Academic literature on the topic 'Albeniz, Isaac'

AbstractWhen Aert de Gelder's painting (fig. i) was purchased for the Kaiser Friedrich Museum, Bode wrote a note on it in the Amtliche Berichte aus den königlichen Kunstsammlungen 31 (1910) which, despite the brevity of the text, established the interpretation of the representation until now. Bode adopted the title by which the work is generally known, 'The Holy Family', without any reservations, but regarded the unconventional conception of the religious subject as genre-like and profane. He saw this incongruity as the consequence of De Gelder's extreme 'naturalism', which in his opinion was manifest in the types and costumes of Jews from the Orient, portrayed so faithfully that to Bode they resembled nothing so much as 'a family of Jewish immigrants from Poland' ... (refugees from the pogroms were evidently a common sight at that time). The characterisation of the figures is amazingly vivid, but struck Bode as almost comical. To him, oddly, De Gelder's drastic realism was coupled with a rendering based on Rembrandt's last, broad manner of painting but executed coquettishly ; too much an end in itself, it was this virtuoso method that divested the work of the serious mood appropriate to the subject. Bode's negative assessment of 1910 was surpassed by Plietzsch in 1960, but their repudiation of De Gelder's art has since been superseded by positive appraisals in publications of the past few decades. Unfortunately, though, their total misconception of the picture persists. It is still thought to be the profane conception of the religious subject, the conclusion being that the painter only chose his biblical scenes as an excuse to paint colourful pictures of orientals in stereotypical garments. Only in his old age is De Gelder credited with having painted biblical subjects - notably the Passion series - with inner conviction. This complex of speculations is built on the quicksand of carelessly observed figures: the putative Mary is an old woman with jewels in her ears, on her forehead and round her wrists; the alleged Joseph is very close to her, his hand on her shoulder - such intimacy is unthinkable for the Holy Family. The figure on the far right is taken for an unrecognizable subsidiary figure. What Bode confidently imputes to De Gelder as a profane interpretation is blatantly unhistorical fiction: every history painter always felt obliged to depict his subject recognizably and in keeping with the facts and circumstances, arbitrary personal departures from which would have branded him as ignorant and stupid. It is disconcerting and tragi-comical that a mistaken identification of the subject of one painting, resulting from downright carelessness in the observation of details, could go unnoticed and uncriticized for so long and, what is more, be the point of departure for purely speculative statements about De Gelder's alleged indifference to the biblical subjects he depicted. It goes without saying that this articulate figure composition of an aged couple with an infant, laughing for joy, presents familiar characters, and the account in the Old Testament (Genesis 17-21) corresponds with the elements of De Gelder's scene. The frequent mention of laughter - in seven passages- inspired the painter to depict Abraham and Sarah with their child Isaac, whose name means 'to laugh'. It is a scriptural representation, albeit not of a situation from an actual story. There was no precedent for this specific image - the fruit of personal familiarity and sympathy with the story in the Book of Genesis- which explains why it was unknown and hence hard to recognize. De Gelder's wholly personal interpretation of the story is also apparent in his invcntion : the contrast between the family's joy and the forlorn Ishmael at the far right. In fact, though, the supposedly profane work provides proof positive of the paintcr's personal religious persuasion, and it is not the only one of its kind in his oeuvre. Another picture of Sarah and Abraham (fig. 2), iconographically just as unique, dates from the same pcriod - according to Sumowski from the early 1680s. It shows the episode in which Sarah insists on the banishment of Ishmael and his mother as related in Genesis 21:10, but De Gelder depicts Sarah as a supplicant, pleading with Abraham, distressed by Ishmael's harsh behaviour towards little Isaac (not in Genesis, but in Paul's Epistle to the Galatians). Jan Victors' picture (fig. 3) 'The Feast in Celebration of Isaac's Weaning; Ishmael's Mockery of Isaac' (Genesis 21:8-9) shares three significant elements with De Gelder's Berlin painting. First the frequent laughter: Ishmael's is mocking, Isaac's triumphant and Hagar's barely concealed. Second, Isaac's important attribute, the fruit he is holding up. Third: here, too, Ishmael is dark-skinned ; as the son of an Egyptian this might be expected, but in the seventeenth century and in our part of the world only these two artists, to my knowledge, depicted him thus. The occurrence of these three unusual elements in both painters' works is evidence that De Gelder was familiar with Victors' picture. In Victors' (fig.4) and C.W.E. Dietrich's (fig.5) paintings 'The Banishment of Hagar and Ishmael' the apple(-like) fruit is seen again; these two artists and De Gelder evidently gave Isaac this attribute in order to distinguish him from Ishmael. In view of Rembrandt's etching B.33 (fig.6), we may assume that his aforementioned pupils learned this device from him. The argument that the father and son in Rembrandt's etching are Jacob and Benjamin, taken from a drawing of Jacob and his sons, offers no explanation for the somewhat provokingly triumphant expression with which the lad holds up the fruit; in connection with the paintings discussed here, the identification of this father and son as Abraham and Isaac would appear to be convincingly confirmed.

