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Мария Чеботари в операх В.А. Моцарта

Author(s): Sergey Pilipetsky / Language(s): Russian Issue: 2/2021

The performance of Mozart’s repertoire is one of the highest artistic achievements of M. Cebotari, she is rightfully considered one of the best Mozart singers of all time. The article analyzes information about M. Cebotari’s performances in Mozart’s operas, collected on the basis of numerous photographic evidence, as well as unique data from Western European periodicals of the 1930-1940s. The materials are presented in the context of complex historical realities.

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Idei creatoare și emoții estetice în Sonata pentru violină și pian de Leoš Janáček

Author(s): Leonard Dumitriu / Language(s): Romanian Issue: 2/2022

Author of emblematic works for 20th-century opera creation, Leoš Janáček is also the author of works for violin and piano, among which the sonata cataloged JW VII/7 is the most important. Through the historical perspective at the beginning, the study aims to highlight its place within the chamber creation of the Czech composer, with an emphasis on the chronology of the composer's multifaceted activity from the period of 1914 (when the work began) to 1922 (when the final version was published). The analysis considers the depths of the creative process and, besides delving into instrumental and compositional techniques and procedures, focuses on messages, emotions, and ethos. The research stops at some details of the sonority, especially the ancestral, archetypal, and folkloric vein of the music, and how, in turn, the piano and violin should make us hear a cimbalom. We see that the traditional sonata form allows for modern creative interpretations, anchored in the living substance of folklore, no less in the fertile imagination of the composer. For performers, Leoš Janáček's Sonata for Violin and Piano is not a technical challenge, but a path to conveying the emotions of one of the most original composers of the 20th century.

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Ziua și noaptea în semiotica muzicală

Author(s): Ramona Bogoșel / Language(s): Romanian Issue: 2/2022

In determining the message, meaning, and understanding of a musical discourse, semiotics plays an indispensable role. It is the science concerned with the typology of the sign, and with its help, symbols related to day and night can be analyzed in a musical context. To form a clearer image of the processes through which day and night have been represented in music, we consider the field of semiotics to have a decisive role. Therefore, this article has as its cornerstone semiotic analysis and specifically examines the role of semiotics in communicating diurnal and nocturnal aspects, with a focus on analysis methods relevant to day and night in music. Its goal is to determine to what extent works dedicated to day and night differ in content. The essence of the research focuses on certifying the existence of differences and similarities in the organization, structuring, and thinking of musical compositions with diurnal and nocturnal specifics. The study investigates the context in which the signs of day and night appear and are interpreted in music, their semiotic sphere, aiming at the development of semiotics as a method that offers the possibility of correctly interpreting musical events. There are three major names in musical semiotics, particularly relevant in the study of day and night in music: Eero Tarasti, Raymond Monelle, and Robert Hatten. Emphasizing the theories founded by them, we sought to discover new aspects of the analysis of day and night in music, deciphering that element of innovation that semiotics proposes.

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De la transcriere la toposul muzical: „cântecul fără cuvinte” în lucrările pentru pian ale lui Ludwig van Beethoven și ale romanticilor timpurii

Author(s): Małgorzata Grajter / Language(s): Romanian Issue: 1/2024

In his famous statement – 'Alles muss gehörig singen' ['Everything must be sung correctly'] from Der volkommene Capellmeister (1739), Johann Mattheson summarized the rules of any musical composition, whether instrumental or vocal. The idea that follows from this, that a 'vocal' element is (or should be) omnipresent in all instrumental music, makes it difficult to distinguish musical topoi or characters of typically vocal origin in an instrumental piece. This issue has also been debated by modern semioticians. Raymond Monelle wrote: 'Music is already song before any text is added,' to which Sarah Day-O’Connell adds: 'The style of singing [instrumental music] denotes so many things that it risks meaning nothing.' If – following these statements – 'all music is a song,' is the notion of 'song without words' still relevant in instrumental music, except when such an idea is clearly indicated in the title, as in the works of Felix Mendelssohn (Lieder ohne Worte), Pyotr Tchaikovsky (Chants sans paroles), Gabriel Fauré (Romances sans paroles), to name just a few examples? To look more closely at what might be defined as an instrumental 'song without words,' we will focus on musical pieces that have become wordless simply by having their verbal layer removed, thus becoming instrumental transcriptions or, in the case of instrumental ones, if more or less successful attempts have been made to add poetic text. In both cases, the following features can be distinguished: the range of the melody is similar to that of the human voice, a texture that implies the presence of a vocal line (similar to a vocal transcription), a metric structure that imitates that of a poem set to music.

