John Daverio
- Published in print:
- 2002
- Published Online:
- May 2008
- ISBN:
- 9780195132960
- eISBN:
- 9780199867059
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195132960.003.0008
- Subject:
- Music, History, Western
This chapter focuses on Brahms' Concerto in A minor for Violin, Cello, and Orchestra, Op. 102. It sketches a musical family tree for the “Double” Concerto — a network of models in which Robert ...
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This chapter focuses on Brahms' Concerto in A minor for Violin, Cello, and Orchestra, Op. 102. It sketches a musical family tree for the “Double” Concerto — a network of models in which Robert Schumann and the members of his extended creative family play a crucial role. The sketch will focus on two levels of the concerto's genealogy. On the one hand, it will address the extent to which the work was bound up with Schumann's aesthetic of the concerto in general and with his late works for soloists and orchestra in particular. On the other hand, it will attempt to reveal Brahms' debt to an idiom — transmitted to him principally through Joachim — about which most critics of the concerto have said little of substance: the style hongrois that is, the musical language employed by Western composers to evoke the performing manner of the Hungarian gypsies.Less
This chapter focuses on Brahms' Concerto in A minor for Violin, Cello, and Orchestra, Op. 102. It sketches a musical family tree for the “Double” Concerto — a network of models in which Robert Schumann and the members of his extended creative family play a crucial role. The sketch will focus on two levels of the concerto's genealogy. On the one hand, it will address the extent to which the work was bound up with Schumann's aesthetic of the concerto in general and with his late works for soloists and orchestra in particular. On the other hand, it will attempt to reveal Brahms' debt to an idiom — transmitted to him principally through Joachim — about which most critics of the concerto have said little of substance: the style hongrois that is, the musical language employed by Western composers to evoke the performing manner of the Hungarian gypsies.
Donald Maurice
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780195156904
- eISBN:
- 9780199868339
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195156904.003.0004
- Subject:
- Music, History, Western
This chapter provides perhaps the most fascinating part of the story, bringing to light a series of circumstances not previously known outside the close circle of family and friends. The cello ...
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This chapter provides perhaps the most fascinating part of the story, bringing to light a series of circumstances not previously known outside the close circle of family and friends. The cello version of the concerto is discussed and the extended negotiations with Boosey & Hawkes are traced with numerous copies of correspondence included in the appendixes. The most revealing section relates to the involvement of violist Burton Fisch and cellist David Soyer, who gave the first ever read-through of the concerto to an invited audience at the home of Tibor Serly in New York in February 1948. The renditions were recorded shortly after at the apartment of Peter Bartók. The involvement of William Primrose and the subsequent changes that occurred pave the way to much of the controversy in the interpretation of the work.Less
This chapter provides perhaps the most fascinating part of the story, bringing to light a series of circumstances not previously known outside the close circle of family and friends. The cello version of the concerto is discussed and the extended negotiations with Boosey & Hawkes are traced with numerous copies of correspondence included in the appendixes. The most revealing section relates to the involvement of violist Burton Fisch and cellist David Soyer, who gave the first ever read-through of the concerto to an invited audience at the home of Tibor Serly in New York in February 1948. The renditions were recorded shortly after at the apartment of Peter Bartók. The involvement of William Primrose and the subsequent changes that occurred pave the way to much of the controversy in the interpretation of the work.
Elisabeth Le Guin
- Published in print:
- 2005
- Published Online:
- May 2012
- ISBN:
- 9780520240179
- eISBN:
- 9780520930629
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520240179.001.0001
- Subject:
- Music, History, Western
This study of the works of Luigi Boccherini uses knowledge gleaned from the author's own playing of the cello as the keystone of her approach to the relationship between music and embodiment. In ...
