scholarly journals PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO

2021 ◽  
Vol 58 (58) ◽  
pp. 9-22
Author(s):  
Dar’ia Kutluieva
Keyword(s):  
String Quartet ◽  
Instrumental Music ◽  
Sound Field ◽  
Piano Concerto ◽  
Leading Role ◽  
Piano Quartet ◽  
Stringed Instruments ◽  
History Of ◽  
Violin And Piano ◽  
Piano Quartets

Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of Beethoven’s piano quartets grow from the above-mentioned compositions by W. A. Mozart, but the content and the ensemble-dramatic solution reflect the independence and originality of the young composer’s thinking, revealing the sprouts of a future mature style. The purpose of this article is to disclose the ways of rethinking the prototypes of Mozart in the piano quartets of L. Beethoven. The piano quartets of the latter serve as the musical material of the article: No. 1 Es-dur, No. 2 D-dur, No. 3 C-dur WoO 36, and No. 4 Es-dur op. 16. Results. L. Beethoven changes the algorithm of ensemble events contained in Mozart’s opuses, where the theme is presented in turn by piano, violin, followed by the conversation of the two. The composer immediately includes all members of the quartet in the presentation of the leading material, which specifies this genre, revealing its “intermediateness” between the intimacy of the trio and the “representativeness” of the concerto. Since the genetic origins of the genre of the piano quartet are the trio sonata, the string quartet and the clavier concerto with the accompaniment of a string ensemble, these genres influenced the type of Beethoven’s piano quartets. Thus, Beethoven’s Bonn quartets resemble in their writing a string quartet; and the piano quartet Es-dur op. 16 resembles a clavier concerto with orchestra. These compositions are related to the first of the above mentioned prototypes by the consistent application of the trio principle, which is expressed in various combinations of ensemble voices. In the timbre refraction, the trio-principle underlies the pairing of stringed instruments, where the bowed instruments form a strictly homophonic vertical with the traditional functional relationship according to the “upper voice ‒ bass ‒ middle” model. Another dimension of the trio principle arises when one of the string parts of the piano is displaced, as a result of which a multi-timbre sound field is formed. There is an obvious desire of the composer for the equality of four voices in the piano quartet. At the same time, the timbre uniqueness of the piano and the virtuosity of its part make it possible to recognize in it the leader of the ensemble union. Conclusion. The leading role of the piano in L. Beethoven’s piano quartets brings this genre closer to a piano concerto. At the same time, the piano has a variety of role functions: it can act as an equal partner, being one of the voices of the quartet score; as a concert instrument demonstrating its virtuoso capabilities; as a leader of an ensemble, a kind of conductor, giving impetus to performance, initiative in ensemble play. Similar functions can be observed in W. A. Mozart’s sonatas for violin and piano, which L. Beethoven was guided by.

From Propaganda to Scholarship: Dr Joseph Schechtman and the Origins of Israeli Polemics on the Palestinian Refugees

2004 ◽  
Vol 2 (2) ◽  
pp. 188-197 ◽  
Author(s):  
Nur Masalha
Keyword(s):  
Right Wing ◽  
Population Transfer ◽  
Arab Population ◽  
Palestinian Refugees ◽  
Leading Role ◽  
Archival Documents ◽  
History Of ◽  
Arab States ◽  
Refugee Problem ◽  
Secret History

In 1948 an official ‘Transfer Committee’ was appointed by the Israeli Cabinet to plan the Palestinian refugees' resettlement in the Arab states. Apart from doing everything possible to reduce the Arab population in Israel, the Transfer Committee sought to amplify and consolidate the demographic transformation of Palestine by: preventing the Palestinian refugees from returning to their homes; the destruction of Arab villages; settlement of Jews in Arab villages and towns; and launching a propaganda campaign to discourage Arab return. One of the Transfer Committee's initiatives was to invite Dr Joseph Schechtman, a right-wing Zionist Revisionist leader and expert on ‘population transfer’, to join its efforts. In 1952 Schechtman published a propagandists work entitled The Arab Refugee Problem. Since then Schechtman would become the single most influential propagator of the Zionist myth of ‘voluntary’ exodus in 1948. This article examines the leading role played by Schechtman in promoting Israeli propaganda and politics of denial. Relying on newly-discovered Israeli archival documents, the article deals with little known and new aspects of the secret history of the post-1948 period.

Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch

2020 ◽  
Vol 44 (2) ◽  
pp. 100-118
Author(s):  
Kristin M. Franseen
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Primary Source ◽  
Gender And Sexuality ◽  
Benjamin Britten ◽  
Twentieth Century Music ◽  
History Of ◽  
Music Research ◽  
Symphonic Music ◽  
Biographical Knowledge

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.

