Journal articles on the topic 'Piano music – Bibliography'

The article aims at summarizing different activities undertaken to organize and run the first post- war Chopin piano competition. It is an attempt to collect facts, accounts and memories concerning actions initiated by Polish music culture environment after the Second World War. The author fo- cuses on a detailed description of the organization and proceedings of the 4th International Piano Competition, making use of information that has existed in independent sources so far. The article uses diaries, biographies, autobiographies, private notes, interviews with representatives of Polish culture, archive films and documentaries belonging to the Polish Film Chronicle. Press excepts were not used on purpose, as most press information was included in the aforesaid bibliography entries. The analyzed sources let us conclude that the organization of the first post-was Chopin piano competition in Warsaw was an event requiring both the engagement of all state institutions and personal contribution of musicians and music teachers. The author considers such a detailed historical-cultural account justified and necessary, especially in 2020, the 210th birth anniversary of Frederic Chopin, the year in which the 18th Frederic Chopin International Piano Competition was supposed to take place.

The present work focuses on the national cultures of the early 20th century in several European countries, such as Czechoslovakia, Poland, Hungary, Spain, Russia and Romania. Since my PhD thesis analyses the evolution of the Philharmonic “Transilvania”of Cluj between 1955-1989, there will be a thorough statistic of the concerts which were held during that period in which the orchestra performed musical pieces of the composers mentioned in this essay. For some concerts, there will also be stated the date when the concert took place, as well as the conductor who was invited to Cluj. There will also be an analysis of a piano work of the Romanian composer Constantin Silvestri (Chants Nostalgiques op. 27 no. 1) which I personally played a few years ago. The study will contain a musical bibliography, as well as several footnotes stating the documents found in the archives of the Philharmonic of Cluj.

Performing arts medicine (PAM) emerged as a medical specialty around 1985. Prior to this time, relatively few publications addressed the identification and concerns of musicians’ and dancers’ medical problems. To determine what number and types of publications occurred prior to the actual beginnings of PAM as a discipline, and to determine how these original topics compared with present-day publications, a retrospective review of the current bibliographic database of the Performing Arts Medicine Association (PAMA) was undertaken. Out of a total of 12,600 entries to date, 489 references were found published from 1798 through 1974, which represent only 3.9% of the current database listings. One-sixth of the references were originally written in a language other than English. Journal articles were by far the most numerous type of publication. Topics with the highest number of entries included the neurobiology of music (n=77), dental/orofacial matters (71), and biographical accounts of composers or musicians and their illnesses (59). Other frequently published topics included hearing loss, physiology of playing instruments, and instrumental technique and teaching. Early topics with multiple publications included composers’ biographies, dystonias, and surgery to improve finger independence for playing piano. Subjects whose publications occurred principally in the last two decades of this review included dermatological disorders, hearing loss, and ballet physiology, teaching, and technique. Those which remain popular to the present day include hearing loss, performance anxiety, focal dystonia, and dental/orofacial problems.

Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff. Perhaps, this is why M. Karminskyi chose the Library as the main curator of his archive. What is better than studying the artist’s personal archive to give an idea of his personality, creative methods and worldview? Even a cursory glance at the collection of documents classified on the shelves of the archive, illustrating particular biographical episodes, helps the researcher to form a holistic impression of the artist’s creative personality, as well as to orient, if necessary, for further more depth studying of his heritage. The purpose of this article is a brief review of the general content of the archival fund of M. V. Karminskyi, with the materials of which the author had the honor to conduct research and bibliographic work, as of a documentary sources base for future research of the composer’s work and the history of the musical culture of Kharkiv in 1950–2000 years. Statement of the main positions of the publication. The composer began to transfer his archive to the library during his lifetime: he arranged folders with manuscripts, gave explanations about the time of writing and purpose of individual works. It was this archive that was the first to get into the library as a full-fledged array of documents about the life of a creative person. The condition for its transfer was the possibility of unimpeded viewing of the archive and its copying for the purpose of training and concert performance of the composer’s works. The full description of M. Karminskyi’s archive was completed in 1996, but the fund was supplemented several times thanks to new materials that came to the archival collection after its formation. It contains a variety of documents, including musical manuscripts, newspaper clippings, photographic documents, sound recordings on various media, posters, booklets, programs, manuscripts by other authors related to the activities of the composer. Thus, for the theater – opera, drama – the composer has been actively working since a young age. He wrote music for performances of Kharkiv theaters – Puppet Theater, Young Audience Theater, Ukrainian Drama Theater named after Taras Shevchenko, Jewish Theater, even for student amateur theaters. Four operas by M. Karminskyi, among them – “Ten days that shook the world”, “Irkutsk story” – were successfully staged in many theaters in Ukraine, Russia, the Czech Republic and Germany. Particular attention was drawn to the opera “Ten Days That Shook the World” based on John Reed’s book about the events in Petrograd in 1917, which was published as the separate piano reduction and received a large number of reviews in periodicals. The typewritten copies of reviews by famous Ukrainian musicologists K. Heivandova and I. Zolotovytska have been preserved in the archive. The collection of the archive also includes the published piano score of the opera “Irkutsk story”, the known “Waltz” from which served as a call sign of the Kharkiv Regional Radio for many years. One of the most interesting manuscripts of the archive is the music for the unfinished ballet “Rembrandt” on the libretto by V. Dubrovskyi. The musical “Robin Hood”, which was performed not only in Kharkiv, but also in Moscow, brought the composer national fame. The sound recording of the Moscow play was distributed thanks to the release of gramophone records created with the participation of stars of Soviet stage – the singers Joseph Kobzon, Lev Leshchenko, Valentina Tolkunova and the famous actor Eugene Leonov. The popularity of this musical was phenomenal; excerpts from it were performed even in children’s music schools, as evidenced by the archival documents. During the composer’s life and after his death, his vocal and choral works, works for various instruments were mostly published. The array of these musical editions and manuscripts of M. Karminskyi is arranged in the archive by musical genres. These are piano pieces and other instrumental works, among them is one of the most popular opuses of the composer – “Jewish Prayer” for solo violin (the first performer – Honored Artist of Ukraine Hryhoriy Kuperman). Number a large of publications about the life and career of M. Karminskyi published in books and periodicals are collected, among them are K. Heivandova’s book (1981) “Mark Karminskyi”, the brief collection of memoirs about the composer (compiler – H. Hansburg, 2000) and the congregation of booklets of various festivals and competitions, for example, the booklets of the International Music Festival “Kharkiv Assemblies”, in which the composer has participated since the day of their founding. The booklet of the M. Karminskyi Choral Music Festival testifies to a unique phenomenon in the musical life of the city: never before or since has such a large-scale event dedicated to the work of a single person taken place attracting so many choirs from all Ukraine. A separate array of documents is the photo archive, which includes 136 portraits, photos from various events; 41 of them were donated by a famous Kharkiv photographer Yu. L. Shcherbinin. The audio-video archive of M. V. Karminskyi consists of records of his works, released by the company “Melody”: staging of performances “Robin Hood”, “There are musketeers!” (based on the play by M. Svetlov “20 years later”), various songs, video and tape cassettes with recordings of concerts. Other interesting documents have been preserved, for example, a typewritten script for the Kharkiv TV program about M. Karminskyi with his own participation or the library form, which can be used to trace his preferences as a reader. M. Karminskyi also compiled reviews of publications on the performance of his works and short bibliographic descriptions of their print editions. Conclusions. M. Karminskyi’s personal archive founded by him own in Kharkiv ‘K. S. Stanislavskyi’ Music and Theater Library has been functioning as an independent library fund since 1996 and today it is an unique comprehensive ordered collection, which is freely available and stores documents of various types: music publications and manuscripts, newspaper and magazine fragments, announces, photos, sound and video documents. M. Karminskyi’s archival fund is used as a documentary source for scientific researches (the Candidate’s dissertations of art critics Yu. Ivanova (2001) and E. Kushchova (2004) were defended using the materials of the archive) and as a basic congregation of works by the composer for their performance. The use of digital technologies is part of the necessary modern perspective of the fund’s development, the value of which as a primary source of historical and cultural information only grows over time.

Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distortion of the ingrained ideas about it. This theme is mainly reflected in the publications of Italian experts in the second half of the 20 century D. Carpitella, E. De Martino, R. De Simone, and in the 21 century R. Di Mauro (2013). Interest in this genre intensified in the musical science of China also. This is due to the extraordinary melody of Neapolitan songs, which is consonant with Chinese samples. Chinese singers increasingly include the popular canzone Napoletana in their repertoire. In the musical science of China, this topic has been developed since the last decades of the 20th century in the studies of Song Jing (1985), Wu Shikai (1997), Pei Yisi (2011), Liu Shanshan (2007), Fang Yahong (2011), Chang Jinge (2018). However, many scientific works are of the same type, which is caused by the lack of direct access to the study of musical, poetic, bibliographic material. In the same time, the 19th century deserves attention as a period of the rapid spread of Neapolitan folk songs in the musical art of Europe. The outstanding role in these processes belongs to the representatives of the creative dynasty – Teodoro Cottrau (1827–1879), the author of the famous “Santa Lucia”, and his father Guillaume-Louis Cottrau (1797–1847). Given the current lack of knowledge on this topic, as the research goal of this article, we consider it necessary to get acquainted with the creative figure of G.-L. Cottrau, which contributed to the spread of Neapolitan folk songs in the European music of the 19th century. For the first time in the musical science of Ukraine and China, the collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments” is used as an object of research compiled by G.-L. Cottrau, as well as selected fragments of operatic works by G. Paisiello and D. Cimarosa. In this work, the historicalcomparative and biographical research methods are used, as well as generally accepted models of musicological and performing analysis of music. Results. When studying the Canzone Napoletana, the research problem lies in the difficulties of reconstructing song samples of the 16th–19th centuries. It is necessary to restore their exact chronology, authorship, conduct a comparative analysis of numerous editions, and comprehend the processes of historical evolution. This situation is known to most ethnological scholars, who are actually engaged in musical archeology and bring back almost lost samples of the past from oblivion. Thanks to the processes of national self-determination that swept Italy in the second half of the 20th century, a decisive breakthrough was made in ethnomusicology in the study of the musical and poetic heritage of the Neapolitan region. This is a strong help for any researcher dealing with this topic. The composer and music publisher Guillaume-Louis Cottrau belonged to a famous surname in France. Hisfather served Joachim-Napoléon Murat, Napoleon Bonaparte’s son-in-law. As a child, he ended up in Italy, in Naples, forever falling in love with this land and its culture. Subsequently, Guillaume-Louis adopted Neapolitan citizenship. Being engaged in the affairs of the music publishing house and composing, Guillaume-Louis made up and published in 1824 a collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments”. This includes 104 Canzone Napoletana. Afterwards, the number of songs in different issues was increasing slightly (up to 113), the authorship of some fragments was clarifying, but the main block of tunes remained unchanged. This collection gained immense popularity in the music salons of France. It has been reprinted several times. According to R. di Mauro (2013), about sixty of the 104 songs in the first edition were written by G.-L. Cottrau, the rest are the result of processing of folk originals or songs by other authors. The essence of the undertaken arrangement consisted not only in recording musical and poetic texts (often in several versions), not only in creating a piano accompaniment part in the style of salon music-making. The composer personally collected these cantos and lyrics to them, communicating with servants, peasants, merchants, artisans, direct bearers of the oral musical tradition from different parts of the Neapolitan region. It includes old peasant songs, epic ballads, fragments from operas by G. Paisiello, D. Cimarosa, and other composers of the 18th century, which became truly people’s. This article compares the composer and folk versions of the Serenade of Pulcinella by Paisiello and Cimarosa, which were included in the first edition of the collection under the folk guise. Conclusions. The publication of the Neapolitan songs collection “Passatempi musicali” by G.-L. Cottrau played the role of actualizing this song genre in the musical space of the Romantic era. Its popularization outside Italy, repeated reprints made it possible to “legalize” the song South Italian folklore in the European musical space.

