Journal articles on the topic 'Arranged Chamber orchestra music'

In the Kazakh educational process today, in addition to the generally recognized arrangements and treatments of world music classics and original works for viola, national music adapted for viola is actively involved. There are several collections of works for viola edited, arranged and processed by such authors as A.Nurbayeva, E.Liberchuk, Ya.Fudimana, N.Sagimbayeva, D.Makhmud. The musical literature presented in these collections is widely used at different levels of education – by students of music schools, colleges and even universities of the republic, which is mainly due to the limited repertoire. The article deals with the transcription of N.Karimov's «Kuy» for violin and chamber orchestra by M. Sagatov as one of the first experiments in interpreting the sound of dombra kuy in viola music.

Zoltán Kodály became seriously interested in Transylvanian folk music when he had learnt about the results of Béla Bartók's collecting fieldworks in Székelyföld. The wealth of old-style tunes and classical ballads, and – above all – the recognition of the importance of pentatony inspired Kodály to take part personally in the exploration of Székely folk music. Székely musical folklore obviously intrigued him both as an ethnographer and as a composer. He collected nearly 600 tunes in 15 Székely localities in the Gyergyó Basin, the valley of the Kászon stream, and Bukovina. He arranged 66 of these melodies within such compositions as e.g. the Dances of Marosszék, the musical play The Spinning Room, Hungarian Folk Music (57 ballads and folk songs for voice and piano), Székely Lament for mixed voices, Bicinia Hungarica, Kádár Kata and Molnár Anna (both with chamber orchestra accompaniment), and Pentatonic Music. Apart from his own collection, he also used those of some of his contemporaries. The paper discusses the specificities of Kodály's techniques of arrangement. His inspiring advice for younger folklorists had an essential role in triggering the in-depth investigation of Central Transylvanian folk music.

The article analyzes the repertoire for a duet of bayan players, which had been created by Russian arrangers and composers since the second half of the 70s of the XXth century to the beginning of the XXIst century. The article considers the reasons for the later creation of the first original compositions for the modern bayan duet in comparison with the repertoire for solo bayan, and defines the concept of "modern repertoire". Comparisons are drawn between the possibilities of presenting musical fabric in the works created for a mono-timbre bayan with ready-made chords in the left half shell, and a multi-timbre free bass instrument. In modern music for a bayan duet, in contrast to the works of the 1940s – early 1970s, there are other ways of presenting melodic, figurative line, as well as harmonic background in the left half shell of the bayan. The author considers the role of the timbre palette in modern compositions for a bayan duet and reveals the performance capabilities of this ensemble, which caused numerous arrangements of works written for piano, organ, chamber ensemble and orchestra. The figurative sphere laid down by the authors in the works written for a duet of traditional bayan and a duet of modern instruments is compared. The modern repertoire for this instrumental duet is created by both bayan composers and composers writing music for other forms of performance.

Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding musician, who was actually the founder of professional jazz education in Kharkiv, is not currently the subject of widespread discussion in contemporary Ukrainian musicology. There are few sources that would cover O. I. Litvinov’s life and career. For the first time, he is mentioned as the founder of pops’n jazz performance department in a print publication dedicated to the 85th anniversary of KhNUA named after I. P. Kotlyarevsky. In the same context, O. Litvinov’s name is found in O. Kononova’s essay on the evolution of music education in Kharkiv in the jubilee edition dedicated to the 100th anniversary of the University. There is a biographical article in this very anniversary publication. In the earlier anniversary edition “Pro Domo mea” (on the 90th anniversary of the institution) there is some information about O. Litvinov regarding the history of the jazz department creation. Basic biographical data are briefly presented in the article of I. O. Litvinova in the Encyclopedia of Modern Ukraine. A small booklet dedicated to the major milestones of O. Litvinov’s life and creative work was published in the KhNUA (then KhSUA) named after I. P. Kotliarevskyi to mark the 75th anniversary of the musician. There are also several publications devoted mainly to specific dates in the creative life of the maestro (concerts, anniversaries, etc.): by H. Derev’ianko, L. Lohvynenko, M. Dvirnyi, A. Moshna, I. Polska, and O. Sadovnikova. Among purely research works devoted to this striking personality are the Master’s work by Yu. N. Shikova, which was written under the guidance of І. І. Polska at Kharkiv State Academy of Culture. The purpose of the article is to systematize existing information on the life and creative path of the prominent Kharkiv musician, give a brief description of the main features of his performing and composing style. Methods. The work employs historicobiographical, analytical and comparative methods, as well as a genre-stylistic approach. Results. O. Litvinov was born on November 17, 1927 in Zaporozhye. He received his elementary education at a piano music school. From 1943 to 1951 he was in military service, participated in the World War II. After the war, he continued to study music at Kharkiv Music College named after B. Lyatoshynsky, later at the Composition Faculty of Kharkiv Conservatory. He was expelled from there because of his passion for jazz. From 1951 he continued his musical activity as an artist of the MIA Variety Orchestra (in Dnepropetrovsk), in 1955–1956 he was a soloist of the Sakhalin Oblast Philharmonic and Khabarovsk Regional Philharmonic. In 1956–1958 he was the leader of the variety band of the Palace of Culture for Food–Industry Workers, in 1958–1961 he was the leader of the concert band of the Palace of Culture for Builders. From 1961 to 1973, he was the director of his own collective – Honoured Variety Ensemble “Kharkivyanka” at Kharkiv Electromechanical Plant. In 1965 he received the title of Honored Artist of Ukraine, in 1978 – People’s Artist. From 1973 to 1978 – Artistic Director and Conductor of the “Donbass”, Honored Mining Ensemble in Donetsk; from 1978 to 1980 – assistant at the Department of Cultural Studies, director of the Jazz Orchestra at Kharkiv Institute of Law. Since 1980 he worked permanently at Kharkiv I. P. Kotliarevskyi State Institute of Arts: first as a senior lecturer, later as an associate professor of the Chamber Ensemble Department, then as a professor of the Orchestra Wind Instruments Department. Since 1994 he created and headed the Department of Variety Orchestra Instruments, and at the same time he directed the variety-symphony orchestra of Kharkiv State Academy of Culture, the violin ensemble of the National Academy of Law named after Yaroslav the Wise. Since 1999 O. Litvinov was a full member of the Ukrainian Academy of Sciences of National Progress. In 2001 he became a diploma winner of the regional competition “Higher school of Kharkiv region – the best names” in the nomination “Head of Department”. In 2002 he was awarded the Honorary Medal of the Ministry of Culture and Arts of Ukraine. He died on March 15, 2007. O. Litvinov’s creative personality combines the image of composer, arranger, conductor, performer-multiinstrumentalist (apart from piano O. Litvinov played the accordion, organ, wind instruments, violin). O. Litvinov’s works employ the best achievements of world classics and Ukrainian academic music, in particular, the Kharkiv composition school, and embody the best features of jazz and, more broadly, variety music of the twentieth century. These stylistic origins often coexist organically in one piece by O. Litvinov. The performance style of O. Litvinov as a conductor is characterized by very clear, bright, emotional gestures, especially outstanding sounding of the orchestra, the ability to clearly show every change in the thematic development of the piece. The style of O. Litvinov’s arrangements was significantly influenced by the music of Hollywood films, the art of contemporary Soviet composers – Saulsky, Broslavsky, Pokrass, Dunaevskyi, jazz masters – Tsfasman, Utesov, Bernstein and others. Conclusions. O. Litvinov’s creative life was very bright and rich, and his musical activity was diverse and multifaceted. In the present works, the main focus is made more on the “polyphony” (according to A. Mizitova and A. Sadovnikova (2002, p. 17) of this life, its external events. Characteristics of the composer’s, performing, conducting styles of the artist are “inscribed” in this polyphony only as its “voices”. However, each of these voices needs, in our opinion, more detailed consideration. For example, O. Litvinov’s compositional heritage is very large, but only a few of his compositions are performed today and well known to the public. In fact, only one piece for violin ensemble (or for violin and piano), “Eternal Movement”, received true popularity among the performers and the public. Most other works are not published, and the fate of most scores is unclear. So, the direction of further research can be related to a more detailed study of some particular works of O. Litvinov that have survived as well as to deepening knowledge about his performing and pedagogical activity.

Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of gender equality is quite acute in contemporary public discourse. The indicated tendencies determine the interest of many musicians and listeners in the work of women-composers (for example, recently, the creativity by Clara Schumann attracts the attention of performers all over the world, in particular, in Ukraine the International Music Festival “Kharkiv Assemblies” – 2018 was dedicated to her works). The theme of the proposed work is also a response to the noted trends in performing practice and musicology discourse. For the first time in domestic musicology an attempt is made to give a brief overview of the life and career of another talented woman, whose name is little known in the post-Soviet space. This is a Swedish violinist, composer and pianist Amanda Röntgen-Maier (1853–1894), a graduate of the Stockholm Royal College of Music and the Leipzig Conservatory, a contemporary of Clara Schumann, J. Brahms, E. Grieg, with whom she and her husband – composer, pianist, conductor Julius Röntgen – were associated for enough long time by creative and friendly relationships. In the post-Soviet space, not a single work has been published that would be dedicated to the works of A. Maier. In European and American musicology, the composer’s personality and creative heritage is also not widely studied. Her name is only occasionally mentioned in works examining the musical culture and, in particular, the performing arts of Sweden at that time (Jönsson, Å., 1995, 151–156; Karlsson, Å., 1994, 38–43; Lundholm, L., 1992, 14–15; Löndahl, T., 1994; Öhrström, E., 1987, 1995). The aim of the proposed study is to characterize Amanda Meier’s creative heritage in the context of European romanticism. Research results. Based on the available sources, we summarized the basic information about the life and career of A. Maier. Carolina Amanda Erica Maier (married Röntgen-Maier ) was born on February 20, 1853 in Landskrona. She received the first music lessons from his father, Karl Edward Mayer, a native of Germany (from Württemberg), who worked as a confectioner in Landskrona, but also studied music, in particular, in 1852 he received a diploma of “music director” in Stockholm and had regular contracts. In 1869, Amanda entered to the Kungliga Musikaliska akademien (Royal College of Music) in Stockholm. There she learns to play several instruments at once: the violin, cello, piano, organ, and also studies history, music theory and musical aesthetics. A. Maier graduated from Royal College successfully and became the first woman who received the title of “Musik Direktor”. The final concert, which took place in April 1873, included the performance of the program on the violin and on the organ and also A. Maier’s own work – the Romance for Violin. In the spring of 1874, Amanda received the grant from the Royal College for further studies at the Leipzig Conservatory. Here, Engelbert Röntgen, the accompanist of the glorious orchestra Gewandhaus, becomes her teacher on the violin, and she studies harmony and composition under the guidance of Karl Heinrich Karsten Reinecke and Ernst Friedrich Richter. Education in Leipzig lasts from 1874 to 1876. In the summer and autumn of 1875, A. Maier returns to Landskron, where she writes the first major work – the Concerto for violin and orchestra in one-movement, D minor, which was performed twice: in December 1875 in Halle and in February 1876 with the Gewandhaus Orchestra under the direction of K. Reinecke. The further career of A. Maier, both performing and composing, developed very successfully. She made several major concert trips between 1876 and 1880: to Sweden and Norway, to Finland and St. Petersburg; she also played to the Swedish king Oscar II (1876); concerts were held with constant success. While studying in Leipzig, A. Maier met her future husband (the son of her violin teacher) Julius Röntgen, composer and conductor. They married 1880 in Landskrona. Their personal relationships included active creative communication, both playing music together, and exchanging musical ideas, getting to know each other’s works. Part of his chamber opuses, for example, the cycle of Swedish folk dances, A. Maier created in collaboration with her husband. An analogy with life of Robert