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Journal articles on the topic 'Passacaglia'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Štedroň, Miloš. "DOUBLE PASSACAGLIA." Hudba - integrácie - interpretácie 19, no. 1 (2016): 35–58. http://dx.doi.org/10.17846/hii.2016.19.35-58.

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2

Hofmann, Richie. "Sea Interlude: Passacaglia." Missouri Review 34, no. 4 (2011): 95. http://dx.doi.org/10.1353/mis.2011.0098.

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3

Schnorr, Klemens. "Litanei und Ostinato in Bachs Passacaglia c-moll BWV 582." Anuario Musical, no. 56 (December 30, 2001): 163. http://dx.doi.org/10.3989/anuariomusical.2001.56.104.

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[de] Das Thema von Bachs Passacaglia c-moll beruht auf dem Bass eines Trio en Passacaille, der Christe-eleison- Versette aus der Messe du Deuziesme ton von André Raison. Bach transponiert ihn nach c-moll und verdoppelt die Länge des Themas für die Passacaglia auf acht Takte, legt aber der anschließenden Fuge wieder die urspriingliche viertaktige Version zugrunde. Entsprechend der zeitgenössischen Alternatimpraxis bildet Raisons Versette den mittleren, zentralen Teil des neunteiligen Kyriezyklus, der als erster Teil des Messordinariums auf frühe litaneiartige Akklamationen zurückgeht und seiner

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4

Palmer, Peter, Frank Martin, The London Philharmonic, and Matthias Bamert. "Symphonie; Symphonie Concertante; Passacaglia." Musical Times 136, no. 1824 (1995): 105. http://dx.doi.org/10.2307/1193641.

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5

Stephen Davies. "Life is a Passacaglia." Philosophy and Literature 33, no. 2 (2009): 315–28. http://dx.doi.org/10.1353/phl.0.0054.

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6

Schuler, Manfred. "Zur Frühgeschichte der Passacaglia." Die Musikforschung 16, no. 2 (2021): 121–26. http://dx.doi.org/10.52412/mf.1963.h2.2373.

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7

Haimo, Ethan. "Redating Schoenberg's Passacaglia for Orchestra." Journal of the American Musicological Society 40, no. 3 (1987): 471–94. http://dx.doi.org/10.1525/jams.1987.40.3.03a00040.

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8

Haimo, Ethan. "Redating Schoenberg's Passacaglia for Orchestra." Journal of the American Musicological Society 40, no. 3 (1987): 471–94. http://dx.doi.org/10.2307/831677.

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Schoenberg's never completed Passacaglia for Orchestra has occupied a significant position in the history of the development of his twelve-tone method. This fragment was thought to date from 1920-that is, before any of Schoenberg's completed serial compositions-but, significantly, it seems to anticipate compositional procedures and techniques from a later period in Schoenberg's serial development. The fragment was given the date of 1920 because on one page Schoenberg dated the manuscript. However, that date was not clearly written. In this study it is shown that the Passacaglia dates not from

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9

Traub, Andreas. "„Passacaglia concertante“ von Sándor Veress." Die Musikforschung 37, no. 2 (2021): 122–30. http://dx.doi.org/10.52412/mf.1984.h2.1517.

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10

Kusz, Veronika. "“Pure music”? Dohnányi's Passacaglia for Solo Flute." Studia Musicologica 48, no. 1-2 (2007): 79–99. http://dx.doi.org/10.1556/smus.48.2007.1-2.5.

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Abstract After his emigration from Hungary and a longer stay in Austria and Argentina, Dohnányi settled down in Tallahassee (USA) in 1949 and lived there until his death in 1960. Besides his professorship at the Florida State University (FSU) and his continuous concert-tours in the whole country, he was also very active as a composer in this decade. The ultimate composition of this period and his life is the Passacaglia for Solo Flute (op. 48. no. 2) which is a quite unusual piece of the composer, not only because of the choice of instrument, unprecedented in the œuvre, and its theme, partly d

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11

Henderson, Lyn. "Shostakovich and the Passacaglia: Old Grounds or New?" Musical Times 141, no. 1870 (2000): 53. http://dx.doi.org/10.2307/1004371.

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12

Walton, Chris. "COMPOSER IN INTERVIEW: RONALD STEVENSON – A SCOT IN ‘EMERGENT AFRICA’." Tempo 57, no. 225 (2003): 23–31. http://dx.doi.org/10.1017/s0040298203000226.

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The Scottish composer and pianist Ronald Stevenson, who celebrated his 75th birthday on 6 March of this year, is a man about whom it is difficult to remain objective. His Passacaglia on DSCH for piano solo, one of the longest single-movement works in the literature, has for some already gained near-legendary status. Yet Stevenson himself remains serenely, even ascetically unaware of both the adulation he induces in some and the bemusement that this in turn can cause in others – a quality that is not a little reminiscent of Busoni, the musician whom Stevenson probably admires the most, and whos

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13

Searby, Mike. "Ligeti's ‘third way’: ‘Non–atonal’ elements in the Horn Trio." Tempo, no. 216 (April 2001): 17–23. http://dx.doi.org/10.1017/s0040298200008457.

