquel Garzás García-Pliego Main Subject: Classical Piano Research Supervisor: Anna Scott Title of Research: Transcribing Rachmaninoff’s Variations on a Theme of Corelli for Orchestral Ensemble Research Question: Can creating orchestral transcriptions of this piano piece confirm or change current perceptions of its character and meaning; and can studying the relationship between the orchestral and piano duo versions of Rachmaninoff's Symphonic Dances help inform my arrangements of his Variations? Summary of Results: This research paper focuses on the process and effects of creating orchestral transcriptions of Sergei Rachmaninoff's piano work Variations on a Theme of Corelli. The goal of this research has been to build more than one orchestral version of some of these variations in order to help piano students (as well as myself) arrive at more than one interpretation of the piece. In order to explore this idea of interpretive multiplicity and flexibility in the Variations, I based my transcription process on Rachmaninoff's Symphonic Dances: a work that the composer produced first for orchestra and afterwards for piano duo. During my analysis of the Symphonic Dances I tried to understand the composer's view of the relationship between orchestral and pianistic timbres so that I could then apply similar characteristics to my own transcriptions. As pianists we are frequently asked to think and play orchestrally, but sometimes we do not have the inspiration or tools to experiment with new sonorities and modes of sound production. In making these transcriptions, I have been able to explore and expand my own relationship with this work, while also opening up my mind to the interpretive possibilities inherent in other familiar piano works. In my presentation I will highlight elements of my analysis and transcription process before demonstrating their effects on my interpretation of Rachmaninoff's Variations at the piano. Biography: Raquel Garzás was born in Spain in 1992. After finishing her Bachelor Degree in Zaragoza, Spain, she continued her studies by pursuing a Master's Degree at the Koninklijk Conservatorium in Den Haag with David Kuyken. Raquel has a special affinity for chamber and contemporary repertoires, and is a member of the chamber group Camus Trio. In recent years she has performed as a soloist with several orchestras, including the "Chamber Music Orchestra Andrés Segovia" together with the "Orfeón Donostiarra" in the National Auditorium of Madrid.

Камерная музыка для солирующего баяна и камерного оркестра Николая Шабалина в аспекте композиционной структуры

At the center of the article’s attention lies Nikolai Shabalin’s Chamber Music for Solo Button Accordion and Chamber Orchestra (1983), which is a significant for the musical culture of Udmurtia. Examining the peculiarities of the compositional organization of the Concerto, the author of the article makes the attempt to disclose the novel and individualized traits of the conception of this composition and at the same time for showing its continuity in regard to the traditions of the genre of the concerto for button accordion. Three main particular features of the Chamber Music stand out: the chamber music element, interpreted by the composer, first of all, as a subjective tone of utterance; the revision of the role of the soloist, leading toward a new type of interaction with the orchestra, in which the classical dialogic qualities yield to the tendency towards unification and unanimity; the one-movement form, in which the tendency towards through development is connected with cyclic features. The specificity of compositional structure is determined by the interaction of classical principles of form-generation (sonata form) and continuous evolutionism (a term of Vsevolod Zaderatsky). A great amount of attention is paid by the author to the meticulous thematic work of the composer, who projects the main intonational formula of the Concerto (perfect fifth – tritone) onto various musical levels. Shabalin’s Chamber Music demonstrates an organic combination of the traditional and innovative elements, which leads to a renewal of the genre of the Concerto for the Button Accordion. Keywords: composer Nikolai Shabalin, Concerto for Button Accordion and Orchestra, sonata form in the Button Accordion repertoire, composers of Udmurtia.

Marie Sumner Lott. 2015. The Social Worlds of Nineteenth-Century Chamber Music

The serious nature of nineteenth-century domestic social activity, even activity that might appear to be solely leisurely and playful at a first glance, is at the center of Marie Sumner Lott’s recent book, The Social Worlds of Nineteenth-Century Chamber Music. Through this notion of serious leisure Sumner Lott weaves together an absorbing discussion of a multitude of composers, performers, and locales. She bases her work around the central idea that the oft-discussed retreat of the middle class into the domestic sphere in the first half of the century—a retreat mostly owing itself to active government depoliticization of salon culture across the continent—led to a situation in which bourgeois and upper-class men “needed spaces in which they could socialize together without compromising their social standing” (14). No longer able to gather under explicitly political auspices with the same ease as before, many turned to music as a reason to congregate and socialize. Thus, Sumner Lott contends, sociable, leisurely activities became serious business.

Performance as a Research Instrument: An Example from the Western European Baroque

In this paper, I discuss performance as a research instrument in Western European classical music. I describe considerations and process leading to my performance of Corelli Op. 5 no. 12 "Follia" in the Indonesian Chamber Music Festival 2011 at ISI Yogyakarta Concert Hall. Corelli's Follia (La Folia), as it is commonly known, is a canonized work which opens many professional violinist's recital programs. Its real identity has become marginalized and transformed through rather blind reliance on 19th-century editions by violinists who wished to adopt it to "mainline" romantic concepts of style and performance. This process of adaption has been characteristic of European classical music for centuries. Works of earlier times were reshaped both in performance and in print editions to fit prevailing musical tastes. I chose to approximate an appropriate ensemble with modern instruments. Using a constructivist approach, I employed aspects of Baroque performance practice, especially in ornamentation and embellishment, along with manipulation of rhythmic elements and in a more spontaneous, and consciously contemporary manner. I take the opportunity to contribute to productive dialogue regarding the role of performance at Music Department, the Faculty of Performing Arts, Yogyakarta Indonesian Institute of the Arts, and qualitative research. I seek to open up our discourse to a wider understanding beyond the persistent positivist continues to approach the academic world in Indonesia as the only platform for research theory and method. I suggest that this performance, like any other, is an informed adventure across time and space and that ethnomusicology and music are no longer separate worlds.