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This study of the works of Luigi Boccherini uses knowledge gleaned from the author's own playing of the cello as the keystone of her approach to the relationship between music and embodiment. In analyzing the striking qualities of Boccherini's music—its virtuosity, repetitiveness, obsessively nuanced dynamics, delicate sonorities, and rich palette of melancholy affects—the book develops an historicized critical method based on the embodied experience of the performer. In the process, it redefines the temperament of the musical Enlightenment as one characterized by urgent, volatile inquiries into the nature of the self.Less
This study of the works of Luigi Boccherini uses knowledge gleaned from the author's own playing of the cello as the keystone of her approach to the relationship between music and embodiment. In analyzing the striking qualities of Boccherini's music—its virtuosity, repetitiveness, obsessively nuanced dynamics, delicate sonorities, and rich palette of melancholy affects—the book develops an historicized critical method based on the embodied experience of the performer. In the process, it redefines the temperament of the musical Enlightenment as one characterized by urgent, volatile inquiries into the nature of the self.
Barbara B. Heyman
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780195090581
- eISBN:
- 9780199853090
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195090581.003.0011
- Subject:
- Music, History, American
After the war Samuel Barber was discharged from the United States army. His compositions were continuously loved by its patrons as well as critics, and he was awarded once more, this time the Fifth ...
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After the war Samuel Barber was discharged from the United States army. His compositions were continuously loved by its patrons as well as critics, and he was awarded once more, this time the Fifth Annual Award of the Music Critics Circle of New York. He continued to trailblaze his way into music history, with his Cello Concerto dubbed as one of the most challenging contemporary cello compositions. This chapter describes his most “American work”: Knoxville: Summer of 1915. He was reputed to be one of the most promising American composers of his time. Barber even took an interest in ballet, for which he produced the piece Medea. This was however, dampened by the news of his father's deteriorating health and the stress it placed in Barber's mother.Less
After the war Samuel Barber was discharged from the United States army. His compositions were continuously loved by its patrons as well as critics, and he was awarded once more, this time the Fifth Annual Award of the Music Critics Circle of New York. He continued to trailblaze his way into music history, with his Cello Concerto dubbed as one of the most challenging contemporary cello compositions. This chapter describes his most “American work”: Knoxville: Summer of 1915. He was reputed to be one of the most promising American composers of his time. Barber even took an interest in ballet, for which he produced the piece Medea. This was however, dampened by the news of his father's deteriorating health and the stress it placed in Barber's mother.
Jeremy Grimshaw
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199740208
- eISBN:
- 9780199918713
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199740208.003.0007
- Subject:
- Music, History, American, Theory, Analysis, Composition
This concluding chapter includes brief discussions of some of Young’s later works (including Chronos Kristalla and Just Charles & Cello) and seeks to draw together the various strands of Young’s ...
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This concluding chapter includes brief discussions of some of Young’s later works (including Chronos Kristalla and Just Charles & Cello) and seeks to draw together the various strands of Young’s oeuvre using Daniel Albright’s examination of the figure of Laocoön. Albright outlines the concepts of the “decorum of time” and “the decorum of space” as they operate, respectively, in the arenas of music and visual art, and shows how they become blurred in the modernist era. Young’s works fit problematically within this framework, because his agenda of “getting inside the sound” results in works that conflate the temporal with the spatial. This chapter also considers the concept of teleology, or goal-directedness, and argues that even Young’s most temporally static, spatially oriented works have an element of teleology, grounded not in the music’s temporal unfolding but in its mystical aspirations.Less
This concluding chapter includes brief discussions of some of Young’s later works (including Chronos Kristalla and Just Charles & Cello) and seeks to draw together the various strands of Young’s oeuvre using Daniel Albright’s examination of the figure of Laocoön. Albright outlines the concepts of the “decorum of time” and “the decorum of space” as they operate, respectively, in the arenas of music and visual art, and shows how they become blurred in the modernist era. Young’s works fit problematically within this framework, because his agenda of “getting inside the sound” results in works that conflate the temporal with the spatial. This chapter also considers the concept of teleology, or goal-directedness, and argues that even Young’s most temporally static, spatially oriented works have an element of teleology, grounded not in the music’s temporal unfolding but in its mystical aspirations.
Bernard D. Sherman
- Published in print:
- 2003
- Published Online:
- January 2010
- ISBN:
- 9780195169454
- eISBN:
- 9780199865017
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195169454.003.0012
- Subject:
- Music, History, Western
When the Baroque cello is mentioned, Anner Bylsma always comes up. Bylsma took up the Baroque cello in the 1960s, by which time he already had a distinguished career as a modern cellist. In the ...
