Double Concerto Research Articles

Ligeti's Restoration of Interval and Its Significance for His Later Works

When Gyorgy Ligeti turned away, beginning in 1965, from the supersaturated chromaticism that had dominated his work for nearly a decade, he brought pitch interval into an increasingly prominent structural role. The development of Ligeti's method is studied, through several newly defined intervallic transformations, in his works of the 1970s, including Melodien (1971), the Double Concerto (1972), Clocks and Clouds (1973), San Francisco Polyphony (1974), Three Pieces for Two Pianos (1976), and Le Grand Macabre (1977). This content downloaded from 207.46.13.33 on Wed, 12 Oct 2016 04:55:18 UTC All use subject to http://about.jstor.org/terms Ligeti's Restoration of Interval and Its Significance for His Later Works 31 Example 17b. Passacaglia, mm. 1-10, graph

Elliott Carter: collected essays and lectures, 1937-1995

Part 1 Surveying compositional scene: composer's viewpoint (1946) a further step (1958) challenge of new (1960-62/94) fallacy of mechanistic approach (1946) musique serielle aujourd'hui (1964/94) ISCM Festival, Rome (1959) Rasputin's End and Lady Macbeth of Mtsensk (1960) letter from Europe (1963) ISCM Festival, Amsterdam (1963/94). Part 2 music: once again swing - also American music (1939) music in New York scene (1940) agony of modern music in America, 1955 (1955/94) rhythmic basis of music (1955) European roots of musical culture (1961/94) Expressionism and music (1965/72) the composer is a university commodity (1970). Part 3 Charles Ives: case of Mr Ives (1939) Ives today - his vision and challenge (1944) an destiny (1946) Charles Ives remembered (1974) documents of a friendship with Ives (1975). Part 4 Some other composers: Gabriel Faure (1945) three late sonatas of Debussy (1959/94) figure, with landscape - Henry F. Gilbert (1943) Stravinsky in 1940 Igor Stravinsky - two tributes (1971) on Edgard Varese (1975/79) Edward Steuermann (1966) Walter Piston (1946) Roger Sessions - violin concerto (1959) in memoriam - Roger Sessions, 1896-1985 (1985/95) in memoriam - Stefan Wolpe, 1902-1972 (1972) two essays on Goffredo Petrassi (1960, 1986) to think of Milton Babbitt (1976) for Pierre Boulez on his 60th (1985). Part 5 Life and work: to be a composer in America (1953/94) composer's choices (circa 1960) shop talk by an composer (1960) time dimension in music (1965) two sonatas, 1948 and 1952 (1969) string quartets No 1, 1951, and No 2, 1959 (1970) orchestral composer's point of view (1970) on Saint-John Perse and concerto for orchestra (1974/94) brass quintet (1974) double concerto, 1961, and duo, 1974 (1975) music and time screen (1976) elle est la musique en personne - a reminiscence of Nadia Boulanger (circa 1985/95) reminiscence of Italy (1988). Part 6 Philosophy, criticism and other arts: more about Balanchine (1937) with dancers (1938) remembering Balanchine (1991/95) theatre and films (1943) genial sage - Paul Rosenfeld (1948) introduction to a poetry reading by W.H. Auden (1969) music as a liberal art (1944) time lecture (1965/94) Gesamtkunstwerk (1966/94) Soviet music (1967/94) music criticism (1972). Appendices: notes on sources published writings by Carter not included in this collection.

Composers steven mackey and rand steiger: An appreciation

Rock and other vernacular styles are part of a broad technical palette used by composers Steven Mackey and Rand Steiger. Originally trained as rock and jazz musicians, they have purposefully maintained their links with popular music, allowing it to influence their work in various ways — rhythmic, harmonic, textural, and structural — without degenerating into cliche. This article examines Mackey's Indigenous Instruments and On All Fours, and Steiger's Trio in Memoriam and Double Concerto, to provide an introduction to their styles and compositional methods.

Benjamin Lees: Quo Vadis?

Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.

