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A Different Liszt
Reviewing: Klára Hamburger, Franz Liszt: Leben und Werk. Cologne: Böhlau Verlag, 2010, 279 pp. • Klára Hamburger, Liszt Ferenc zenéje. (The Music of Franz Liszt.) Budapest: Balassi Kiadó, 2010, 526 pp.
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Reviewing: Klára Hamburger, Franz Liszt: Leben und Werk. Cologne: Böhlau Verlag, 2010, 279 pp. • Klára Hamburger, Liszt Ferenc zenéje. (The Music of Franz Liszt.) Budapest: Balassi Kiadó, 2010, 526 pp.
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Part 1 of this memoir ended with the discovery of Daniel Liszt’s privately printed obituary notice in the Goethe-Schiller archive there. The paper-trail now leads Alan Walker to Rome and the Vatican.
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Ifollowed a three-stage plan on my journey to Geneva. First of all, I wanted to visit the conservatory where the young Liszt had taught a piano class for a semester. Secondly, I wanted to find the apartment where he lived and thirdly, to track down a little-known artist who made a portrait of the composer. Liszt could not have taught in the present conservatory building. It was not built until 1857–58, whereas the great pianist had assumed his teaching duties back in 1835. At that time the conservatory was housed in the St. Pierre Casino building.
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Lettres de Franz Liszt à la Princesse Marie de Hohenlohe- Schillingsfürst, née de Sayn-Wittgenstein. Présentées et annotées par Pauline Pocknell, Malou Haine et Nicolas Dufetel. (Musicologies, collection dirigée par Malou Haine et Michel Duchesneau) J. Vrin, Librairie Philosophique, 2010, impr. en Belgique, 433 pp.
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In this article the questions how and how much a musical sound can influence the education of personal creativity are considered. A musical sound is treated as a major constructive element of musical art, one of the most mysterious spheres of informative energy. Also, the author questions some postmodern attitudes to society, culture and man. She hopes that these, in a sense anti-human, attitudes will not prevail long; for the tendency to reconsider the principles of traditional approaches to society, culture and man is manifest nowadays.
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This conversation took place after the release of a fourteen-disc set of recordings of Richter’s live performances in Hungary by Hungarian Radio and the Budapest Music Center. Richter had an enormous influence on Hungarian musical life. He first stepped onto a Hungarian concert platform in 1954 and his last concert was recorded by Hungarian Radio in 1993. In the four decades between, Richter regularly appeared in Hungary (sometimes without notice), giving sixty concerts altogether; twenty-eight in the capital and the rest in cities throughout the country either as a soloist, chamber musician or accompanist. Many pieces in the new set do not appear elsewhere. Richter was a major figure in the story of a generation of Hungarian pianists—Zoltán Kocsis, András Schiff and Dezsô Ránki among them—who began their careers in the 1970s. Ránki, who knew Richter and assembled a large private collection of his recordings, contributed to the editing process.
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Zoltán Kocsis has been chief conductor of the Hungarian National Philharmonic Orchestra since 1997. Alongside his stellar career as a pianist Kocsis has been devoting more and more of his time to the orchestra, mounting Hungarian premieres of rarely played and new works, including his own transcriptions for orchestra of pieces by Bartók, Debussy and Ravel. His commitment to contemporary music has been recognized by, among others, György Kurtág, who dedicated several of his compositions to him. Kocsis’s recording of Bartók’s Out of Doors was hailed by London-based Gramophone magazine as one of the greatest piano recordings of the twentieth century, and Philips included him in its series of the fifty greatest pianists. Kocsis’s latest feat, attracting critical and public acclaim, was his completion of Schoenberg’s Moses and Aaron, left in two acts by the composer. The semistaged premiere took place in the Palace of Arts on 16 January 2010 with the National Philharmonic Orchestra and Choir under the baton of Kocsis, with Wolfgang Schöne and Daniel Brenna in the principal roles.
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Is Bartók still a Hungarian composer? The question is raised by the first releases in an astonishing recording project, the Bartók New Series, which is coming out on the revivified Hungaroton label—or, rather, that question is raised not so much by the releases themselves (which answer it powerfully in the affirmative) as by the notion of a complete recorded edition as a domestic endeavour, involving a Hungarian company and, at least so far, exclusively Hungarian artists. Surely, one might think, Bartók has long been a universal figure, needing no promotion from his home country’s National Cultural Fund (the main sponsor of the series, according to its informative website, www.bartoknewseries.com) and not necessarily benefitting from being confined to his compatriots among performers.