The Humboldt-University and Its Rivals Under the Market Science Condition

2021 ◽  
pp. 41-46
Author(s):  
Ilya T. Kasavin ◽  
Keyword(s):  
Cultural Policy ◽  
Economic Competition ◽  
American Universities ◽  
Leading Role ◽  
Trading Zones ◽  
First Case ◽  
Humboldt University ◽  
History Of ◽  
Interdisciplinary Interaction ◽  
The University

In the modern rankings of higher education institutions almost monopolistic American universities (Harvard, Stanford, Princeton, etc.) play the leading role promoting the idea of the “entrepreneurial university”. The classic European university fails in the competition, and the idea of the Humboldt University is losing credibility. Our assumption is that this situation is in the large part due to the historical identity of civilizational missions, elites and forms of communica­tion (“trading zones”) that initiated these types of universities. The comparative history of European and American universities demonstrates that in the first case philosophers played a leading role in achieving the goals of cultural policy, and in the second, there were managers who won in the economic competition. European and American universities were, in different proportions, culture-forming centers and factors of economic development. University reforms were usually initiated from outside: these are its competitors and sponsors, politi­cians, and entrepreneurs. Who exactly takes on the functions of the moderator in the trading zones is a key question for the university’s fate. If a business model-oriented manager builds cooperation, then the university becomes the embodiment of academic capitalism. If a cultural policy is implemented in the interdisciplinary interaction of scientists themselves, then there is a chance to measure the university's development with humanistic values and the ethos of science.

United Kingdom Policy Towards Universal Jurisdiction Since the Post-War Period

2021 ◽  
pp. 1-39
Author(s):  
Amina Adanan
Keyword(s):  
Armed Conflict ◽  
Universal Jurisdiction ◽  
International Treaties ◽  
Leading Role ◽  
National Archives ◽  
Slave Traders ◽  
History Of ◽  
Post War ◽  
The Uk ◽  
Atrocity Crimes

Abstract From the 17th century onwards, Britain played a leading role in asserting the application of the universality principle to international piracy, the first crime to which the principle applied. Thereafter, during the quest for abolition, it exercised universality over slave traders at sea. With the exercise of universal jurisdiction over atrocity crimes in the post-War period there was a notable shift in the UK position to the principle. This article traces the history of UK policy towards the application of the universality principle to atrocity crimes since wwii. Using archival research from the UK National Archives and the travaux préparatoires to international treaties, it analyses UK policy towards the inclusion of universal jurisdiction in international treaties concerning atrocity crimes. It argues that historically, the UK supported the application of the principle to atrocity crimes committed during an international armed conflict, as this position supported its interests. The nexus between universal jurisdiction and international armed conflict shielded colonial abuses from prosecution in foreign courts. Once the colonial period had come to an end, there was a shift in UK support for the inclusion of universal jurisdiction in international treaties, which is evident since the negotiation of uncat and the Rome Statute.

Zemlinsky's “Expressionist” Moment: Critical Reception of the Second String Quartet, 1918–1924

2018 ◽  
Vol 71 (2) ◽  
pp. 371-438
Author(s):  
Clare Carrasco
Keyword(s):  
Cultural Politics ◽  
String Quartet ◽  
Public Life ◽  
Critical Reception ◽  
Early History ◽  
German Culture ◽  
Concert Hall ◽  
Political Debates ◽  
History Of ◽  
The Great War

In the years after 1918, discourse about musical expressionism was controlled by critics rather than composers. Understanding expressionism to be as much a public matter emanating from the concert hall as a private one rooted in the composer's workshop, critics at that time often identified as “expressionist” works that fall outside the conventional notion of an expressionist repertory. In a particularly striking case, those who reviewed the 1918 premiere of Zemlinsky's Second String Quartet, op. 15, described it as experimental, revolutionary, indeed expressionist music. Today, scholars consistently count opus 15 among Zemlinsky's most compelling works, but they do not usually frame it in such charged terms. This article uses reviews of the earliest public performances of the quartet to elucidate the diverse and changing ways in which critics positioned it, as an instrumental chamber work, relative to expressionism between 1918 and 1924. In addition to discussing its music-stylistic features, critics involved the quartet in the heated musical-political debates surrounding expressionism in Austro-German culture at the end of and just after the Great War. These debates concerned everything from the threat of “musical bolshevism” to the (re)interpretation of Bach's and Beethoven's legacies in a postwar age. Zemlinsky's short-lived “expressionist” moment was thus very much a public moment. Reconstructing it opens a window onto the vicissitudes of the early history of musical expressionism, revealing ways in which expressionism was originally meaningful not in relation to composers’ inner lives, but in relation to the turbulent musical and cultural politics that shaped public life.

scholarly journals Judith Weir's Instrumental Music as Description

Per Musi ◽  
2016 ◽  
pp. 59-78
Author(s):  
Kheng K. Koay
Keyword(s):  
Instrumental Music ◽  
Piano Quartet ◽  
Musical Motion

Abstract This study explores Judith Weir's abstract descriptive technique in her instrumental music, Distance and Enchantment (1988) for piano quartet and Musicians Wrestle Everywhere for ten instruments (1994). Folksongs and a location used and described in the music, respectively, are interpreted and "produced" through musical characters and mood. In most cases musical characters and gestures have a tendency to associate musical motion to arouse images. The decisions, ideas and styles in these compositions may be applied to works in other genres and her later works, as well.