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When the Baroque cello is mentioned, Anner Bylsma always comes up. Bylsma took up the Baroque cello in the 1960s, by which time he already had a distinguished career as a modern cellist. In the ferment of the early music scene of Amsterdam in the Netherlands, it was inevitable that Bylsma would be drawn to the early cello. That he still plays both instruments makes him a sharp observer of their differing challenges, and of current issues in their use. He also spoke about one of his favorite composers, Antonio Vivaldi. Vivaldi was the most influential Italian composer of his day, but serious musical thinkers often dismiss him. Bylsma, however, thinks that musicians play and hear Vivaldi wrong; he believes that the key to Vivaldi is his interest in depicting character. This point may reflect changes in musical aesthetics. The chapter presents an interview with Anner Bylsma on Vivaldi’s music and the cello, the style of Baroque cello playing, the use of rubato, vibrato and portamento, and the difference between French and Italian string-playing.Less
When the Baroque cello is mentioned, Anner Bylsma always comes up. Bylsma took up the Baroque cello in the 1960s, by which time he already had a distinguished career as a modern cellist. In the ferment of the early music scene of Amsterdam in the Netherlands, it was inevitable that Bylsma would be drawn to the early cello. That he still plays both instruments makes him a sharp observer of their differing challenges, and of current issues in their use. He also spoke about one of his favorite composers, Antonio Vivaldi. Vivaldi was the most influential Italian composer of his day, but serious musical thinkers often dismiss him. Bylsma, however, thinks that musicians play and hear Vivaldi wrong; he believes that the key to Vivaldi is his interest in depicting character. This point may reflect changes in musical aesthetics. The chapter presents an interview with Anner Bylsma on Vivaldi’s music and the cello, the style of Baroque cello playing, the use of rubato, vibrato and portamento, and the difference between French and Italian string-playing.
Neil Gould
- Published in print:
- 2008
- Published Online:
- January 2012
- ISBN:
- 9780823228713
- eISBN:
- 9780823241798
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823228713.003.0001
- Subject:
- History, American History: 19th Century
This chapter sets the stage for Victor Herbert's upbringing. It traces Herbert's Irish roots and influential people in his life, such as his grandfather Samuel Lover who was an artist, author, ...
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This chapter sets the stage for Victor Herbert's upbringing. It traces Herbert's Irish roots and influential people in his life, such as his grandfather Samuel Lover who was an artist, author, composer, and entertainer and his mother Fanny Lover. Herbert's father, Edward Herbert tragically disappeared during a trip to Paris in 1862. Schooled in the arts by his mother and grandfather, Herbert was fluent in several languages. Since he was fluent in German, when the time came for Herbert's formal education, Fanny decided to have him educated in Germany where he took up the cello. After graduation the family's financial situation caused Herbert to find work. Herbert traveled to the United States to play in the Pittsburgh Orchestra and began touring. He met and married Theresa Forster, a dramatic soprano.Less
This chapter sets the stage for Victor Herbert's upbringing. It traces Herbert's Irish roots and influential people in his life, such as his grandfather Samuel Lover who was an artist, author, composer, and entertainer and his mother Fanny Lover. Herbert's father, Edward Herbert tragically disappeared during a trip to Paris in 1862. Schooled in the arts by his mother and grandfather, Herbert was fluent in several languages. Since he was fluent in German, when the time came for Herbert's formal education, Fanny decided to have him educated in Germany where he took up the cello. After graduation the family's financial situation caused Herbert to find work. Herbert traveled to the United States to play in the Pittsburgh Orchestra and began touring. He met and married Theresa Forster, a dramatic soprano.
Barbara B. Heyman
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780195090581
- eISBN:
- 9780199853090
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195090581.003.0006
- Subject:
- Music, History, American
This chapter narrates a piece wherein Samuel Barber directly involves the performer in its creation. In this case, it was the Cello Sonata, premiered by Orlando Cole, the cellist. The two would meet ...
