Symphonies Reframed

2018 ◽  
Author(s):  
Gjertrud Pedersen
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Chamber Ensemble ◽  
Educational Value ◽  
Chamber Ensembles ◽  
String Trio ◽  
Original Works ◽  
The Difference ◽  
Core Questions ◽  
First Time

Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

Rodolfo Halffter et al. - RODOLFO HALFFTER: Chamber Music, Volume 2. Giga, op. 31; Tres piezas breves, op. 13a2; Dos sonatas de El Escorial, op. 23; Homenaje a Antonio Machado, op. 133; Divertimento, op. 7a4-13; Laberinto, op. 343; Capricho, op. 409; Epinicio, op. 423,4; Secuencia, op. 393. 1Miguel Ángel Jimenez (gtr), 2Beatriz Millán (hp), 3Francisco José Segonia (pno), 4Cinta Vrea (fl), 5Vicente Fernández (ob), 6Nerea Meyer (cl), 7Francisco Mas (bn), 8César Asensi (tpt), 9Victor Arriola (vln), 10Paulo Vieira (vln), 11Alexander Trotchinsky (vla), 12Rafael Domínguez (vlc), c. 13Manuel Coves. Naxos 8.572419 - RODOLFO HALFFTER: Chamber Music, Volume 3. String Quartet, op. 241; Cello Sonata, op. 262. Tres Movimientos, op. 281; Ochos tientos, op. 351. 1Bretón String Quartet, 2John Stokes (vlc), Francisco José Segonia (pno). Naxos 8.572420 - NORDIN: Undercurrents1,2; Surfaces Scintillantes2; Cri du Berger1; The Aisle2; Pendants I-III2. 1Benjamin Carat (vlc). 2Gageego!/Pierre-Andre Valade. Phono Suecia PSCD 192 - SUNLEIF RASMUSSEN: Dancing Raindrops; Suite for guitar and effect processor; Andalag #2; Like the Golden Sun; Mozaik/Miniature. Aldubarán. Dacapo 8.226567. - WEINBERG: Sonatas for violin and piano Nos. 1, op. 12; 4, op. 39; Sonata for violin solo No. 1, op. 82. Sonatina for violin and piano, op. 46. Yuri Kalnits (vln), Michael Csányi-Wills (pno). Toccata Classics TOCC 0007. - ‘Dedicated to Trio’. SVEN-DAVID SANDSTRÖM: 5 Pieces. ÖSTERLING: Lundi1. MONNAKGOTLA: 5 Pieces. HEDELIN: Akt. TALLY: Winter Island. 1Dan Laurin (rec), Trio Zilliacusperssonraitinen (ZPR). Phono Suecia PSCD 189. - HENZE: ‘Hommages’. Sonata for 6 players; Margareten-Walzer; Ländler; La mano sinistra; Epitaph; Toccata mistica; String Trio; Ode al dodicesimo apostolo; An Brenton; Klavierstück für Reinhold; Serenade; Adagio, adagio. Ensemble Recherche. Wergo WER 6727 2. - ‘Silver Tunes’. VON KOCH: Silver Tunes. LANGLAIS: 5 Pieces. AUGUSTA READ THOMAS: Angel Tears and Earth Prayers. DEBUSSY: Syrinx. LIEBERMANN: Air, op. 106. LÖFBERG Sonata-I Choral (plus works by ROMAN, GLUCK, HILDEGARD VON BINGEN). Elivi Varga (fl), Ole Långström (org). Sterling CDA 1676-2.

Tempo ◽  
2013 ◽  
Vol 67 (265) ◽  
pp. 112-117
Author(s):  
Guy Rickards
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Hildegard Von Bingen ◽  
Antonio Machado ◽  
String Trio ◽  
Violin And Piano ◽  
Cello Sonata

Michael Berkeley: recent world premières and CD releases

Tempo ◽  
2003 ◽  
Vol 57 (225) ◽  
pp. 39-40 ◽  
Author(s):  
Paul Conway
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
String Quartets ◽  
Joint Commission ◽  
String Quintet ◽  
String Trio ◽  
The City ◽  
Clarinet Quintet

Michael Berkeley's choral and operatic successes have tended to obscure his accomplishments in the field of chamber music, which include a serialist String Trio (1978), two String Quartets and a Clarinet Quintet from the 1980s and the string quartet Torque and Velocity (1997). His latest essay in the genre, Abstract Mirror, for string quintet, was premièred on 11 February 2003 at Bishopsgate Hall by the Chilingirian Quartet, with cellist Stephen Orton. The work was a joint commission by the players and the City Music Society.