This scientific paper aims at exploring Islamic manuscripts in the Jerusalem libraries. The researcher has reached to the conclusion that those manuscripts are distributed over seven libraries in the city , namely, those of Al-Aqsa mosque, Al-Khaldiya, Budairi, Uzbeki, Al-Quds university, Isaaf Nashashibi for culture, art and literature as well as the library of the Reviving Heritage and Islamic Research Foundation in Jerusalem (Mithaq). While three of these libraries are family-owned, the other four are public and belong to the charitable Waqf. These libraries currently contain seven thousand manuscripts of seventeen thousand ones priorly existed under the Ottoman rule. This paper seeks to probe reasons behind the disappearance of this large number of the manuscripts. However, the manuscripts existing in each library will be discussed in some detail and will be categorized by the century in which they were authored or transcribed, theme ( number of manuscripts tackling a certain theme and by language they are written in. It is worth mentioning that Arabic is the dominant language, albeit Turkish, Persian and Uzbek are also used. The paper concludes with some recommendations for the sake of preserving the remaining manuscripts via inciting both private and public relevant institutions to exert efforts in this regard.

D.M. Cannell, George Green, Mathematician & Physicist 1793-1841 . Athlone Press, 1993. Pp. xxvi + 265, £35 (hdbk). ISBN-0-485-11433X. Most mathematicians will have used, or at least know of, Green’s Theorem and Green’s functions, but they are probably unaware of the unusual background of their eponymous creator. Green also made pioneering contributions in electricity (where he introduced the term ‘potential’), magnetism, hydrodynamics, elasticity, sound and light. Indeed, the intellectual profundity of his work, albeit encompassed in a mere ten publications, was recognized on the 200th anniversary of his birth, by the dedication of a plaque in Westminster Abbey where his name will be found amongst the greatest British men of science - Isaac Newton, John Frederick Herschel, Michael Faraday, James Clerk Maxwell, Lord Kelvin, George Gabriel Stokes, Lord Rayleigh, Lord Rutherford and J.J. Thomson. All of these had their work recognized during their own lifetime; in marked contrast, George Green, on his death, earned only a modest paragraph in a local newspaper as his sole obituary, and a grave neglected and forgotten for nearly 100 years. There are no portraits or photographs of him, no diaries or working papers, and little in the way of correspondence. Mary Cannell’s book, which is written to interest the lay reader as much as the scientific specialist, provides the background to Green’s unusual life and work.

Iberia, Albeniz' acknowledged masterpiece, was published during 1906-1909, the last three years of the composer's life. The suite, subtitled Twelve New Impressions, are picturesque, evocative descriptions of Spanish scenes and landscapes, although for the most part centered around Andalusia. Albeniz has made full use of the wealth of Spanish folk music in his compositional style, and the movements of Iberia represent a synthesis of the characteristic elements of Spanish folk music. These elements may be considered according to the following three main categories: (1) the rhythms of Spanish dance especially those belonging to the body of Andalusian folk music known as flamenco, (2) the characteristics of Spanish folk song, and (3) the guitar idiom. This study identifies and examines the numerous aspects of folk music employed in Iberia, and in several instances compares Albeniz' stylizations with quotations of authentic folk music. The purpose of this study is to afford the pianist who wishes to perform Iberia, a greater insight into the interpretive requirements of this masterpiece. It is also hoped that the interested musician will be led to a further exploration of the richness of Spanish folk music. This of course will allow an even fuller understanding and appreciation of Iberia.

碩士
輔仁大學
音樂學系
104
Isaac Albeniz was one of the outstanding composers in Spain. Influenced by Felipe Pedrell and his folk music, Albeniz fused together his works and the Spanish folk materials, including the flamenco deep song (cante jondo), guitar, percussions, local dance rhythm and other elements, all of which show the local characteristics and musical sophistication of Spain. In this paper Suite Espanola, an important piano work of Albeniz from the middle period, is chosen as a research subject, The author aims to explore its compositional background, its structure and performance interpretation in order to understand the musical features and dance style conveyed by the work, so as to have a deeper understanding when interpreting this work.