REVIEWS OF MUSIC

REVIEWS OF MUSIC Get access Friedrich Cerha, Double Concerto, for violin, cello and orchestra. Score. ( Universal, Vienna, 1976, £13.50.) DAVID HARVEY DAVID HARVEY Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 65, Issue 4, October 1984, Pages 425-a–425, https://doi.org/10.1093/ml/65.4.425-a Published: 01 October 1984

Lou Harrison's "Double Concerto for Gamelan, Violin and Cello": Juxtaposition of Individual and Cultural Expectations

Saturday's performance Lou Harrison's Double Concerto for gamelan, violin, and cello was a unique event in a variety of ways. It was a peculiar juxtaposition of various expectations, social roles, and musical elements. Harrison, though denying that his music makes a statement, emphasized to University of Michigan students that acculturation was one of his primary musical interests. This essay explores some of the issues raised by his unique musical synthesis.

Carter in the Seventies

In the last ten years Elliott Carter has completed as many works as he had in the previous two decades combined. The increased rate of composition—A Symphony of Three Orchestras was written in six months—has been matched by even greater formal and poetic daring. Indeed the works from the Third Quartet onward are so adventurous in conception that there is little in the way of traditional musical terminology that can be used to describe their forms, harmonies, or even, as in the case of the most recent work, Syringa, their genre. And while Carter's continued exploration of abstract discourse in the Third Quartet, Duo and Brass Quintet was to be expected, the preoccupation with the voice and poetic subjects in the next three works seemed, at first, a surprising development. Carter turned to song composition in 1975 with A Mirror on Which to Dwell, a cycle of six poems by Elizabeth Bishop dedicated to the artists who gave its first performance 24 February, 1976: Susan Davenny Wyner, soprano, and Speculum Musicae. By the end of 1976 he completed A Symphony of Three Orchestras, a purely instrumental work stemming from the various projects for a choral setting of Hart Crane's ‘The Bridge’ that Carter had planned since the 1930's. A Symphony was premièred by Pierre Boulez and the New York Philharmonic, to whom it is dedicated, on 17 February 1977. On 10 December last, the eve of Carter's 70th birthday, Syringa was given its première by Jan de Gaetani (mezzo-soprano), Thomas Paul (bass) and Speculum Musicae, conducted by Harvey Sollberger. Dedicated to Sir William and Lady Glock, this work superimposes John Ashbery's retelling of the Orpheus legend, ‘Syringa’, sung by the mezzo, upon fragments of classical Greek texts sung by the bass. It might be termed a polytextual motet, a cantata, a chamber opera, or a vocal double concerto.

REVIEWS OF RECORDS

REVIEWS OF RECORDS ELLIOTT CARTER: Double Concerto for Harpsichord and Piano with Two Chamber Orchestras. Paul Jacobs, harpsichord; Gilbert Kalish, piano; The Contemporary Chamber Ensemble, cond. Arthur Weisberg. Duo for Violin and Piano. Paul Zukofsky, violin; Gilbert Kalish, piano. Nonesuch H-71314 (stereo). BRUCE ARCHIBALD BRUCE ARCHIBALD Search for other works by this author on: Oxford Academic Google Scholar The Musical Quarterly, Volume LXIII, Issue 2, April 1977, Pages 287–289, https://doi.org/10.1093/mq/LXIII.2.287 Published: 01 April 1977

Variations for Orchestra; Double Concerto for Harpsichord and Piano with Two Orchestras

Variations for Orchestra; Double Concerto for Harpsichord and Piano with Two Orchestras

Double Concerto for Harpsichord and Piano with Two Chamber Orchestras (1961)

Double Concerto for Harpsichord and Piano with Two Chamber Orchestras (1961)

Double Concerto for Harpsichord, Fortepiano, and Orchestra in E Flat Major

Double Concerto for Harpsichord, Fortepiano, and Orchestra in E Flat Major

Symphonies Nos 1-4; Academic Festival Overture; Tragic Overture; St Anthony Variations; Double Concerto (Soloists: Francescatti and Fournier)

Symphonies Nos 1-4; Academic Festival Overture; Tragic Overture; St Anthony Variations; Double Concerto (Soloists: Francescatti and Fournier)

Double Concerto for Two String Orchestras, Piano and Timpani

Double Concerto for Two String Orchestras, Piano and Timpani

Handel's Double Concerto

Handel's Double Concerto