and Clara Schumann may take place here, although the Röntgen spouses did not have to endure such dramatic collisions that fell to the lot of the first. After the wedding, Röntgen family moved to Amsterdam, where Julius Röntgen soon occupies senior positions in several music organizations. On the contrary, the concert and composing activities of A. Maier go to the decline. This was due both, to the birth of two sons, and to a significant deterioration in her health. Nevertheless, she maintains her violin skills at the proper level and actively participates in performances in music salons, which the family arranges at home. The guests of these meetings were, in particular, J. Brahms, K. Schumann, E. Grieg with his wife and A. Rubinstein. The last years of A. Maier’s life were connected with Nice, Davos and Norway. In the fall of 1888 she was in Nice with the goal of treating the lungs, communicating there with her friends Heinrich and Elizabeth Herzogenberg. With the latter, they played Brahms violin sonatas, and the next (1889) year A. Maier played the same pieces with Clara Schumann. Amanda Maier spent the autumn of 1889 under the supervision of doctors in Davos, and the winter – in Nice. In 1890, she returned to Amsterdam. His last major work dates back to 1891 – the Piano Quartet in D minor. During the last three years of her life, she visited Denmark, Sweden and Norway, where she performed, among other, her husband’s works, for example, the suite “From Jotunheim”. In the summer of 1889, A. Maier took part in concerts at the Nirgaard Castle in Denmark. In 1894, she returned to Amsterdam again. Her health seems stable, a few hours before her death she was conducting classes with her sons. A. Maier died July 15, 1894. The works of A. Maier, published during the life of the composer, include the following: Sonata in H minor (1878); 6 Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891). Still unprinted are the following works: Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. The composer style of A. Mayer incorporates the characteristic features of the Romantic era, in particular, the Leipzig school. Lyric elements prevail in her works, although the composer is not alien to dramatic, heroic, epic images (the Piano Quartet E minor, some pieces from the Six Songs for Violin and Piano series). In the embodiment of such a circle of images, parallels with the musical style of the works of J. Brahms are quite clearly traced. In constructing thematic structures, A. Maier relies on the melody of the Schubert-Mendelssohn type. The compositional solutions are defined mainly by the classical principles of forming, which resembles the works of F. Mendelssohn, the late chamber compositions of R. Schumann, where the lyrical expression gets a clear, complete form. The harmonic language of the works of A. Maier gravitates toward classical functionality rather than the uncertainty, instability and colorfulness inherent in the harmony of F. Liszt, R. Wagner and their followers. The main instrument, for which most of the opuses by A. Maier was created, the violin, is interpreted in various ways: it appears both, in the lyrical and the virtuoso roles. The piano texture of chamber compositions by A. Maier is quite developed and rich; the composer clearly gravitates towards the equality of all parties in an ensemble. At the same time, piano techniques are reminiscent of texture formulas by F. Mendelssohn and J. Brahms. Finally, in A. Mayer’s works manifest themself such characteristic of European romanticism, as attraction to folklore, a reliance on folk song sources. Conclusions. Periods in the history of music seemed already well studied, hide many more composer names and works, which are worthy of the attention of performers, musicologists and listeners. A. Mayer’s creativity, despite the lack of pronounced innovation, has an independent artistic value and, at the same time, is one of such musical phenomena that help to compile a more complete picture of the development of musical art in the XIX century and gain a deeper understanding of the musical culture of this period. The prospect of further development of the topic of this essay should be a more detailed study of the creative heritage of A. Maier in the context of European musical Romanticism.

