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Ligeti was… The past tense is hard to accept, no matter how that sentence might have been going to continue. Ligeti was one of the most admired composers we had. Ligeti was one of the very few artists of his generation to gain wide public appreciation. Ligeti was an extraordinary craftsman, a creator of rainbows through time, fantastical and frolicsome. Ligeti was all those things and more, and until the moment of his death, in Vienna last June, the world seemed a little more buoyant for his presence. There had been no new music from him since 2002, when he added a movement to his Hamburg Concerto (with solo horn), but there always might be. Now there will not, and we have to look at an output that is complete.[...]
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Based on the voluminous Croatian melographic literature, both published and in manuscript form, the author of this essay traces in a number of instalments the popular songs authorized by Serbian poets, which used to be sung across minor Croatia, Slavonia, Dalmatia and Lika according to transcribed melodies of Croatian melographers. This essay contains poetry set to music of twentytwo (22) Serbian poets from the age of romanticism, ten (10) of which have never been mentioned in the earlier works of the same author; then, seven (7) poets whose names have been cited before, but we now included some other popular songs of theirs, and five (5) poets whose songs have already been analyzed, which now contain additional melographic notations. Every song is followed by names of Croatian melographers with basic data regarding the publication of their collections, such as the title, place and year of publication as well as the number of the song in question. In the examples of notation we selected and appended eight most significant melographic notations that are not to be found anywhere else. Th e author presented extracts from several polemical pieces which gave a critical treatment of the appropriation of Serbian songs and falsification in the form of corrupted and modified lyrics of the Serbian poets, whose songs were considered to be Croatian traditional folk songs.
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The music of the important Czech composer, who would have turned ninety on 22 January 2019 when we commemorated the anniversary of his birth, constitutes one of the most important enhancements of the Czech artistic environment in the world of culture of the latter half of the twentieth century. Petr Eben earned recognition, and his organ music has even been compared with the legacy of Olivier Messiaen. The composer understood the organ as the instrument to which his fate was bound. By the age of ten, he already held the position of organist at Saint Vitus’s Church in Český Krumlov. He would seat himself at the big threemanual instrument in the early evening, locked inside the church, leaving time and the world behind during his lengthy improvisations. “I think it was then and there that my whole personality took shape.”Perhaps every organist was playing Eben’s works in my student days. After the composer’s death in 2007, however, interest in his music declined somewhat, but I still keep returning to his compositions with growing frequency, especially to certain of his works. At the same time, I am aware of how in my thinking, and I definitely am not alone in having this experience, as time goes by there is a maturing not only of my image of the works themselves but also of the possible, desirable, and in a sense perhaps even modern manner of their interpretation, especially with respect to the choice of ideal instruments. Musicians often base the success of their performances on the depth and intensity of experience, and especially on spontaneous, momentary inspiration on stage. Only a few are so grounded in reason that they always think through how they will perform a work down to the last detail in advance and never deviate from that line in the least when playing. In the long run, however, a combination of these two approaches tends to be most successful, so that besides spontaneity, there is a constant consideration of relationships between formal and tectonic structures and harmonic and thematic contexts, leading to a clarification of details and a continually improving and more precise rendition of the whole, and this then begins to be reflected in the formation of a kind of tradition of the performing of the works. That tradition ultimately does not tend to be the result of the activity of a single performer, but instead it arises from a long series of performances of the works in question by various interpreters.A performer should master all of the basic parameters of a work and its interpretation. A melody must always remain a melody, and a phrase must always be a phrase. The relationships between individual sections must be clear and comprehensible to an audience member sitting and listening far away from the organ in the nave of the church or in the last row of the concert hall. The ear must be capable of perceiving every single note of each moving sequence of fast tones. The vertical structure must be equally comprehensible, so every chord needs to be played so that it can be deciphered even from a great distance. At the same time, however, Eben’s music must retain its overall character. As the composer said: “In my music, there is far more drama than meditation.”Today, learning and performing any of Petr Eben’s greatest works is a real challenge for organists. In some cases, I encounter interpretations that appear to have come into being without continuity and that do not proceed along the lines that have been tried and proven, but at the same time, it seems to me that they go to the heart of the matter and that they respect the composer’s deepest intentions and motivations. From my perspective, this may be the thing that shows most clearly that Petr Eben’s organ music definitely will not disappear into the ash heap of history.
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While the aesthetic of the British extreme metal band Cradle of Filth strikes the onlooker with its Baroque flamboyance, its Gothic macabre and underground kitsch, its music – both classically melodious and expressively extreme – immerses the listener into a poetry of Romanticist pastiche spiced with unexpected word-plays, heavy symbolism and cultural references, taboo themes and transgressions of social norms at every level. The weave of apparent contradictions which tailors Cradle of Filth’s distinctive style in contemporary music is also reflected in one of the central themes of the band’s imaginary: the norm-defiant femininity embodied in the image of the witch. This study examines the varied typologies of the female characters of Cradle of Filth’s fiction, their traits as both heroes and transgressors in the context of the Gothic genre and extreme music. My analysis seeks to help fill some gaps in the analysis and understanding of the often misinterpreted music genre of extreme metal, and underline fundamental traits of a representative presence in this field, Cradle of Filth, not in terms of musical or aesthetic theory but of its lyrical value in the context of postmodern literature.
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Slovak composer Pavol Krška (1949) deals specifically with the formation of spiritual and sacred songs. Artist's work for the guitar is perhaps less known for musical public. So our contribution is bringing it.
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The study deals with the elements of Transylvanian folk music in the work of Zoltán Kodály.
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