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The variation of the XX century everyday life influenced changes in farming forms and village communal traditions. New farming methods, improved agricultural tools and implements have pushed traditional farm-ing forms and manners to oblivion. There were appropriate changes in signal instruments handling traditions: in their forms, material and functions. Besides, in the XIX century all other signal instruments for pasturage wooden bells and boards, hung on animal’s neck while pasturing cattle in forests or bushes were used. Rich data about wooden bells (Lith. “skrabalai”) were recorded in field expeditions and were researched a lot. There are also numerous exhibits of wooden bells in Lithuanian museums. In the northeast Lithuania not only wooden bells but also wooden boards were used. The object of this article is the folk signal instrument called “lekėtai”, which hasn’t been studied by Lithuanian ethnomusicologists yet.
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In the article the idea of complete perception of life through intonational expressiveness of music is devel-oped. For this purpose the following concepts are considered: recognition of world around, intonational ex-pressiveness of music, the contents of music.
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In this article the author describes interpretations and functions of fashion, social, aesthetic and art forms of its manifestation. Having studied cultural and musical tendencies throughout history as well as anticipated musical and pedagogic aspects of the impact of fashion the author introduces the notion of “musical fashion” which is seen as a spontaneously directed way of standardising aesthetic consciousness of an individual (this process is managed and regulated by show business and its impact on different layers of society is not regu-lated), a short-term norm of assimilating music according to its prestige and status.
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The peculiarity of M. K. Čiurlionis’ creative process to compose in outbreaks caused spontaneous cyclicity of his musical pieces. The composer’s three musical works which comprised one such cyple, are being ana-lysed in this article. It is titled here as Unrecognized cycle (1906).
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The article reviews and analyzes a widely spread and used concept of reflection. Transformation of the re-flection concept is presented here main attention paying to possibility to apply the method of reflection in the music education. That is why the concept of reflection is highlighted from different points by scientific re-searchers. This way let us better reveal the structure of the reflection concept.
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This article covers an underexplored facet in the Estonian cultural history – expansion of jazz music into our cultural space and facts related to this, focussing on mutual influences between jazz and Estonian ethnic culture. Although we have been long accustomed to the fact that jazz music is an inseparable part of our culture scene, debates on what is jazz are still ongoing and there does not yet exist an overall and widely accepted definition. The relations between village bands and jazz are studied from the point of view of several acculturation theories.
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It has not been written much about the Serbian Realism and Serbian peasant in Romanian language. The first Serbian Realism writers were Jovan Sterija Popović and Jakov Ignjatović, a novelist and a nouvelle writer. In Henri Zalis’s publication of bibliographic contributions Naturalism in Romanian Literature, he emphasizes the fact that ”Serbian Realism was still dominated by Russian writers and that it preserved the dilatory traces of the XVIII century Romanticism, and that it was still determined by the influences of the utopian materialism and socialism.” (Zalis 1983) The period of Realism started in the XIX century. Realism is an artistic, literary concept which reflects objectivity and presents the reality truthfully. Realism writers depicted the social life, representing the man as a product of society he lives in, yet the characters are typical and they represent a whole category of individuals. The characteristics of Realism are: objectivity, sobriety, social criticism, thoughtful presentation of reality. Realism appears in the second half of the XIX century, more accurately in the last decades of the XIX century and it is connected to socio-democratic activities, above all, especially to Svetozar Marković (1846-1875).
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Eggebrecht described music as passion expressed in mathematics. The writer examines the way different tools in music encapsulate the tacit opposition within the above definition: the conflict between number and emotion. He lists a number of tools that can serve as vehicles to express this tension: the rhythm of dance, drums and gongs, the sound of chords in Hans Kayser´s “Tonzahl”-description, sounds at the correct pitch, the harmony between them, and the dialectic exposition hereof: the early counterpoint. The counterpoint is the surface representation of the non-secularized dialectics, which, in Béla Tábor´s, interpretation, comprehends unity “ not as static existence, but as ongoing happening; not as substantiality, but ceaseless splitting into parts, which, though standing in opposition, communicate themselves to each other through the Logos, while, by these very processes, they also reveal themselves as a unity”.
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