URS JOSEPH FLURY: Vineta; Concerto for Cello and Orchestra; Sinfonietta for Strings. Biel Symphony Orchestra; Pierre Fournier (vlc), Vienna Volksoper Orchestra; Vienna Chamber Orchestra c. Urs Joseph Flury. Musikszene Schweiz MGB CD 6184.SCHOECK: Concerto for Cello and String Orchestra, op. 61; Suite in A flat for Strings, op. 59. Julius Berger (vlc), South West German Chamber Orchestra of Pforzheim c. Vladislav Czarnecki. ebs 6145 (www.EBSMusikproduktion.de).

YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand Symphony Orchestra c. Marc Taddei. ASV CD DCA 1181.

Roit Feldenkreis started in the arena of classical music in the “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists. exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical Soloists Conducting Com- petition (2014) and a leading musician in the International music arena, Roit has served for 8 years as the Founder and Music Director of the Israeli Moshavot Chamber Orchestra, a leading orchestra in Northern Israel (2011-2019), located in the prestigious Elma Arts Hall. Under Roit’s leadership, the orchestra has dedicated itself to performing innovative world-premiere compositions by living composers from Israel and around the world, as well as regularly performing fami- ly-oriented concert series to promote classical music to un- der-privileged youth and annual charity concerts with talented young soloists.

‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Classics CC0039.MUSGRAVE: Memento Vitae; Helios; Night Music; The Seasons. Nicholas Daniel (ob), Scottish Chamber Orchestra c. Nicholas Kraemer; BBC Symphony Orchestra c. Jac van Steen. NMC (ANCORA+) D074.‘Oriental Landscapes’. MUSGRAVE: Journey Through a Japanese Landscape. CHEN YI: Percussion Concerto. ZHOU LONG: Out of Tang Court. HOVHANESS: Fantasy on Japanese Wood Prints. Evelyn Glennie (perc), Singapore Symphony Orchestra c. Lan Shui. BIS CD 1222.

The Black Gondola, John Adams's transcription for chamber orchestra of Liszt's La Lugubre Gondola II, composed in 1989 for the St. Paul Chamber Orchestra, Minnesota, shows how – as in the case of Wiegenlied (discussed in an earlier article, Tempo 175) – the composer has been attracted to those aspects of Liszt's late style which inter–connect with minimalism: regular, and fluid, rhythmic textures; economy of thematic material which undergoes ‘minimal’ transformation; extensive phrase repetition in a ‘sequencing’ structure; harmonic ambiguity and elusiveness. In addition, in this case, a strong programmatic element is evident in the symbolism of the original piece which is heightened considerably within Adams's transcription: an expression of the dramatic style which has influenced his recent stage works, Nixon in China and The Death of Klinghoffer.

This study was carried out to determine the opinions of preservice music teachers on the processing and efficiency of Orchestra and Chamber Music courses which are based on collective playing and singing, among the online music teaching undergraduate courses conducted in the distance education process that started in Turkey in March 2020 due to the COVID-19 pandemic. The study group of the study consisted of 40 students studying at the 3rd and 4th grades in Mehmet Akif Ersoy University, Fine Arts Education Department, Music Education Department. In this study, the case study method which is one of the qualitative research methods, was used. The study data were collected online with a semi-structured interview form prepared by the researcher based on the literature and current researches, and were tabularized by evaluating with content analysis. According to the results of the study, it was determined that the preservice music teachers thought that the Orchestra and Chamber Music courses were not suitable for distance education and were not taught efficiently, and partition playing and video merging techniques were used in their online courses. In addition, it was concluded that they thought that lesson teaching methods in distance education had no advantage and that the biggest disadvantage was the not being able to play music together. Preservice music teachers suggested that face-to-face education should be initiated in order to teach lessons more efficiently, or that courses should be taught by eliminating connection and technical problems on different online platforms that allow making music together. Keywords: Distance Education, Music, Orchestra, Chamber Music

Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer Orchestra Camp, he also reviews new music for the American String Teacher. Dr. Gillespie has developed a series of diagnostic videotapes for string teachers which are now available nationally through the American String Teachers Association.

Jonathan Lloyd, born in 1948, received his first lesson in composition from Emile Spira, a former pupil of Anton Webern. After this Lioyd was a junior exhibitioner at the RCM, then went on to study composition with John Lambert and Edwin Roxburgh. While at College he worked with the Twentieth Century Music Ensemble, and in due course won the Mendelssohn scholarship, thereafter attending classes given by Pousseur, and street muisician before taking up a Composer-in-Residence appointment in the Dartington theatre department in 1978–79. Several of his early works were played while he was still at the RCM, including Cantique for small orchestra. In 1981, Toward the Whitening Dawn, a 10-miniute piece for chorus and chamber orchestra written in memory of John Lennon, was performed at a BBC Concert conducted by Michael Gielen. With that work Lioyd be said to have ‘arrived’ as a compiser of unusual talent and promise.