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Erinnerungen an Meyerbeer de Oscar Fetrás. Despre cele trei opere-fantezie pentru orchestră de salon

Author(s): Gesine Schröder / Language(s): Romanian Issue: 1/2024

This study shows why and how music was transcribed for salon orchestras and its variants in the decades around 1900, during the development of tourism as a separate branch of music. As an example, three transcriptions for salon orchestra of Giacomo Meyerbeer's operas by the composer Oscar Fetrás from Hamburg, known for the genre of Gebrauchsmusik, are analyzed: the transcriptions of the operas The Prophet, The Huguenots, and L'Africaine, which the author attributed to the genre of 'opera-fantasy'. After some reflections on this musical genre and parallels with other titles such as Erinnerung (memory), Souvenir, Remembrance, Recollection, Réminescence, or Mosaic and their appearances in other musical genres outside salon orchestra music, a detailed investigation of Fetrás's technique follows, starting from his transcription Erinnerung an Meyerbeer’s "Prophet" [Memory of Meyerbeer's "The Prophet"]. The selection and ordering of the numbers, the choice of instrumentation, and changes in the timbral characteristics are discussed, exemplified with an excerpt from the beggar's romance ('O gebt!' – 'Donnez!'), in which the trumpet was given, already by Meyerbeer, perhaps for the first time in opera history, noble feelings, prayers, and laments. The reduction of the opera orchestra to the salon orchestra probably became a model for the sound of the avant-garde ensemble, without its origin in entertainment music ever being revealed.

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George Enescu și familia muzicienilor Marsick

Author(s): Irina Nițu / Language(s): Romanian Issue: 1/2024

The article brings to the forefront interesting documents from the archive of the famous Belgian family of musicians, the Marsicks. Martin-Pierre Marsick was George Enescu's violin teacher at the Paris Conservatory. Today, the family's archive contains a series of documents that attest to the Romanian musician's connection with both his former teacher and his nephew, Armand, with whom he studied in Paris. Posted online, but also personally provided by Jacques Marsick—a descendant of Armand Marsick, along with permission to research, present, and use them for academic purposes—the study presents several holograph letters, photographs, concert programs, and various other documents that link George Enescu's name with those of the Marsick family members.

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Franz Schubert, Ellens Gesang III (Ave Maria) ca readymade

Author(s): Elena Maria Șorban / Language(s): Romanian Issue: 1/2024

The study traces the origin of Franz Schubert's famous lied, Ave Maria! Jungfrau mild, starting from the source of inspiration in Sir Walter Scott's poem, continuing with Schubert's actual composition based on Adam Storck's German translation, and the posthumous adaptation of the German text into the established Latin version by the composer's brother, Ferdinand Schubert, for church use. The musical analysis of the piece begins with the historical context and captures the poetic sources mentioned in Schubert's music. Aspects related to the aesthetics of tonalities, according to the theories of Christian Friedrich Daniel Schubart, are examined, and the formal analysis presents the balance of the musical form, which aligns with the classical structure of the verses. The influence of these literary texts in the era is then presented. In the study, the German version of Schubert's lied is translated into Romanian, in verse, by the author, aiming not only to preserve the meaning but also to harmonize the words with the musical structure. The study also explores the reception of the lied in contemporary times, following major singers or performers who have popularized it, as well as versions used in animated films, punkademics adaptations, covers, or crossover approaches, including the Romanian musical space (through performances by singers or creations by Romanian composers). The author's conclusion is that the entire process of the historical evolution of the piece is configured in phases corresponding to the aesthetics of the readymade.