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It is perhaps curious that only a year after this exchange took place in 1981, Ligeti completed his Horn Trio – which uses traditional ternary form, a passacaglia (although a disguised one), a strong melodic focus, and a harmonic language which contains clear triads and dominant sevenths in abundance. In spite of his assertions above, it does seem as if Ligeti, in addition to rejecting the Avant-garde, is looking to the past for major elements of his musical language.

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14

EDWARDS, PETER. "RESISTING CLOSURE: THE PASSACAGLIA FINALE FROM GYÖRGY LIGETI'S LE GRAND MACABRE." Music Analysis 35, no. 2 (2015): 258–78. http://dx.doi.org/10.1111/musa.12056.

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15

Conway, Paul. "Recent discs of Egon Wellesz." Tempo 59, no. 233 (2005): 76–78. http://dx.doi.org/10.1017/s0040298205240251.

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EGON WELLESZ: Vorfrühling; Leben, Traum und Tod; Lied der Welt; Sonette der Elizabeth Barrett Browning; Ode an die Musik; Vision; Symphonischer Epilog. Regina Klepper (sop), Sophie Koch (mezzo), Deutsches Symphonie-Orchester Berlin, c. Roger Epple. Capriccio 67077.WELLESZ: Symphonies Nos. 1 and 8; Symphonischer Epilog. Radio Symphonieorchester Wien, c. Gottfried Rabl. CPO 999998-2.WELLESZ: Symphonies Nos. 2 and 9. Radio Symphonieorchester Wien, c. Gottfried Rabl. CPO 999997-2.WELLESZ: Prosperos Beschwörungen; HONEGGER: Symphony No. 5; STRAVINSKY: Le Sacre du printemps; JANÁČEK: Sinfonietta; WE

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16

Banciu, Ecaterina. "History of a Forgotten Passacaglia: The Symphony No. 3 “Ovid” Finale by Sigismund Toduță." Studia Universitatis Babeş-Bolyai Musica 63, no. 2 (2018): 297–309. http://dx.doi.org/10.24193/subbmusica.2018.2.20.

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17

Johnson, Bret. "American Music." Tempo 57, no. 226 (2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.

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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symp

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18

Mohammad, Iyad Abdelhafeez. "Compositional technique and phenomenological categories of perception in the Passacaglia of Shostakovich's Symphony No. 8." Musicologica Brunensia, no. 2 (2017): 95–108. http://dx.doi.org/10.5817/mb2017-2-10.

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19

Schumann, Scott C. "Stravinsky's "Great Passacaglia": Recurring Elements in the Concerto for Piano and Wind Instruments by Donald G. Traut." Notes 75, no. 1 (2018): 95–98. http://dx.doi.org/10.1353/not.2018.0076.

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20

Kerékfy, Márton. "Verwendung, Verleugnung, Wiederentdeckung – Ligeti und ethnische Musiken." Studia Musicologica 57, no. 1-2 (2016): 35–47. http://dx.doi.org/10.1556/6.2016.57.1-2.3.

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Regarding György Ligeti’s relation to ethnic music, his oeuvre can be divided into three periods. Until 1956 he used East European folk music in the manner of Hungarian composition of the 1940s and 1950s, but upon leaving Hungary he apparently rejected folkloristic inspiration. In his late period from 1978 on, however, ethnic musics became again central to his creative work, albeit in a basically different way than in his youth. This article provides an overview of Ligeti’s early folkloristic pieces and a brief characterization of his use of elements of Eastern European folklore in Le Grand Ma

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21

Hofmann, Richie. "Glassworks, and: Jellyfish, and: Diving for Sponges, and: Sea Interlude: Moonlight, and: Sea Interlude: Dawn, and: Sea Interlude: Passacaglia, and: Marsh Thistle." Missouri Review 34, no. 4 (2011): 89–96. http://dx.doi.org/10.1353/mis.2011.0089.

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22

Todd, R. Larry. "Late Brahms, Ancient Modes." Nineteenth-Century Music Review 15, no. 3 (2018): 421–42. http://dx.doi.org/10.1017/s1479409818000319.

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History has often viewed Brahms as a Janus-faced composer who turned his gaze backward to contemplate the accumulated riches of music history even as he sought late in his career to exploit new means of musical expression. On the one hand, he habitually collected passages from a long line of composers that breached the traditional prohibition against parallel fifths and octaves; he exchanged ideas with musicologists such as Nottebohm, Mandyczewski and Adler, and read early issues of the Vierteljahrsschrift für Musikwissenschaft; and he indulged from time to time in a distinctive musical histor

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23

Melita, Milin. "A composer’s inner biography a sketch for the study of influences in Ljubica Maric’s oeuvre." Muzikologija, no. 4 (2004): 61–82. http://dx.doi.org/10.2298/muz0404061m.