The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.

A unique partnership between public charter schools, a civic chamber orchestra, and university school of music has brought music instruction to middle school students in central Ohio. This collaborative endeavor can serve as a model for charter schools administrators wishing to expand their curricular offerings to include music and other arts instruction.

WILLIAM BOLCOM: Songs of Innocence and of Experience. Christine Brewer, Measha Brueggergosman, Hana Davidson, Linda Hohenfeld, Carmen Pelton (sops), Joan Morris (mezzo-sop), Marietta Simpson (con), Thomas Young (ten), Nmon Ford (bar), Nathan Lee Graham (speaker/vocals), Tommy Morgan (harmonica), Peter ‘Madcat’ Ruth (harmonica and vocals), Jeremy Kittel (fiddle), The University of Michigan Musical Society Choral Union, Chamber Choir, University Choir, Orpheus Singers, Michigan State University Children’s Choir, Contemporary Directions Ensemble, University Symphony Orchestra c. Leonard Slatkin. Naxos 8.559216-18.AARON COPLAND: Inscape. ROGER SESSIONS: Symphony No. 8. GEORGE PERLE: Transcendental Modulations. BERNARD RANDS: …where the murmurs die… . The American Symphony Orchestra c. Leon Botstein. New World 80631-2.KYLE GANN: Nude Rolling Down an Escalator: Studies for Disklavier. New World 80633-2.

AbstractWithAda Sketches, for mezzo-soprano, flute, clarinet and percussion,Mesmerism, for solo piano and chamber orchestra, andCalculus of the Nervous System, for large orchestra, in 2011 the young British composer Emily Howard completed a triptych of works in which she drew decisively on the life and thoughts of Ada Lovelace for inspiration. Today, Lovelace is recognized as a pioneer of 19th-Century mathematics, who in her lifetime attempted to bring together art and mathematics in Charles Babbage's Analytical Engine. She was convinced of the power of mesmerism and believed that there was a possible mathematical calculation for the human nervous system. This article shows how Emily Howard took up and developed musically these central threads of Lovelace's work in her ‘Lovelace Trilogy’.

The recent spate of world premières, concerts and several newly-released and imminent CD recordings have indicated a renewed interest in the music of the British composer Graham Whettam, who celebrated his 70th birthday with a concert in 1998 (see review in Tempo 206) and is still busy producing new works. As recently as February he completed his Fifth Symphony, for chamber orchestra (a Sixth is in progress) and his String Quartet No.4 is scheduled for a première later this year.

ROREM: Flute Concerto; Violin Concerto; Pilgrims for strings. Philippe Quint (vln), Jeffrey Khaner (fl), Royal Liverpool Philharmonic Orchestra c. José Serebrier. Naxos American Classics 8.559278.ROREM: The Auden Songs; The Santa Fe Songs. Christopher Lemmings (ten), Sara Fulgoni (mezzosop), Chamber Domaine. Black Box BBM 1104.ROREM: Works for Choir and Organ. Harvard University Choir dir. Murray Forbes Somerville with Carson Cooman (organ). Black Box BBM 1102.

The New York Philharmonic Orchestra, under its Music Director Alan Gilbert, spent a week in residence at the Barbican Centre in April, giving four concerts and various other events. Among them was ‘CONTACT!’, a concert of chamber music performed by members of the NYPO in the Guildhall's Milton Court Concert Hall on 18 April 2015. There were five pieces for various small groups. Three were new to the UK, and I will focus on these.