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Péter Eötvös – Valuska

Author(s): Klára Ocskay / Language(s): Romanian Issue: 1/2024

On December 2, 2023, in Budapest, under the direction of Bence Varga, the world premiere of Péter Eötvös's new opera, Valuska, took place. It is the composer's thirteenth opera and also the first work of this genre written in Hungarian, Eötvös's mother tongue. The Chamber Orchestra of the Hungarian National Opera was conducted by Kálmán Szennai, and the soloists of the evening were the following artists: János Valuska – Zsolt Haja, Hagelmayer/Narrator – Tünde Szalontay, Mrs. Pflaum – Adrienn Miksh, Tünde – Tünde Szabóki, Peasant Woman – Mária Farkasréti, Professor – András Hábetler, Senior Officer – Krisztián Cser, Director – István Horváth, Prince's Assistant – Balázs Papp, Nadabán – Lőrinc Kósa, Mádai – András Kiss, Volent – János Szerekován, Guide – Zoltán Bátki Fazekas, An Officer – Attila Erdős, Men's Choir – Benjámin Beeri, Ninh Duc Hoang Long, Gergely Halász, Bence Pataki, Gergely Újvári, Botond Pál, Donát Varga.

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Postmemory of Trauma as Transgenerational Empathy: Remembering the Santa Pain in Pontic Dialogical Singing

Author(s): Ioannis Tsekouras / Language(s): English Issue: 36/2024

This article examines the relation between music and the transgenerational trauma of the Pontic Greeks – the descendants of the 1923 Black Sea [Karadeniz] refugees. More specifically, the article concerns the 1921 destruction of the Santa locality, in Gümüşhane province, and how the memory of this violence is negotiated in the practice of dialogical and participatory singing called parakathi or muhabeti. It is demonstrated how muhabeti enables Pontians to cultivate an empathic postmemory of the 1920s refugees’ Santa trauma and what this might mean for trauma theory in general.

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War and Manifestations of Cultural Trauma in the Works of Cypriot Composer Solon Michaelides

Author(s): Georgia Petroudi / Language(s): English Issue: 36/2024

The paper investigates, through the prism of cultural trauma theories of Jeffrey C. Alexander and other scholars, the case of Cypriot composer Solon Michaelides (1905–1979) and his creative responses to the Turkish military invasion of the northern part of Cyprus in 1974. The resulting trauma from the shock caused by the war is engrained in the composer’s creative oeuvre, since several of his compositions, including the Hymn and Lament for Cyprus and My Kyrenia, became a part of the cultural trauma narration.

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The Funeral Laments (pohrebné plače) of the Slovak Community in Serbia

Author(s): Kristina Lomen / Language(s): English Issue: 36/2024

This study discusses the funeral laments (pohrebné plače or pohrebné nariekanie in Slovak) of the Slovak ethnic minority in Srem, Vojvodina, Republic of Serbia. Among the Vojvodina Slovaks, funeral laments are gradually becoming extinct, although they could still be heard during the funeral rites of this ethnicity in various localities of Vojvodina in the latter half of the twentieth century. This study summarizes the state of the research on this issue. It focuses on the funeral laments documented by the author during her field research in Stará Pazova / Stara Pazova, Srem, in 2014.