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This chapter narrates a piece wherein Samuel Barber directly involves the performer in its creation. In this case, it was the Cello Sonata, premiered by Orlando Cole, the cellist. The two would meet regularly, with Cole offering suggestions for improvements to the music. This fresh new take in composing music was instantly recognized by friends and audience alike. The founder of the Curtis Institute, Mary Bok, took further efforts in advancing Barber's as well as Menotti's career by conducting auditions with music companies. This resulted in publications of his work, as well as radio performances where Barber was recognized as a pianist, composer, and singer all in one. The chapter also describes Barber's second biggest orchestra work, Music from a scene of Shelly.Less
This chapter narrates a piece wherein Samuel Barber directly involves the performer in its creation. In this case, it was the Cello Sonata, premiered by Orlando Cole, the cellist. The two would meet regularly, with Cole offering suggestions for improvements to the music. This fresh new take in composing music was instantly recognized by friends and audience alike. The founder of the Curtis Institute, Mary Bok, took further efforts in advancing Barber's as well as Menotti's career by conducting auditions with music companies. This resulted in publications of his work, as well as radio performances where Barber was recognized as a pianist, composer, and singer all in one. The chapter also describes Barber's second biggest orchestra work, Music from a scene of Shelly.
Malcolm MacDonald
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195172010
- eISBN:
- 9780199852000
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195172010.003.0013
- Subject:
- Music, History, American
This chapter describes various pieces of a heterogeneous collection that receive scant notice from most commentators. In general they are regarded as mere footnotes to Schoenberg’s main creative ...
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This chapter describes various pieces of a heterogeneous collection that receive scant notice from most commentators. In general they are regarded as mere footnotes to Schoenberg’s main creative work; but in fact they all have intrinsic interest, and help round-out the picture of their composer, especially in his lighter moods. Schoenberg’s most numerous “occasional” works were canons, vocal or instrumental. Like Bach or Brahms before him, he wrote many of these throughout his career; sometimes simply, one suspects, to keep his hand in with a little “tonal” composition in the old style, sometimes as riddles or as greetings or presents for friends, often fitted with whimsical texts of his own devising.Less
This chapter describes various pieces of a heterogeneous collection that receive scant notice from most commentators. In general they are regarded as mere footnotes to Schoenberg’s main creative work; but in fact they all have intrinsic interest, and help round-out the picture of their composer, especially in his lighter moods. Schoenberg’s most numerous “occasional” works were canons, vocal or instrumental. Like Bach or Brahms before him, he wrote many of these throughout his career; sometimes simply, one suspects, to keep his hand in with a little “tonal” composition in the old style, sometimes as riddles or as greetings or presents for friends, often fitted with whimsical texts of his own devising.
Frances-Marie Uitti
- Published in print:
- 2017
- Published Online:
- December 2017
- ISBN:
- 9780199346677
- eISBN:
- 9780199346707
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199346677.003.0025
- Subject:
- Music, Psychology of Music
Frances-Marie Uitti charts a lifelong discovery of the potential of an instrument, in this case the cello, through multiple collaborations with composers and through her own ground-breaking ...
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Frances-Marie Uitti charts a lifelong discovery of the potential of an instrument, in this case the cello, through multiple collaborations with composers and through her own ground-breaking exploratory work, including the creation of altogether new instruments. At the heart of this process, she reveals the development of her musical ear which then translates to a distinctive artistic voice.Less
Frances-Marie Uitti charts a lifelong discovery of the potential of an instrument, in this case the cello, through multiple collaborations with composers and through her own ground-breaking exploratory work, including the creation of altogether new instruments. At the heart of this process, she reveals the development of her musical ear which then translates to a distinctive artistic voice.
Elisabeth Le Guin
- Published in print:
- 2005
- Published Online:
- May 2012
- ISBN:
- 9780520240179
- eISBN:
- 9780520930629
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520240179.003.0002
- Subject:
- Music, History, Western
This chapter analyzes the first movement in Luigi Boccherini's cello sonata in E♭major. It contends that the sense of reciprocity in the process of identification of Western classical music is not ...
