Vaughan Williams's Ninth Symphony, and: Vaughan Williams (review)

Notes ◽  
2002 ◽  
Vol 59 (2) ◽  
pp. 350-352
Author(s):  
Julian Onderdonk
Keyword(s):  
Ninth Symphony ◽  
Vaughan Williams

British Festivals: Some Comments on their Customs

Tempo ◽  
1950 ◽  
pp. 6-11
Author(s):  
Donald Mitchell
Keyword(s):  
Blood Transfusion ◽  
Public Performance ◽  
King David ◽  
Te Deum ◽  
Ninth Symphony ◽  
The Times ◽  
Vaughan Williams

In many ways Edinburgh is the most substantial, the most luxurious, the most opulent of British Festivals, yet not necessarily the most interesting or even the most significant. It is as well to remind ourselves that British Festivals did not begin with, and certainly do not end at Edinburgh. They have been characters on our musical stage for many years, although all too often they have disguised themselves with distressing reticence in the drabbest robes and made use of a property-box that has not caught up with the times. The Messiah might give way to a younger work now and again, if the suggestion were not considered revolutionary. A change round of the cast, a draft of new blood, is always refreshing, and indeed essential, if a festival is not to become a funeral. Charles Stuart, writing in TEMPO in the autumn of 1947, bemoaned the complacency of the Leeds Festival of that year and gave a list of the “Festival battle-horses”—Beethoven's Ninth Symphony, Berlioz' Te Deum, Verdi's Requiem—which drew the cortège to its final resting place. The Leeds authorities seem to have realized the importance of a blood transfusion, and Mr. Stuart could not complain of the 1950 programme, which shows this Victorian infant (born in 1858) to be still of lusty and adventurous age and embarking on the second public performance in England of Britten's Spring Symphony, besides Honegger's rarely-heard King David, Rubbra's Morning Watch Motet, Strauss's Oboe Concerto and Vaughan Williams' Sixth Symphony.

The Status of the Subject in Mahler's Ninth Symphony

1994 ◽  
Vol 18 (2) ◽  
pp. 108-120 ◽  
Author(s):  
Julian Johnson
Keyword(s):  
Ninth Symphony ◽  
The Status ◽  
The Subject

Beethoven's Ninth Symphony: A Search for Order

1986 ◽  
Vol 10 (1) ◽  
pp. 3-23 ◽  
Author(s):  
Maynard Solomon
Keyword(s):  
Ninth Symphony

Vaughan Williams and the Soundscapes of Scott of the Antarctic

2020 ◽  
Author(s):  
Carolyn Philpott ◽  
Elizabeth Leane ◽  
Douglas Quin
Keyword(s):  
The Antarctic ◽  
Vaughan Williams

Arthur Benjamin's Operas

Tempo ◽  
1950 ◽  
pp. 15-18
Author(s):  
Dennis Arundell
Keyword(s):  
Seventeenth Century ◽  
Royal College ◽  
Practical Knowledge ◽  
Good Work ◽  
National Opera ◽  
School Girls ◽  
First Time ◽  
The Devil ◽  
English Opera ◽  
Vaughan Williams

Ever since the seventeenth century composers of English operas have been handicapped by the snob-preference for foreign works irrespective of their merits. In Purcell's day a second-rate French composer, whose past is still shrouded in Continental mystery, was so boosted in London even by Dryden that it was only through an open-air performance by Mr. Priest's school-girls at Chelsea that Dido and Aeneas convinced both London theatre managers and eventually Dryden himself that Purcell was “equal with the best abroad.” In this century, when the usual opera favourites were established, it has been even more difficult for English opera-composers to get a showing (at one time it had not been unheard of for English operas to be translated into Italian or German for production in this country): but twenty-five years ago the Royal College of Music followed the example of Mr. Priest by producing for the first time Vaughan Williams' Hugh the Drover, which was afterwards given publicly by the British National Opera Company, and in 1931 under the auspices of the Ernest Palmer Opera Fund, introduced The Devil Take Her, the first opera by the Australian composer Arthur Benjamin. The enthusiasm of the singers, headed by Sarah Fischer and Trefor Jones, the cunning skill of the conductor, Sir Thomas Beecham and the practical knowledge of the producer, John B. Gordon, who had had so much experience at Cologne and who was at the time doing such good work for opera at the Old Vic, all combined to make the performance outstanding.

Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe

2021 ◽  
Vol 66 (1) ◽  
pp. 329-343
Author(s):  
Liudmyla Shapovalova ◽  
Іryna Romaniuk ◽  
Marianna Chernyavska ◽  
Svitlana Shchelkanova
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Accurate Identification ◽  
Philosophy Of Music ◽  
Philosophical Concept ◽  
Avant Garde ◽  
The Third ◽  
Ninth Symphony ◽  
Human Ontology ◽  
First Time

"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awareness of their phenomenal nature necessitated a methodological choice aimed at the most accurate identification of the philosophical concept of the new sound universum of V. Silvestrov's music. Deep correlation of the image of a human being as a factor of the symphony poetics (the influence of philosophical concepts of human ontology in the 20th century with the transformation of the genre canon) is considered. This refers to the nonmusical dimension of the genre semantics. The study of V. Silvestrov's early symphonies reveal a new philosophy of music through gradual movement – modulation: from the neo-baroque First Symphony and ""cosmic pastorals"" Musica Mundana of the Second Symphony through the history anthropologisation in the Third Symphony ""Eschatology"" to the monodrama Musica Humana in the Fourth Symphony. The dichotomy of Musica Mundana – Musica Humana is not accidental: in V. Silvestrov's creative method, remains relevant, which is confirmed by the dramaturgy of his latest work – the Ninth symphony (2019). Keywords: V. Silvestrov's early symphonies, evolution of style, worldview, Musica Mundana, monodrama. "

scholarly journals Antiarrhythmic drugs use in elderly patients. Vaughan Williams class I and II drugs

2016 ◽  
Vol 12 (4) ◽  
pp. 471-478 ◽  
Author(s):  
E. A. Ushkalova ◽  
S. K. Zyryanov ◽  
K. E. Zatolochina ◽  
A. P. Pereverzev ◽  
N. A. Chukhareva
Keyword(s):  
Elderly Patients ◽  
Antiarrhythmic Drugs ◽  
Class I ◽  
Vaughan Williams
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