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Songbirds as an Inspiration for Byzantine Kratēmata

Author(s): Thomas Apostolopoulos / Language(s): English Issue: 36/2024

Byzantine kratēmata, widely known as the terrirem, as part of other, broader musical works, date approximately back to the eleventh–twelfth century. A small group of four kratēmata are named after birds (Aēdhon – Luscinia megarhynchos, Potamis – Acrocephalus, Anyfantis and Papadopoula – Parus major). It is reasonable to assume that the singing of the respective birds inspired composers to set these kratēmata to music. Studying the related compositions, as they have been documented in the written tradition of the Byzantine and the post-Byzantine manuscripts until their transcription from the pre-1814 old stenographic method notation, we report certain observations that reinforce the initial hypothesis, as well as some parallel remarks about the phenomenon of creation, establishment, and spreading of this form.

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Статус римокатоличке богослужбене музике у процесу Другог ватиканског концила

Author(s): Vesna Sara Peno,Sanja Stevanović / Language(s): Serbian Issue: 36/2024

The study deals with historical, social, cultural, and anthropological aspects of Roman Catholic liturgical music during the Second Vatican Council. After the Council’s closure, the determination of the boundary between sacred and secular music was postponed indefinitely. This was significantly contributed to by the activities of the Council for the Implementation of Decisions on the Holy Liturgy, professional church musicians, and their interaction. Insights into the process of preparation, Council’s decision-making, and implementation of the decisions in practice justified the need for an interdisciplinary approach in examining church music.

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Архивски звучни снимци српског црквеног појања у Музиколошком институту САНУ: звуци живе традиције као извори за истраживање

Author(s): Nataša Marjanović / Language(s): Serbian Issue: 36/2024

This paper presents the rich archival collection of sound recordings of the Serbian church music, kept at the Phonoarchive of the Institute of Musicology SASA. The study focuses on the sound recordings of the traditional Serbian church chant, from the end of the 1960s to the mid-1980s, made in churches and monasteries in Serbia, Croatia, Bosnia and Herzegovina and Hungary, during musicological field research by dr Dimitrije Stefanović and dr Danica Petrović. These unique sources, which have been previously unknown to the wider public, are the authentic testimony of the heritage of the liturgical musical practice of the Serbian Orthodox Church, as well as of the research field of church chant in the period after the WWII. Particular examples of sound recordings from the archival collection are presented as illustrations of this practice and as the hint of many different perspectives for further research and perception of this period of the Serbian church music history.

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THE ROUTLEDGE COMPANION TO APPLIED MUSICOLOGY, Edited by Chris Dromey

Author(s): Bojana S. Radovanović / Language(s): English Issue: 36/2024

Review of: THE ROUTLEDGE COMPANION TO APPLIED MUSICOLOGY Edited by Chris Dromey, New York and London: Routledge, 2024, ISBN 978-0-367-48824-6

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The Role of Popular Culture in Times of Disaster: A Case Study of the War Morale Songs in the Russo-Ukrainian War

Author(s): Oksana Starshova,POLINA MYRONENKO / Language(s): English Issue: 1/2024

The whole-scale Russian invasion of Ukraine has produced a massive response in various media and art forms. Memes, cartoons, graphic novels, street art create an interesting war imagery and portray the effect of the war on society and the individual. Our project focuses on the popular songs created during this war, especially those included in music videos. The songs perform various functions; they express emotions ‒ of pain, sorrow, hope; they might be propagandistic calling for action; they might display deeply personal feelings about the lost world of peace; they may help one survive, and they also help one reflect on the impact of the war on the everyday life of the people and the country, in other words, on the current existential crisis. Songs refer to the moral issues and values in human life, and they articulate the pride in national heroes and national culture. In this article, we intend to collect, categorize, and interpret the songs with focus on the war morale songs that are employed in the mobilization efforts and the shaping of public opinion. Although they are of heterogeneous professional quality, our aim is to document the songs brought about by the war as the personal and political response to the events. Our primary interest lies in the hermeneutics of the messages inscribed in the music, lyrics and visuals.