“Domesticating” the Foreign in Arrangements of Operas, Folk Songs, and Other Works for Chamber Ensembles

2017 ◽  
Author(s):  
Marie Sumner Lott
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Life ◽  
Chamber Ensembles ◽  
Social Settings ◽  
Opera Transcriptions ◽  
Changing Role

This chapter looks at string quartet transcriptions and arrangements. These arrangements differ from their piano-oriented counterparts in significant ways, and they reflect the changing role of chamber music—and that of opera and folk song—in musical life over the course of the nineteenth century. In translating an opera or other work for string quartet, arrangers combined seemingly opposed genres and social settings, bringing the opera house into the parlor in some cases and the countryside into the city in others. The chapter then focuses on Berlin-based publisher Adolph Martin Schlesinger. His firm produced dozens of opera transcriptions, collections of folk songs, and arrangements of Classical works for amateur chamber musicians between 1800 and 1900.

Debussy and La Sonate cyclique

2005 ◽  
Vol 22 (4) ◽  
pp. 644-679 ◽  
Author(s):  
MARIANNE WHEELDON
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
18Th Century ◽  
Chamber Works ◽  
French School ◽  
First Time ◽  
Vincent D'indy

ABSTRACT In 1915, Debussy returned to the genre of chamber music for the first time since the String Quartet of 1893 and composed the only sonatas of his career. What draws these early and late chamber works together is that they are all cyclic in construction. While Debussy's quartet clearly bears the imprint of Céésar Franck's cyclic procedures, his sonatas engage with this tradition more cautiously. Comparing the string quartet with the sonatas elucidates Debussy's uneasy rapprochement with a style he had formerly embraced. Debussy's underplaying of the cyclic tradition was motivated by what the cyclic sonata had come to represent in the intervening years, in particular its appropriation by Franck's student Vincent d'Indy. In his teachings and publications, d'Indy promulgated a nationalistic view of the cyclic sonata, one that declared Franck and the modern French school as the only comprehending heirs of Beethoven. Reluctant to participate in this particular heritage, Debussy diverted attention from the cyclic procedures used in the sonatas by explicitly emphasizing their stylistic affiliation with the French 18th century and by implicitly aligning himself with Franck rather than with d'Indy. In this way Debussy sought to carve out a place for his sonatas within a less contentious tradition.

Practicing Efficiently—For Teachers

1994 ◽  
Vol 44 (2) ◽  
pp. 49-51
Author(s):  
Katrina Wreede ◽  
Karen Ritscher
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Free Jazz ◽  
Youth Orchestras ◽  
String Trio

Katrina Wreede has an active career as a performer, teacher, and composer. Formerly the violist with the Turtle Island String Quartet, she performs with chamber music groups, a viola/piano duo, and a string trio, all of which explore free jazz sensibilities inside the chamber music form. While violist with TISQ, she performed to critical acclaim in more than 40 states and nine countries, appearing in numerous television specials. She teaches both privately and for several youth orchestras and presents workshops on improvisation and composition to children and adults. She also composes in her “Improvisational Chamber Music” style.

scholarly journals Musiklivet på Fuglsang 1892 til 1931

2016 ◽  
Vol 52 ◽  
Author(s):  
Inger Sørensen
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Driving Force ◽  
First World War ◽  
World War ◽  
Main Emphasis ◽  
The First World War ◽  
First Time ◽  
First World ◽  
Insight Into

In 1891, squire Viggo de Neergaard (1837–1915) from Fuglsang on Lolland and hisyoung wife Bodil (1867–1959), who was the daughter of composer Emil Hartmannand granddaughter of J.P.E. Hartmann, met the German-Dutch composer, pianist andconductor Julius Röntgen (1855–1932) and his family on a trip in Norway. When theyparted, they agreed to visit one another in Amsterdam and at Fuglsang respectively.It was the start of a unique life of music at the manor on Lolland from the Röntgenfamily’s first visit the following year and up until Bodil Neergaard’s death as a widowin 1959. Almost every year up until the outbreak of the First World War in 1914, JuliusRöntgen along with this wife and children, who were all musicians, spent the month ofAugust at Fuglsang, where he was the driving force in a cornucopia of house concerts.There was chamber music with a varied program every single evening. Julius Roentgenplanned “the season” as they called it before he left Holland and wrote programs eachyear for every single concert. These programs, which cover the years 1893, 1897–1914,1916, 1923, 1931, 1940, 1944, 1946–1958 and 1978, were recently found among thesurviving papers of presiding judge Fritz Michael Hartmann (1909–2000). In 2012they were donated to the Royal Danish Library by the Hartmann family. These programsprovide an excellent insight into what was played, and form the basis of thisarticle that covers the period from 1893 to 1931, which was the last time Julius Röntgenwas at Fuglsang before his death the following year. The music was performed partlyby the Röntgen family and partly by members of the Hartmann family and the otherguests, who came to Fuglsang during the summer. Among these were Carl Nielsen,who in 1906 performed his string quartet in F-major, opus 19 for the very first time atFuglsang. During these years, the program consisted of music by 113 different composers,music ranging from Baroque and up to what at the time was contemporarymusic. Because even though the main emphasis was on music by the classics, especiallyBeethoven, 47 of the composers were still alive at the time of performance.