Lutosławski, Witold (1913–1994)

2018 ◽  
Author(s):  
Nicholas Reyland
Keyword(s):  
String Quartet ◽  
Modern Human ◽  
Piano Concerto ◽  
Pitch Organization ◽  
Witold Lutoslawski ◽  
Avant Garde ◽  
Cello Concerto ◽  
Structures Of Feeling ◽  
Late Twentieth ◽  
Key Events

The music and life of Polish composer Witold Lutosławski (1913–1994) pivoted around key events in his country’s tumultuous twentieth-century history. The so-called cultural ‘thaw’ at the end of Stalinism in the mid 1950s permitted Poland’s composers to begin experiments in a range of modernist styles. Lutosławski forged a unique voice by exploring tensions between the classicist sensibility underpinning his neoclassical pre-thaw compositions (a style that had brought him into a position of preeminence in Poland) and more radical, avant-garde alternatives. So while he created individualistic and, often, beautiful solutions to post-tonal compositional problems of pitch organization, rhythm, texture, orchestration and long-range musical structuring, his greater contribution was marshaling his technique to compose powerfully affecting musical narratives responding, albeit obliquely, to the events and cultural atmospheres of his life and times. In major works including his Trois poems d’Henri Michaux, String Quartet, Livre pour orchestre, Cello Concerto, Mi-parti, Piano Concerto, Chain 2 and Symphony No. 4 – compositions that brought him international recognition as one of the mid-to-late twentieth century’s finest composers – Lutosławski created (to speak drily) modernist musical narratives exploring the problems of plot and representation in an innovative language, or (to speak more evocatively) structures of feeling and form that transcend the mundane specificity of programme music to offer visceral, spellbinding and moving testimony on the late-modern human experience, and from a distinctive Polish perspective.

scholarly journals The IAU and the Impact Hazard

2018 ◽  
Vol 13 (S349) ◽  
pp. 71-74
Author(s):  
Hans Rickman
Keyword(s):  
Special Focus ◽  
Leading Role ◽  
History Of Research ◽  
The Earth ◽  
International Coordination ◽  
History Of ◽  
The Impact

AbstractA brief history of research concerning the risk of impacts by asteroids or comets onto the Earth is presented with attention to the role played by the IAU. Special focus is placed on the events that occurred about 20 years ago, which caused the IAU to become seriously involved in dealing with the impact hazard and to take a leading role in international coordination of these activities.

Piano Quartet; String Quartet Op.11

1983 ◽  
Vol 124 (1690) ◽  
pp. 755
Author(s):  
John Tyrrell ◽  
Suk ◽  
Suk Quartet ◽  
Stepan
Keyword(s):  
String Quartet ◽  
Piano Quartet

scholarly journals Lattice and Tubular Steel Wind Turbine Towers. Comparative Structural Investigation

Energies ◽  
2020 ◽  
Vol 13 (23) ◽  
pp. 6325
Author(s):  
Nafsika Stavridou ◽  
Efthymios Koltsakis ◽  
Charalampos C. Baniotopoulos
Keyword(s):  
Wind Turbine ◽  
Leading Role ◽  
Increasing Trend ◽  
History Of ◽  
Wind Turbine Towers ◽  
Lattice Towers ◽  
New Generation ◽  
Installed Capacity ◽  
Tower Height ◽  
Wind Power Development

Renewable energy is expected to experience epic growth in the coming decade, which is reflected in the record new installations since 2010. Wind energy, in particular, has proved its leading role among sustainable energy production means, by the accelerating rise in total installed capacity and by its consistently increasing trend. Taking a closer look at the history of wind power development, it is obvious that it has always been a matter of engineering taller turbines with longer blades. An increase in the tower height means an increase in the material used, thereby, impacting the initial construction cost and the total energy consumed. In the present study, a numerical investigation is carried out in order to actively compare conventional cylindrical shell towers with lattice towers in terms of material use, robustness and environmental impact. Lattice structures are proved to be equivalently competitive to conventional cylindrical solutions since they can be designed to be robust enough while being a much lighter tower in terms of material use. With detailed design, lattice wind turbine towers can constitute the new generation of wind turbine towers.

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