En este artículo se analizan desde el punto de vista armónico y pianístico una de las piezas más características de la obra para piano del compositor español Miguel Asins Arbó (1916-1996). Premio Nacional de la Música en 1950, es un autor conocido internacionalmente por ser el creador de las bandas sonoras de películas de Luis García Berlanga (1921-2010) o Marco Ferreri (1928-1997). Compuso más de cien obras para piano, la mayoría sin editar y con escasa bibliografía en cuanto al análisis y difusión de las mismas. Este ciclo de canciones muestra el dominio del maestro valenciano para captar la música popular de diferentes países. El principal objetivo de este trabajo ha sido conocer y descubrir el lenguaje y las características formales de las obras que investigamos e interpretamos. Esta investigación documental cuyo origen es la partitura del autor, ha utilizado la metodología cualitativa para comprender el significado de su música mediante técnicas de observación analítica. El análisis cualitativo de su música, que demanda la exploración de los procedimientos compositivos, nos permite conocer mejor su lenguaje usando técnicas de observación y estrategias centradas en el análisis armónico e instrumental. Los resultados han sido positivos y se recomiendan aspectos interpretativos, generando ideas que nos ayudan en la práctica artística. ABSTRACTIn this article, we analyse the harmonic and piano perspective one of the most characteristic pieces of the piano work of the Spanish composer Miguel Asins Arbó (1916-1996). National Music Award in 1950, he was known internationally as the author of the soundtracks of Luis García Berlanga (1921-2010) or Marco Ferreri (1928-1997) films. He composed more than a hundred works for piano, although unfortunately most of them still unedited and with a short analytical bibliography of them. This cycle of songs shows how the composer can capture popular music from different countries. The principal objective of this work is to know and discover the language and the formal characteristics of the works we investigate and play. This documentary research whose origin is the composer’s score, has used the qualitative methodology to understand the meaning of his music, through analytical observation techniques. The qualitative analysis of his music, which demands explore the compositional procedures, allows us to understand better his language using observation techniques and strategies focused on harmonic and instrumental analysis. The results have been positive and is to recommended work several interpretative aspects, generating ideas that help us in artistic practice.

Richard Rado was born in Berlin; he was the second son of Leopold Rado, from Budapest. At one stage of his education he had to decide whether to become a concert pianist or a mathematician. He chose the latter in the belief that he could continue with music as a hobby, but that he could never treat mathematics in that way. He studied at the University of Berlin, but also spent some time in Göttingen. He took a D.Ph. at Berlin with his thesis ‘Studien zur kombinatorik’ (3)* under Issai Schur in 1933. During this period he was also influenced by Erhard Schmidt. On 16 March 1933, he married Luise Zadek, the elder daughter of Hermann Zadek, whom he had earlier come to know when he needed a partner to play piano duets. It was indeed a remarkable partnership. As Hitler came to power in 1933, the Rados, being Jewish, made their way to England, Richard having obtained a scholarship of £300 p.a., from Sir Robert Mond through the recommendation of Professor Lindemann (later Lord Cherwell), who had interviewed him in Berlin, to enable him to study at Cambridge. * Numbers in this form refer to entries in the bibliography at the end of the text.

A lo largo de las distintas épocas y sistemas educativos, los/las pianistas se han formado en la mayoría de los casos como intérpretes, a pesar de que casi todos/as acaban ejerciendo como docentes de piano. Algunos/as pocos/as deciden optar por la especialidad de Pedagogía del Piano, una especialidad orientada a la enseñanza. Sin embargo, desde hace unos años la salida laboral más asequible para los/las jóvenes pianistas que quieren incorporarse al sistema público de enseñanza en nuestro país es la de pianistas acompañantes. A pesar de que el número de pianistas que ejercen este trabajo aumenta cada año según las distintas listas de colocación de efectivos, no existe en la actualidad en España una especialidad enfocada a la preparación de futuros/as acompañantes. De éste y otros problemas relacionados con el ejercicio práctico del oficio y la falta de estabilidad en su situación administrativa se quejan los/las pianistas acompañantes además de los/las docentes y alumnos/ as de las distintas especialidades de Música, Danza y Arte Dramático. Sin embargo y a pesar de la necesidad de abordar toda esta problemática desde una perspectiva científica, el número de trabajos de investigación realizados sobre este tema resulta ser muy escaso en nuestro país por lo que creemos que será de gran utilidad realizar una recopilación de la bibliografía más relevante en este campo de investigación. En el siguiente artículo se expondrán y analizarán con brevedad los artículos, libros y tesis escritos tanto en España como en el extranjero en relación con la figura y el trabajo de los/las pianistas acompañantes.Investigating the accompanying pianist.Throughout the different epochs and educational systems, the pianists have been formed in the majority of the cases like interpreters, although almost all they end up working as piano teachers. Some few decide to opt for the specialty of Pedagogy of the Piano, a specialty oriented to the teaching. However, for the last years the most affordable work for young pianists who want to join the public system of education in our country is that of accompanying pianists. Although the number of pianists who perform this work increases each year according to the different lists of personnel placement, there is not currently in Spain a specialty focused on the preparation of accompanying futures. About this and other problems related to the practical exercise of the work and the lack of stability in their administrative situation complain the accompanying pianists in addition to the teachers and students of the different specialties of Music, Dance and Dramatic Art. However, despite the need to address all of this problem from a scientific perspective, the number of research carried out on this subject is very scarce in our country, so we believe that it will be very useful to compile a bibliography more relevant in this field of research. In the following article, articles, books and theses written both in Spain and abroad in relation to the figure and the work of accompanying pianists will be exposed and analyzed with brevity