James MacMillan was 50 years old on 16 July 2009 and his birthday was celebrated by musical institutions not just in Britain, but internationally. As a composer and conductor in residence for the BBC Philharmonic he led performances of his Symphony No.3: Silence and The World's Ransoming. The Royal Northern College of Music staged a three-day celebration of his work while The Sixteen toured his music under conductor Harry Christophers. His recent St John Passion was performed in Berlin and Amsterdam by the London Symphony Orchestra and in Rotterdam concerts of his music were given by the Rotterdam Philharmonic, Rotterdam Chamber Orchestra and the Hilliard Ensemble. The widespread regard for MacMillan's music evidenced by these performances is the culmination of a steady rise in popularity, undisputedly catalyzed by the BBC Scottish Symphony Orchestra première of The Confession of Isobel Gowdie. In a 1993 Tempo article on MacMillan, music critic Stephen Johnson describes the premiere thus: ‘there have been warm receptions for other new works at Promenade Concerts, but the thunderous, ecstatic welcome given to James MacMillan's The Confession of Isobel Gowdie at the 1990 Proms was unprecedented’.

Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.

JOHN TAVENER: The Veil of the Temple. Choir of the Temple Church, Holst Singers, Patricia Rozaro (sop) c. Stephen Layton. RCA 82876661542.TAVENER: Lament for Jerusalem. Patricia Rozario (sop), Christopher Joey (counter-ten), Sydney Philharmonic Chorus, Australian Youth Orchestra c. Thomas Woods. ABC Classics 476 160–5.TAVENER: Birthday Sleep; Butterfly Dreams; The Second Coming; Schuon Hymen; As one who has slept; The Bridal Chamber; Exhortation and Kohima; Shunya. Polyphony c. Stephen Layton. Hyperion CDA67475.

Pandemi Covid-19 menyebabkan munculnya konsep pertunjukan konser musik secara virtual sebagai alternatif penyajian karya seni musik. Penelitian ini bertujuan untuk mengetahui proses produksi audio hasil rekam karya pada Konser Virtual "Colorchestra" Batavia Chamber Orchestra menggunakan software Digital Audio Workstation Logic Pro. Selain itu, penelitian ini diharapkan dapat menambah wawasan pendidik dan peserta didik (mahasiswa) mengenai penciptaan karya mengunakan software DAW sebagai kecakapan digital literasi pendidikan musik abad-21. Metode penelitian ini menggunakan metode kualitatif deskriptif dengan pendekatan eksploratif studi dokumentasi. Pada konser virtual "Colorchestra", audio dan video sudah diproduksi sebelum penayangannya. Tahapan produksi audio yang dilakukan diantaranya proses rekam audio, editing audio, mixing dan mastering yang dilakukan pada DAW Logic Pro. Proses rekam audio dilakukan pemain secara satu-persatu, kemudian digabungkan dan diedit pada DAW. Pada proses mixing dan mastering, audio digarap sesuai dengan interpretasi conductor terhadap karya melalui pengolahan estetis frekuensi, dinamika dan panorama menggunakan DAW dari masing-masing track instrumen. Hasil akhir audio selanjutnya digabungkan dengan produksi video untuk kemudian ditayangkan menjadi konser virtual "Colorchestra" Batavia Chamber Orchestra.Kata Kunci: Penciptaan Karya Musik, Konser Virtual, Digital Audio Workstation. AbstractThe Covid-19 Pandemic leads to virtual music concerts as an alternative for music performance. This study aims to understand the audio production process in Virtual Concert "Colourchestra" Batavia Chamber Orchestra using software Digital Audio Workstation (DAW) Logic Pro. This study will give more knowledge about producing music using DAW software as digital skills literacy in 21st-century music education. This study uses a qualitative descriptive method with an explorative approach and documentation study. For the virtual concert "Colourchestra", audio and video were pre-recorded before the premiere broadcast. The audio production process consists of recording, editing, mixing, and mastering using DAW Logic Pro. The audio recording session was done one by one before it was combined and edited. The mixing and Mastering process was done by the BCO conductor based on his interpretation of the song through the settings of frequency esthetic, dynamics, and panorama using DAW from each instrument track. The final audio was then combined with the video that was taken and edited separately. Then it is played in the premiere broadcast of Virtual "Colourchestra" Batavia Chamber Orchestra. Keywords: Music Production, Virtual Concert, Digital Audio Workstation.