Granados’s Piano Trio: Harbinger of Masterworks to Come

Given the extent of Granados’s activity as a chamber musician, it is curious that he contributed relatively few original works to the genre. Premiered in 1895, the Piano Trio is an important composition, all the more valuable for the overall paucity of chamber music produced by the Spanish nationalist school. The trio presents an amalgamation of many familiar threads of Granados’s compositional style: virtuosic piano writing, a grounding in mainstream European Romanticism, a generalized nationalistic flavor, a more explicitly Catalan regional color, and a cyclical handling of large-scale form.The trio did not enjoy a significant performance history, and was not published until 1976. Full of typographical errors and lacking source documentation, the first edition was superseded by authoritative critical urtexts, published by Edicions Tritó and Casa-Boileau in 2013. Still, numerous notational dilemmas persist, and the overall aesthetic cohesiveness of the work remains a challenge to potential interpreters.The present paper situates Granados’s sole essay for piano, violin and cello in the context of his overall output, as an antecedent to the more refined handling of many of the same compositional traits in the Goyescas and other more mature compositions. It also seeks to elucidate both practical and conceptual obstacles to the trio’s integration into the repertory, including a thorough comparison of inconsistencies among source materials.

Pablo Neruda's Transnational Modernist Networks: Colombo-Madrid-London-Buenos Aires (1927–1933)

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925–1931 and published in 1933) as a ‘text in transit’ that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente (The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations.

Music Received

Music Received Kathleen A. Abromeit INTRODUCTION This column presents a comprehensive list of new music publications that have been sent recently by publishers and distributors for possible review in Notes. Additionally, the list has been supplemented with selective items extracted from the Theodore Front Musical Literature, Inc. webpage. Self-published music is listed when a source of acquisition is provided. The primary aim of this column is to provide brief listings of a broad range of new editions of music, thereby assisting in selection and ordering for libraries or personal collections. After the listing is prepared, the publications are sent selectively to Keith Cochran, the "Music Reviews" column editor. ORGANIZATION AND SCOPE NOTES Scholarly & Historical Editions: Primarily volumes of collected editions and monumental series. Extensive critical apparatus is generally assumed and therefore not noted in the entries. Facsimile Editions: Limited to publications presenting a reproduction of an item that emphasizes its nature as a primary source rather than its simple intellectual content. Orchestral Music: Works for full and chamber orchestra, and chamber groups of more than nine players. Full scores of concertos are included, but reductions for solo instrument(s) with keyboard are listed in the appropriate chamber music category. Band Music: Brass and wind ensemble music intended for more than one player to a part, and wind chamber groups of more than nine players. Choral Music: Includes all types of nondramatic choral works, in full scores or vocal scores. Dramatic Music: Operas, musicals, and ballets, in full or vocal scores. Chamber Music with Strings; Chamber Music without Strings: Duets through nonets other than one instrument with keyboard. "Strings" includes harp and guitar, but excludes keyboard instruments. String Instrument with Keyboard; Woodwind Instrument with Keyboard; Brass Instrument with Keyboard: Includes reductions for one solo instrument with keyboard (including organ). Music for more than one instrument with keyboard is listed as Chamber Music. Music for solo instrument with basso continuo is listed here, however, since the bass part is often presented as optional or for a choice of instruments. Solos for Bowed or Plucked Strings, Unaccompanied; Solos for Wind Instruments, Unaccompanied: Music for single solo instrument. Studies are included here unless they are technical exercises, orchestral studies, or methods. Music for Organ: Solo organ music, duets, arrangements, and reductions. Music for Piano or Harpsichord: For any keyboard instrument other than organ. Includes solo music and like-instrument ensembles such as 4-hand piano and 2-piano duets, keyboard reductions of piano concertos, and larger keyboard ensembles. Music for Percussion: Includes percussion solos (with or without keyboard accompaniment) and ensembles. Chamber music with other instruments is listed in the appropriate category above. Music for Voice: Music for one or more solo voices (one singer per part) with any accompaniment, including chamber ensemble. Opera excerpts, such as collections of arias, are included, but complete opera vocal scores are listed under Dramatic Music. Other works for solo voices with chorus are listed under Choral Music. [End Page 148] Methods and Studies: Includes method books, technical exercises, and orchestral studies; studies that might be used in performance are listed above as solo music. Music for Children: Materials designed for study and performance by children of pre-school or elementary school age. Miscellaneous: For music that defies inclusion in the categories above. CITATION STYLE Citations include publishers' numbers or plate numbers, ISBN, and ISMN, where available. In order to keep the citations brief, description of introductory notes, critical reports, etc., is not included unless the material is considered unusual for the type of publication, or an indication of languages is warranted. Abbreviations for publishers are listed at the end of the column with complete imprints, U.S. distributors, and Web sites. Some well-known collected works series titles are abbreviated according to usage in works lists of The New Grove Dictionary of Music and Musicians, 2nd ed. Most other abbreviations follow The Chicago Manual of Style and the Notes Style Sheet. SCHOLARLY & HISTORICAL EDITIONS Anonimi Toscani. Sonate Per Organo (Fonte Ricasoli, Univ. of Louisville), Band I: Für Orgel. Edited by Jolando Scarpa. (Frutti Musicali). Edition Walhall, 2016. EW 457 ISBN 9790500704577. Score, 54 p. $30. Anonimi Toscani. Sonate Per Organo (Fonte Ricasoli, Univ. of...