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Attempting to investigate works of music through frank examination of possible influences is a delicate thing, sometimes maybe dangerous - as has been suggested by Jonathan Cross in his book, The Stravinsky Legacy. While the originality of a composer may appear to be threatened with such types of critique, for musicologists it is important to draw upon a deeper appreciation for how a composer searched for his/her own creative voice. The music of Ljubica Maric (1909-2003), one of the most important Serbian composers of the 20th century, has been chosen to demonstrate how composers need differen

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24

OLIVIERI, GUIDO. "THE EARLY HISTORY OF THE CELLO IN NAPLES: GIOVANNI BONONCINI, ROCCO GRECO AND GAETANO FRANCONE IN A FORGOTTEN MANUSCRIPT COLLECTION." Eighteenth Century Music 18, no. 1 (2021): 65–97. http://dx.doi.org/10.1017/s1478570620000457.

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ABSTRACTThe analysis of a forgotten source sheds light on the early history of the cello in seventeenth-century Naples. The manuscript MS 2-D-13, held in the library of the Montecassino Abbey, dates from around 1699 and contains two unknown cello sonatas by Giovanni Bononcini, together with passacaglias, sonatas for two ‘violas’ and elaborations over antiphons by Gaetano Francone and Rocco Greco, two prominent string performers and teachers in Naples. A study of this remarkable source helps to clarify the nomenclature of the bass violins in use in the city and offers new evidence on the practi

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25

Conway, Paul. "Arthur Butterworth at 80 BUTTERWORTH: Symphony No 1. GIPPS: Symphony No 2. Munich Symphony Orchestra c. Douglas Bostock. Classico CLASSCD 274. BUTTERWORTH: Three Impressions for Brass; Passacaglia on a Theme of Brahms; Sinfonia Concertante. BRAHMS trans. BUTTERWORTH: Variations and Fugue on a Theme of Handel. Black Dyke Band c. Nicholas J. Childs. Doyen DOYCD130." Tempo 58, no. 228 (2004): 56. http://dx.doi.org/10.1017/s0040298204260144.

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26

Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.

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Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural pos

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27

Conway, Paul. "Hans Gál et al. - HANS GÁL: Symphony No. 4 (Sinfonia concertante), op. 105. SCHUMANN: Symphony No. 2 in C, op.61. Orchestra of the Swan, c. Kenneth Woods. Avie AV2231. - GÁL: Cello Concerto, op. 67. ELGAR: Cello Concerto in E minor, op. 85. Antonio Meneses (vlc), Northern Sinfonia, c. Claudio Cruz. Avie AV2237. - GÁL: Serenade in D, op. 41; Trio in F sharp minor, op. 104. HANS KRÁSA: Tanec (Dance); Passacaglia and Fuga. Ensemble Epomeo. Avie AV2259. - GÁL: Music for Solo Cello – Sonata for Violoncello Solo, op. 109a; Suite for Violoncello Solo, op. 109b; Sonata for Violoncello and Pianoforte, op. 89. Alfia Nakipbekova (vlc), Jakob Fichert (pno). Toccata Classics TOCC 0043." Tempo 67, no. 265 (2013): 101–5. http://dx.doi.org/10.1017/s004029821300065x.

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28

"Book Review: Passacaglia for Solo Violin." American String Teacher 54, no. 3 (2004): 101. http://dx.doi.org/10.1177/000313130405400343.

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29

Абдуллина, Г. В. "To the Issue of the Genre Evolution: Passacaglia in the Works of Russian Composers of the Second Half of the 20th Century." OPERA MUSICOLOGICA, no. 4(42) (November 15, 2019). http://dx.doi.org/10.26156/om.2019.42.04.005.

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В статье рассматриваются инструментальные сочинения отечественных композиторов второй половины XХ начала XXI века, написанные в жанрах пассакалии и чаконы. Эволюция музыкального языка отражается на их образноэмоциональном содержании, музыкальном материале и формообразовании, что проявляется в новом типе тематизма, способах его развития и в соединении классических структур с элементами современного композиторского мышления. Традиционные жанры, в которых форма в большой степени становится зависимой от драматургии и техник письма, претерпевают существенные изменения. The article considers the ins

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30

Peach, Katarina Larissa Larissa. "Pachelbels d-Moll-Ciacona als strukturelles Vorbild für eine Aemulatio: zur Form der Passacaglia in c-Moll von J. S. Bach / Pachelblova Ciacona v d-molu kot strukturni model za aemulatio: o obliki Passacaglie v c-molu J. S. Bacha." De musica disserenda 6, no. 2 (2015). http://dx.doi.org/10.3986/dmd06.2.02.

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31

Posikira-Omelchuk, Nataliia. "Sound-imaging and coloring in piano miniatures by Mykola Kolessa." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2018, 158–69. http://dx.doi.org/10.33398/2310-0583.2018.4243.158.169.

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The piano creativity of the famous Ukrainian artist ─ Mykola Kolessa has been considered through the prism of stylistic features of composer’s writing, sound-imaging artistic orientation, picturesque elements of musical language and principles of its pictorial component. The dominant features of the individual creative thinking and style of the composer has been discovered, the way of their formation, influenced by the personal philosophical and aesthetic-artistic interests of the Lviv artist, has been considered: an extraordinary admiration for his national folklore (in particular Hutsul), vi

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