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Witold Lutosławski wobec powojennej awangardy. Z perspek- tywy sześciu dekad

Author(s): Krzysztof MEYER / Language(s): Polish Issue: 3/2024

This article presents the strategies that Witold Lutosławski adopted after 1956in order to assert himself in national and international musical life. This in-volved becoming associated with the avant-garde of the time and experimentingwith compositional techniques, as well as participating in the discourse on thecondition and the future of music. However, apart from a few pieces composedin the 1960s, especially those using the so-called controlled aleatoric technique,Lutosławski’s music seems closer to tradition that to the avant-garde worksof the time. This was not clearly seen due to the composer’s declarations, ininterviews and lectures, in which he advocated an almost permanent revolu-tion in music, doing so very suggestively, as confi rmed by his texts cited inthe article.

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„O, której serca dobroć głoszą wieki”. Jezuici tarnopolscy i staro- wiejscy jako autorzy pieśni maryjnych

Author(s): Marek Nalepa / Language(s): Polish Issue: 3/2024

During the 123 years when Poland did not exist as a sovereign country, Mar-ian devotion proliferated throughout its territory partitioned between Austria,Prussia, and Russia. A signifi cant role in the process was played by the JesuitFathers conducting, since 1820, pastoral and educational service in the Polishlands acquired by Austria. Three aspects of the activity of the Society of Jesusin Galicia were crucial in its promotion of Marian piety, i.e., the contributionof the Jesuit Fathers to the growing repertoire of songs related to the VirginMary, the emphasis on highlighting and prioritizing Marian cult sites in thecare of Societas Iesu in the pilgrimage geography, and permanently introducingthe May devotions to honor the Virgin Mary into the liturgical calendar. Thosewho stood out among the Jesuit Fathers in the nineteenth century advancedMariology, were dedicated to their pastoral service, in particular to the missionsand to preaching. Apart from providing educational services, they wrote piecesof poetry as well as religious songs and hymns. Representatives of severalgenerations, including Józef Morelowski (1777–1845), Bazyli Arciszewski(1795–1856), Karol Bołoz Antoniewicz (1807–1852), and Iwo Czeżowski(1814–1889), were prominent in this regard. The pieces they authored havebeen continually present in the Catholic liturgical and popular repertoire to thisday. The paper discusses the biographies of the four Jesuit Fathers in questionand their contribution to Marian devotion, in particular the lyrics of selectedsongs and hymns they wrote.

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Aesthetic Considerations on György Ligeti’s Works

Author(s): Dora Cojocaru / Language(s): English Issue: 3/2023

This article represents a revised chapter of my book György Ligeti’s Creation in the Stylistic Context of the 20st Century, published in 1999. It shows the divergent and contrasting aspects of the composer’s pieces, their synaesthesis and their preference for allusions and illusions. Ligeti’s whole work is a large spectrum built with associable musical structures that are also found with other composers or even in extramusical artistic productions. But despite this, it remains original and innovative, not belonging to any stylistic orientation of 20th century music.

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«Ah, che barbaro appetito!», o l’arte della tavola nel Convitato di pietra di Giovanni Battista Lorenzi per Giacomo Tritto e dintorni

Author(s): Camillo Faverzani / Language(s): Italian Issue: 73/2024

In considering Il convitato di pietra by Giovanni Bassista Lorenzi and Giacomo Tritto (Naples, Teatro dei Fiorentini, 1783), this essay aims to first present the characters and the plot, to then study the orchestral score, and, closely linked to the intonation, the metrical choices of the librettist. Finally, it focuses on the topos of the banquet in its various facets, contextualising the 1783 draft with respect to the spoken versions of the pseudo-Cicognini, dating back to around the middle of the seventeenth century, and of Don Giovanni Tenorio (1736) by Carlo Goldoni, and other contemporary adaptations: the other Convitato di pietra (1776) by Nunziato Porta and Vincenzo Righini, Don Giovanni (1787) by Giovanni Bertati and Giuseppe Gazzaniga, Il nuovo convitato di pietra (1787) by Giuseppe Foppa and Francesco Gardi, Il dissoluto punito (1787) by Lorenzo Da Ponte and Wolfgang Amadeus Mozart.

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