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This chapter analyzes the first movement in Luigi Boccherini's cello sonata in E♭major. It contends that the sense of reciprocity in the process of identification of Western classical music is not entirely wistful or metaphorical, but functions as a real relationship. It argues that this relationship is not fantastic, incidental, or inessential to musicology and that it can and should be a primary source of knowledge about the performed work of art. It also asserts that carnal musicology bears witness to a genuinely reciprocal relationship between performer and composer.Less
This chapter analyzes the first movement in Luigi Boccherini's cello sonata in E♭major. It contends that the sense of reciprocity in the process of identification of Western classical music is not entirely wistful or metaphorical, but functions as a real relationship. It argues that this relationship is not fantastic, incidental, or inessential to musicology and that it can and should be a primary source of knowledge about the performed work of art. It also asserts that carnal musicology bears witness to a genuinely reciprocal relationship between performer and composer.
Richard D. P. Jones
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199696284
- eISBN:
- 9780191761102
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199696284.003.0003
- Subject:
- Music, History, Western
This chapter analyzes the following works: concertos and ouvertures: Brandenburg Concertos (BWV 1042, 1066, 1069); violin, cello, and flute solos: Sei Solo a violino senza basso (BWV 1001–6), Six ...
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This chapter analyzes the following works: concertos and ouvertures: Brandenburg Concertos (BWV 1042, 1066, 1069); violin, cello, and flute solos: Sei Solo a violino senza basso (BWV 1001–6), Six Suites for solo cello (BWV 1007–12), Solo in A minor for flute (BWV 1013); and sonatas with obbligato harpsichord or continuo: Sei Sonate a Cembalo certato e Violino solo (BWV 1014–19), BWV 1034, 1039, 1021.Less
This chapter analyzes the following works: concertos and ouvertures: Brandenburg Concertos (BWV 1042, 1066, 1069); violin, cello, and flute solos: Sei Solo a violino senza basso (BWV 1001–6), Six Suites for solo cello (BWV 1007–12), Solo in A minor for flute (BWV 1013); and sonatas with obbligato harpsichord or continuo: Sei Sonate a Cembalo certato e Violino solo (BWV 1014–19), BWV 1034, 1039, 1021.
Tameka Bradley Hobbs
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780813061047
- eISBN:
- 9780813051314
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813061047.001.0001
- Subject:
- History, American History: early to 18th Century
When most people think of lynching and racial violence in the South, the Sunshine State does not immediately come to mind. While many consider Florida to be less “southern” than, say, Georgia or ...
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When most people think of lynching and racial violence in the South, the Sunshine State does not immediately come to mind. While many consider Florida to be less “southern” than, say, Georgia or Mississippi, when examined in proportion to its African American residents, the state experienced more racial violence than any state in the nation. This historical study examines four lynchings that took place in Florida during the era of World War II-the lynching of Arthur C. Williams in Gadsden County in 1941; Cellos Harrison in Jackson County in 1943; Willie James Howard in Suwannee County in 1944; and Jesse James Payne in Madison County in 1945-and the response to them. As America's involvement in the global war deepened and the rhetoric against the Axis powers heightened, the nation's leaders and citizens became increasingly aware of the blemish that extralegal violence left on the reputation of American democracy. This placed increasing pressure on Florida state public officials-especially Governors Spessard Holland and Millard Caldwell-to do more to end lynching and protect the civil rights of African Americans in Florida.Less
When most people think of lynching and racial violence in the South, the Sunshine State does not immediately come to mind. While many consider Florida to be less “southern” than, say, Georgia or Mississippi, when examined in proportion to its African American residents, the state experienced more racial violence than any state in the nation. This historical study examines four lynchings that took place in Florida during the era of World War II-the lynching of Arthur C. Williams in Gadsden County in 1941; Cellos Harrison in Jackson County in 1943; Willie James Howard in Suwannee County in 1944; and Jesse James Payne in Madison County in 1945-and the response to them. As America's involvement in the global war deepened and the rhetoric against the Axis powers heightened, the nation's leaders and citizens became increasingly aware of the blemish that extralegal violence left on the reputation of American democracy. This placed increasing pressure on Florida state public officials-especially Governors Spessard Holland and Millard Caldwell-to do more to end lynching and protect the civil rights of African Americans in Florida.
Tameka Bradley Hobbs
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780813061047
- eISBN:
- 9780813051314
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813061047.003.0003
- Subject:
- History, American History: early to 18th Century
Of the extralegal murders to occur in Florida during the 1940s, the lynching of Cellos Harrison in Marianna in 1943 is exceptional. The white community in Jackson County exhibited an unusual degree ...