Este trabajo es el resultado de una investigación casi obsesiva por mi parte y de carácter etnográfico, se intenta explicar el significado de una banda procesional desde dentro, qué es de ella durante el año, qué pasa, cómo funciona… en definitiva, intento contar aquello que no se ve a simple vista en una procesión o un concierto. Todo esto no está contado de cualquier manera, lo cuento mediante ilustraciones y pequeñas anotaciones graficas, de forma que todo se entienda mejor y que el lector no se haga una interpretación distinta a la que yo quiero transmitir. Además aprovecho para unir dos disciplinas artísticas: la música y la pintura. Mediante los trazos doy significado a distintos aspectos musicales y a algo tan complejo como es una banda de música de Semana Santa, que además cuenta con gran numero connotaciones y significados propios.Investigating the accompanying pianist.Throughout the different epochs and educational systems, the pianists have been formed in the majority of the cases like interpreters, although almost all they end up working as piano teachers. Some few decide to opt for the specialty of Pedagogy of the Piano, a specialty oriented to the teaching. However, for the last years the most affordable work for young pianists who want to join the public system of education in our country is that of accompanying pianists. Although the number of pianists who perform this work increases each year according to the different lists of personnel placement, there is not currently in Spain a specialty focused on the preparation of accompanying futures. About this and other problems related to the practical exercise of the work and the lack of stability in their administrative situation complain the accompanying pianists in addition to the teachers and students of the different specialties of Music, Dance and Dramatic Art. However, despite the need to address all of this problem from a scientific perspective, the number of research carried out on this subject is very scarce in our country, so we believe that it will be very useful to compile a bibliography more relevant in this field of research. In the following article, articles, books and theses written both in Spain and abroad in relation to the figure and the work of accompanying pianists will be exposed and analyzed with brevity

The following tasks are set and solved in the article: to find and work out the scientific materials as for studying the sphere of piano art of Spain during the Renacimiento period and which are closely related to this topic; structure the main discovered and available scientific sources in chronological order; to investigate the development of scientific thought in two discourses: 1) in Russian and Ukrainian; 2) in foreign languages. Historiographic, bibliographic, analytical and comparative scientific methods are used to achieve this goal. The results of the study showed that in specialized libraries there exist some works of 60-70-ies of the XX century, which serve as the main informational sources for the Ukrainian reader. Today, the piano pieces of I. Albeniz, E. Granados, M. de Falla remain kind of terra incognita for Ukrainian researchers, as evidenced by the lack of new developments of this issue. Instead, this sphere of musical art of Spain became the object of study in the works of the 1990-2000s of Russian, English, American, Spanish, French and Italian musicologists. Access to foreign works is only partly available on the online Google Books resource and is related to the possession of certain language skills and, to a greater extent, the knowledge of English. The bibliographic research of this issue in Ukrainian musicology has also not been revealed, which indicates the relevance and originality of this article. The results of the study may be useful to students, performers, lecturers and scholars during the exploration of Spanish musical culture, in particular, piano music of the Renacimiento period.