scholarly journals Beethoven, the Ninth Symphony and Neon Genesis Evangelion: Using Pre-existing Music in Anime

2021 ◽  
pp. 85-109
Author(s):  
Heike Hoffer
Keyword(s):  
Ninth Symphony ◽  
Neon Genesis Evangelion

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

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. "

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

AN INTERVIEW WITH KRZYSZTOF PENDERECKI

Tempo ◽  
2020 ◽  
Vol 74 (294) ◽  
pp. 77-84
Author(s):  
Alexander Woodman
Keyword(s):  
Musical Education ◽  
Ninth Symphony ◽  
Krzysztof Penderecki

AbstractThis article transcribes an interview with the great Polish composer Krzysztof Penderecki and is one of the last interviews that Penderecki gave before his death on 29 March 2020. It traces the composer's career, from his early musical education to the Ninth Symphony on which he was working at the time of his death, and focuses on the composition of his Threnody for the Victims of Hiroshima, the St Luke Passion and the Polish Requiem.

"Polemik im Concertsaal": Mahler, Beethoven, and the Viennese Critics

2006 ◽  
Vol 29 (3) ◽  
pp. 289-321 ◽  
Author(s):  
K. Knittel
Keyword(s):  
Mother Tongue ◽  
Concert Hall ◽  
Ninth Symphony ◽  
The Press ◽  
The Right ◽  
Over Time ◽  
Do So

"Polemic in the Concert Hall": the title of Richard Heuberger's article in the Neue freie Presse refers in no uncertain terms to the uproar surrounding Mahler's performances of Beethoven's Ninth Symphony in Vienna. The two performances, on 18 and 22 February 1900, used Mahler's own orchestral re-touchings of Beethoven's work, and Mahler's biographers have often identified these concerts as the first sustained attacks by the press, attacks that would, over time, only continue to increase in severity and frequency. When these concerts are placed into the context of reactions to Mahler's other Philharmonic concerts, however, this narrative of a "fall from grace" proves impossible to sustain. Not only was Mahler denounced for reorchestrating other works from his very first concert with the Vienna Philharmonic, but the language used to do so remained consistent throughout Mahler's tenure. Mahler, as a Jew, was not perceived as having the "right" to "improve" Beethoven--or any other composer for that matter. Although not overtly anti-Semitic, the language of the reviews resembles that found in Wagner's essay "Das Judentum in der Musik," where he outlines the Jewish composer's supposed handicaps: an emphasis on detail to the detriment of the whole, the prevalence of intellect over feeling, and an understanding of culture as merely "learnt" but never "mother tongue." An examination of the critical reactions points out these similarities while also suggesting that, particularly given Wagner's own suggestions (in 1873) for the reorchestration of Beethoven's symphony, the uproar had very little to do with what anyone heard.

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