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Of the extralegal murders to occur in Florida during the 1940s, the lynching of Cellos Harrison in Marianna in 1943 is exceptional. The white community in Jackson County exhibited an unusual degree of restraint, initially allowing the court system to determine Harrison's fate, including being indicted, tried, and sentenced to death twice between 1941 and 1943. This fact may have owed less to the desire for due process on the part of Jackson County's white citizenry than to the painful memories of the national infamy the community suffered after the horrific public lynching of Claude Neal less than a decade earlier.Less
Of the extralegal murders to occur in Florida during the 1940s, the lynching of Cellos Harrison in Marianna in 1943 is exceptional. The white community in Jackson County exhibited an unusual degree of restraint, initially allowing the court system to determine Harrison's fate, including being indicted, tried, and sentenced to death twice between 1941 and 1943. This fact may have owed less to the desire for due process on the part of Jackson County's white citizenry than to the painful memories of the national infamy the community suffered after the horrific public lynching of Claude Neal less than a decade earlier.
Tameka Bradley Hobbs
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780813061047
- eISBN:
- 9780813051314
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813061047.003.0004
- Subject:
- History, American History: early to 18th Century
After two years of waiting for the courts to decide Cellos Harrison's fate, whites in Jackson County took matters into their own hands by kidnapping the thirty-one-year-old Harrison from the local ...
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After two years of waiting for the courts to decide Cellos Harrison's fate, whites in Jackson County took matters into their own hands by kidnapping the thirty-one-year-old Harrison from the local jail and lynching him. In the aftermath of Harrison's lynching, federal agencies, the Department of Justice (DOJ) and the Federal Bureau of Investigation (FBI) made an uncharacteristically valiant effort to investigate the killing. President Franklin Roosevelt and his administration were concerned that the Nazi propaganda machine pointed to instances of lynching and racial violence to point out racial blind spots in America's democratic creed. Despite these important developments, the perpetrators of the crime were never identified or brought to justice.Less
After two years of waiting for the courts to decide Cellos Harrison's fate, whites in Jackson County took matters into their own hands by kidnapping the thirty-one-year-old Harrison from the local jail and lynching him. In the aftermath of Harrison's lynching, federal agencies, the Department of Justice (DOJ) and the Federal Bureau of Investigation (FBI) made an uncharacteristically valiant effort to investigate the killing. President Franklin Roosevelt and his administration were concerned that the Nazi propaganda machine pointed to instances of lynching and racial violence to point out racial blind spots in America's democratic creed. Despite these important developments, the perpetrators of the crime were never identified or brought to justice.
Benjamin R. Levy
- Published in print:
- 2017
- Published Online:
- October 2017
- ISBN:
- 9780199381999
- eISBN:
- 9780199382019
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199381999.003.0006
- Subject:
- Music, History, Western, Theory, Analysis, Composition
Ligeti’s first major commissio brought him some security, and with it the chance to focus on codifying the compositional techniques he had developed during the previous years. The sketches for the ...
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Ligeti’s first major commissio brought him some security, and with it the chance to focus on codifying the compositional techniques he had developed during the previous years. The sketches for the Requiem—especially the Kyrie and Dies irae movements—show explicit forms of rulemaking that differ from those associated with Boulez, Stockhausen, and others using the integral serial approach. Ligeti’s approach to rhythm is further refined in Lux aeterna and Lontano, and the Cello Concerto represents the synthesis of the static and wild textures developed so meticulously in the previous works. The Cello Concerto also reuses types of musical material created in Aventures, referencing specific episodes from the earlier work in an instrumental setting.Less
Ligeti’s first major commissio brought him some security, and with it the chance to focus on codifying the compositional techniques he had developed during the previous years. The sketches for the Requiem—especially the Kyrie and Dies irae movements—show explicit forms of rulemaking that differ from those associated with Boulez, Stockhausen, and others using the integral serial approach. Ligeti’s approach to rhythm is further refined in Lux aeterna and Lontano, and the Cello Concerto represents the synthesis of the static and wild textures developed so meticulously in the previous works. The Cello Concerto also reuses types of musical material created in Aventures, referencing specific episodes from the earlier work in an instrumental setting.
