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«Halb gotisch, halb ultra-modern»: Konzeption und Ausdrucksmittel einer «lebendigen» religiösen Musik bei Messiaen und Tournemire
No full text
“Od Chopina do ... Noskowskiego”? Zygmunt Noskowskis langer Weg zu Chopin
Full text linkThe aim of this text is to present the process whereby Zygmunt Noskowski grew closer to the music of Chopin, which he initially treated with considerable distance. In the first part of the article, the author analyses verbal testimony of Noskowski’s Chopin reception on the basis of extant columns written by him. Noskowski’s attention first focused on Chopin towards the end of the 1880s, the catalyst being the Chopin anniversaries celebrated in 1894 and 1899, for the purposes of which Noskowski arranged piano compositions by Chopin for orchestra and voice. The picture of Chopin sketched by Noskowski in his press writings contained Classicist components in which his sense of form and his affinities with the work of Bach were underlined; on the other hand, Noskowski stressed in Chopin’s music - as a specifically Polish characteristic - its links with nature. Both these factors influenced the shape of Noskowski’s own music. In the second part of the article, the author shows Chopin’s influence on Noskowski’s compositions, which initially found expression through the intermediary of the dramatic aspects of the Second Symphony of Ignacy Feliks Dobrzyński, and then in episodic links between Noskowski’s symphonic poem Step [The steppe] and Chopin’s Rondo ä la krakowiak, Op. 14. The climactic point of Noskowski’s dialogue with Chopin is defined by his programmatic-patriotic orchestral work Z życia... [narodu] [From the life... [of the nation]], in which Chopin’s Prelude in A major from opus 28 served as the basis for a set of variations; this work, despite a number of inconsistencies, is regarded by the author as an important work, both in its from and in its culturalhistorical significance
“Od Chopina do … Noskowskiego”? Zygmunt Noskowskis langer Weg zu Chopin
Full text linkThe aim of this text is to present the process whereby Zygmunt Noskowski
grew closer to the music of Chopin, which he initially treated with considerable distance.
In the first part of the article, the author analyses verbal testimony of Noskowski’s
Chopin reception on the basis of extant columns written by him. Noskowski’s
attention first focused on Chopin towards the end of the 1880s, the catalyst being the
Chopin anniversaries celebrated in 1894 and 1899, for the purposes of which
Noskowski arranged piano compositions by Chopin for orchestra and voice. The picture
of Chopin sketched by Noskowski in his press writings contained Classicist components
in which his sense of form and his affinities with the work of Bach were underlined;
on the other hand, Noskowski stressed in Chopin’s music – as a specifically
Polish characteristic – its links with nature. Both these factors influenced the shape of
Noskowski’s own music.
In the second part of the article, the author shows Chopin’s influence on Noskowski’s
compositions, which initially found expression through the intermediary of the
dramatic aspects of the Second Symphony of Ignacy Feliks Dobrzyński, and then in
episodic links between Noskowski’s symphonic poem Step [The steppe] and Chopin’s
Rondo à la krakowiak, Op. 14. The climactic point of Noskowski’s dialogue with Chopin
is defined by his programmatic-patriotic orchestral work Z życia… [narodu] [From
the life… [of the nation]], in which Chopin’s Prelude in A major from opus 28 served
as the basis for a set of variations; this work, despite a number of inconsistencies, is
regarded by the author as an important work, both in its from and in its culturalhistorical
significance
Überlegungen zur Rezeption russischer Opern in Italien: «Una vita per lo Czar» und «Boris Godunov» in Mailand
No full textIl saggio analizza l'impatto dell'opera russa a Milano in due momenti storici differenti: la prima esecuzione di La vita per lo Zar di Michail Glinka nel 1874 a pochi giorni di distanza dall'esecuzione in prima assoluta della Messa da Requiem di Verdi; e la prima italiana di Boris Godunov nel 1909 fortemente voluta per il rilancio del Teatro alla Scala da Arturo Toscanini
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Zur Genealogie des Mendelssohn'schen Gartens in der Leipziger Straße 3 - eine Spurenlese
No full textDie musikalische Geselligkeit im Haus der Familie Mendelssohn, Berlin Leipziger Straße 3, wird zumeist mit dem Gartensaal identifiziert, in dem Fanny Hensel ab 1831 die Familientradition der Sonntagsmusiken wiederbelebte. Hierin spiegelt sich ein Denken, das den „Konzertsaal“ als den eigentlichen und wichtigsten Ort der Musikgeschichte annimmt: der Ort, an dem „Meisterwerke“ zur Aufführung kommen und der von Männern als Dirigenten, Produzenten und Komponisten „regiert“ wird. Fanny Hensels sonntägliche Musiken erscheinen vor diesem Hintergrund als verkannter Beitrag zur Geschichte des öffentlichen Konzertwesens. Statt dessen soll der Versuch unternommen werden, die musikalische Praxis in der Leipziger Straße 3 von einem Ort her zu denken, der traditionell mit kulturellem Handeln von Frauen verbunden wurde: dem Garten. Der Garten in der Leipziger Straße 3 stand für ein Musizieren, bei dem es keine Grenzen zwischen Zuhörenden und Publikum gab und die Musik eingebunden war in geselliges Spiel, ein Ort musikalischer Experimente verschiedenster Art, auch der Freiheit von Zwängen und Konventionen. Der Blick „vom Garten aus“ verschiebt nicht nur die Topographie musikalischer Praxen innerhalb des Hauses und darüber hinaus, er legt auch verborgene Sichtachsen auf Traditionen kulturellen Handelns in der Familie der Mutter Lea Mendelssohn frei und ermöglicht Seitenblicke auf die Bedeutung der Musik im jüdischen Akkulturationsprozess
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