The purpose of the article is to study the creative person of Harry Logvin. He is the only Peopleʼs Artist of Ukraine, as a violinist, who lived and worked in our region. Garry Logvin was concertmaster of the Dnepropetrovsk Opera and Ballet Theater, teacher, co-founder of the private new chamber orchestra «Seasons». The scientific novelty of this article has the following vectors: approved the concept „accompanist of the orchestra of the Dnepropetrovsk Opera and Ballet Theater”, a study is being made of the relationship between internal and external form and how the master performed works for violin solo in the Dnepropetrovsk private chamber orchestra „Seasons”, in the vector about the pedagogical heritage of the teacher Garry Logvin, the structural periodization of the masterʼs performing heritage is being done, which is inseparably united with the evolution of the expressive means of the repertoire for orchestral works. To achieve the goal and solve the assigned tasks, the following research methods were used: historiographic – articles are analyzed where the facts of the violinistʼs creative biography are recorded; systemic – the author analyzes the art of violin in the Dnipropetrovsk region as a system of genres, which has a specific structure – an opera and ballet theater, violin pedagogy, a private chamber orchestra. Conclusions. The features of Harry Logvinʼs violin art are concentrated into amazing expression. They had their own specifics in multi-genre performances of the Dnepropetrovsk Opera and Ballet Theater, concerts of the private chamber orchestra „Seasons”. Sound is a means of expression, a part of the orchestral play being reproduced. The dramatic, technical, emotional, informational aspects of sounding had their own plots. The art of Harry Logvin is of great importance for the popularization of classical music in the Dnipropetrovsk region.

Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed with the Bowling Green String Quartet at Carnegie Hall and in Mexico City. Recently, she has performed on chamber music radio broadcasts in New Orleans and with the Louisiana Philharmonic. She now serves as principal violist of the Tallahassee Symphony Orchestra.

AbstractThe music of Icelandic composer Anna Thorvaldsdóttir has been inspired by nature, not in a manner that results in specific pictorial evocation, but in the sense that her reflections on natural phenomenon are catalysts for explorations of a range of compositional polarities, including flow and stasis, stability and volatility, transparency and opacity, and expansion and contraction. Her observation of droning as a natural state has led to a dynamic creative use of drones that challenges and expands commonly held notions of their compositional potential. The article discusses their use, along with other compositional devices and processes, in the delineation of these polarities and the resulting formal structure of selected works for orchestra and chamber orchestra. These resources include disruption devices and morphing techniques that facilitate overlapping and transformation of layers of material. The particular compositional focus of each piece has led to fresh applications of these resources, imparting a distinct character to each piece and contributing to an ongoing renewal of the composer's compositional palette.

The Russian National Orchestra and Moscow State Chamber Choir conducted by Mikhail Pletnev presented two unusually distinctive concerts at London's Barbican Hall at the end of March,3 starting with John of Damascus of 1884 – Taneyev called it Cantata No 1 – and ending the following evening with his tumultuous Cantata No 2, On the Reading of a Psalm (Po prochtenii psalma), from 30 years later. Although not claimed as such, the latter was surely a British première: not even that champion of the choral festival, Sir Henry Wood, seems to have done it.

John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 1972 and 2009, respectively), are considerably less widely known. It was with keen anticipation and no little curiosity, then, that I attended the first performance of McCabe's latest work for chorus and orchestra on 16 March 2013 at St John's, Smith Square.

A composer describes his concerns in relation to a 34-minute musical work (The Angel of Death) written in consultation with perceptual psychologists. This work was conceived, and has served, as an experimental object suited to the testing of a range of issues of interest to composers as well as psychologists: in particular, are the musical materials and the formal structure of a piece of music heard by listeners in the ways that the composer anticipates? The thematic sources of the subject work are described in relation to an overall formal design that was realized in two contrasted ways: Sectional (strongly characterized sections with clear boundaries) and Domain (an interwoven presentation of materials that minimizes formal articulation). These two realizations can be performed in either order (S-D, or D-S), but in either case, a computer component enters at the end of the first part, coexisting with the second.