La Vega represents Isaac Albeniz's compositional transformation from a salon-style composer for the piano into a composer of large-scale works employing sophisticated harmonic vocabulary and thematic development. The piece was published by A. Diaz and Cia. in San Sebastian, Spain, and was edited by an anonymous editor who copied the manuscript inaccurately. All of the subsequent publishers of the piece duplicated Diaz's printing, and consequently their inaccuracies. A new edition including the revisions that were made to La Vega as well as a publication history and catalog of editorial alterations follow.

碩士
東吳大學
音樂學系
94
Isaac Albeniz was one of the greatest Spanish composers in his age. As a child, he was exceptionally gifted at the piano. The year 1883 was the major turning point for Albeniz’s life. At that time, Albeniz studied composition in Barcelona with Felipe Pedrell, who is sometimes described as the father of Spanish music in that period. Pedrell’s ideas made a deep impression on Albeniz. Therefore, Albeniz started to use Spanish folk music and dance rhythms as the materials of his compositions. In Albeniz’s Spanish-style piano works, “Iberian”was one of the masterpiece in Spanish piano repertoire. The purpose of the thesis is to discuss the music analysis and the interpretation of the three pieces in Iberia Volume IV, which are Málaga, Jerez, and Eritaña. In Iberia Volume IV, Albeniz used Spanish idioms as composing materials, such as flamenco dance rhythms and cante hondo. He also mixed French and German augmented sixths to create new sounds, which was so-called “Iberian sixth”. In addition, he used guitar idioms into Iberia to make it full of unique sounds and also brought a new wave into Spanish music. From the interpretation aspect, technical considerations, the use of pedals, dynamics, articulation, and tone color for the performers were also discussed in the thesis to make Spanish music fully interpreted.

碩士
國立中山大學
音樂學系研究所
102
Iberia is the culmination of the late piano works of the Spanish composer Isaac Albéniz. The twelve pieces of Iberia were divided into four books, and each book contained three pieces. Every piece evokes a peninsular locale, city, festival, or song and dance, which largely concentrates on the southern Spain. They were published between 1905 and 1909. Although the composer employed traditional formal structure, he seemed to develop a more modern and complex manner in Iberia, which made the piano suite multifaceted. The study focuses on the Book I of Iberia. In order to understand more about the formative factors of Albéniz’s compositional style, the study examines the correlation between Albéniz’s life and his piano works. In addition, it explores the Book I of Iberia from various viewpoints, including Albéniz’s adoption of the musical elements of Spanish flamenco, the application of Liszt’s virtuosity and orchestralization of piano, and the influence of contemporary French music. Through the analyses, the study intends to interpret Albéniz’s unique musical language produced by combining above-mentioned elements during his composition.

碩士
東吳大學
音樂學系
102
This essay is dicuss Cantos de Espana, op.232 which composed by Issac Albeniz in 1892. Compared with his other middle and later works, this suite is mentioned less and researched. The purpose of this essay is using the full range of discussion, including the bakeground of this work, theoretical structure, the use of Spanish musical elements to fully present the composer wanted to express music, and hopes to help the performer to have the basis of the interpretation in the actual perform. Especilly in the chapter fourth , the discussion about the structural of five pieces , the part of harmony structure and modulation , the writer used the concept of analysis and Schenker system which are from Structural Hearing (Felix Salzer，1904-1986) to analysis the deep structure inside of the music. In the end of the essay, we will talk about what kind of the skill problem we will face to, how we interpret the style of this work and generally organize all the contents also comparing their feature. In order to help us give explanatory of style of Albeniz's notes when we perform this suite.

碩士
東吳大學
音樂學系
93
This thesis is the study of the Spanish composer Isaac Albéniz and his last piano work "Iberia" bookⅠ, including three pieces: "Evocation", "El Puerto" and "El Corpus en Sevilla". In the second chapter is a brief biography of the composer, in the third chapter is a discussion of the background of the "Iberia", refer to the writing process of "Iberia", the traditional Spanish music in the above three pieces and the influence of the French music. In the forth chapter consist of the discussion of the form of each piece in the "Iberia" bookⅠ, the trait of the sonotity and rhythmic structure of each work. The author's interpretation about the performance of the three pieces in the fifth chapter refer to the dynamic and technical expression, the use of terminology and provide solutions of difficulties encountered in "Iberia" bookⅠ.