“Little Trio” for clarinet, bassoon and piano

2018 ◽  
pp. 75-79
Author(s):  
N. Yakovchuk
Keyword(s):  
Chamber Music ◽  
Instrumental Music ◽  
Instrumental Ensemble ◽  
Interesting Phenomenon ◽  
Theoretical Understanding ◽  
Classical Traditions ◽  
And Performance ◽  
Instrumental Ensembles ◽  
Written Compositions ◽  
First Time

The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.

Strategies for Oral Delivery of Metal-Saturated Lactoferrin

2019 ◽  
Vol 20 (11) ◽  
pp. 1046-1051 ◽  
Author(s):  
Przemysław Gajda-Morszewski ◽  
Klaudyna Śpiewak-Wojtyła ◽  
Maria Oszajca ◽  
Małgorzata Brindell
Keyword(s):  
Biological Activity ◽  
Oral Delivery ◽  
Therapeutic Potential ◽  
Structure And Function ◽  
The Difference ◽  
And Function ◽  
First Time

Lactoferrin was isolated and purified for the first time over 50-years ago. Since then, extensive studies on the structure and function of this protein have been performed and the research is still being continued. In this mini-review we focus on presenting recent scientific efforts towards the elucidation of the role and therapeutic potential of lactoferrin saturated with iron(III) or manganese(III) ions. The difference in biological activity of metal-saturated lactoferrin vs. the unmetalated one is emphasized. The strategies for oral delivery of lactoferrin, are also reviewed, with particular attention to the metalated protein.

Nokhri, Ger, and the Art of Separation in the Hebrew Bible

2018 ◽  
Author(s):  
Adi Ophir ◽  
Ishay Rosen-Zvi
Keyword(s):  
Hebrew Bible ◽  
Biblical Literature ◽  
The Difference ◽  
First Time

This chapter traces the developments of various terms denoting “others” in biblical literature. In much of the biblical corpus, Israel is still one goy among many, and the difference between it and its Others is neither binary nor stable. After a brief analysis of the dynamics of familial and ethnwic separations in Genesis and Exodus, this chapter concentrates on the priestly and Deuteronomistic modes of separating peoples, examines the novelty and limitedness of the Deuteronomistic legislation, where the nokhri (stranger) is systematically contrasted for the first time with the Israelite (referred to as “your brother”), and follows the various modes of separations and their rationales.

Species diversity and abundance of Dacus (Diptera: Tephritidae) in five ecosystems of Penang, West Malaysia

1982 ◽  
Vol 72 (4) ◽  
pp. 709-716 ◽  
Author(s):  
Tan Keng-Hong ◽  
Lee Soo-Lam
Keyword(s):  
Species Diversity ◽  
Capsicum Annuum ◽  
Fruits And Vegetables ◽  
Methyl Eugenol ◽  
Dacus Dorsalis ◽  
The Difference ◽  
Vegetable Farm ◽  
First Time

AbstractDacus dorsalis Hend. infested eleven, D. cucurbitae Coq. five and D. umbrosus F. two of the eighteen common fruits and vegetables grown in Penang, West Malaysia. D. tau (Wlk.) infested bacang (Mangifera foetida), D. caudatus F. chilli (Capsicum annuum) and D. frauenfeldi Schin. water guava (Eugenia javanica), together with D. dorsalis. Pomelo (Citrus grandis) was found infested for the first time by D. cucurbitae. No flies were trapped using Capilure and trimedlure as baits. Cue-lure attracted D. caudatus, D. cucurbitae, D. frauenfeldi, D. occipitalis (Bez.) and D. tau. Methyl eugenol attracted D. dorsalis and D. umbrosus. Dorsalure was less attractive to D. caudatus and D. dorsalis than cue-lure and methyl eugenol, respectively, but it was equally attractive to D. frauenfeldi as cue-lure. Using traps baited with cue-lure or methyl eugenol in five ecosystems, the highest numbers of males of D. dorsalis, D. umbrosus, D. frauenfeldi and D. caudatus trapped were from a village, on a vegetable farm for D. cucurbitae, and D. occipitalis was only caught in a forest. Analysis showed that for each species of Dacus the difference between ecosystems was highly significant. The few examples caught in grassland were probably migrants.

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