In German speaking countries Haydn’s oratorios, and particularly
, have played an important role in the repertoire of choral societies and music festivals since the 1810s. However, in France, and also in Paris — “the capital of the 19th century” —, Haydn’s oratorios were performed only on rare occasions, and then they were given mostly in parts. The reasons for these circumstances can be seen in the institutional and esthetical context of the Parisian concert life. With respect to professional concert societies, like the
Société des Concerts du Conservatoire
, rigid obstacles were on the one hand the enormous financial risk of a complete oratorio performance. On the other hand the established type of concert programmes with its varied mixture of vocal and instrumental pieces functioned as a barrier. Most important was a lack of mixed amateur choral societies, which developed in Paris quite late, primary in the 1840s, and then only little by little. Since oratorio performances lasted to be mostly a private affaire in the first half of the 19th century, it is not surprising, that Haydn’s oratorios were studied in aristocratic salons of Princesse de Belgiojoso and Baron Delmar with the intention of both education and entertainment.
The recognition of topoi, i.e. traditional formulae, is an important means of musical analysis. To illustrate this, the paper discusses the types of the battaglia and the pastoral in Bach’s Cantata Halt im Gedächtnis Jesum Christ, and briefly enumerates different types of allusions to jazz in 20th-century compositions by Stravinsky, Milhaud, Blacher, Tippet, and Zimmermann. Then it raises the possibility of an analysis of topoi in Bartók’s music in four main categories. It considers Bartók’s musical quotations from Bach to Shostakovich; the chorale as special topos appearing in Mikrokosmos, in the Concerto for Orchestra, in the Adagio religioso of the Third Piano Concerto; the topos-like employment of the tritone; and finally the idea of a Bartókian Arcadia in the Finale of Music for Strings, and the integration of bird song in the Adagio religioso.
premiered on October 22, 1882 under his direction. The soloists were Fanny Kováts (soprano), Irene Schlemmer-Ambros (alto), Anton Steger (tenor) and Anton Strehlen (bass), the choral movement was sung by the Liedertafel (Pozsonyi dalárda) and the choral
The music of Veljo Tormis (b. 1930) became well-established in Estonia during the 1960s yet remained little known in the West until the fall of Communism. By incorporating traditional Estonian folk song, regilaul, into his works, Tormis’s name became closely associated for Estonians with upholding a sense of national identity against the Soviet regime. It is his vast output of some 500 choral songs for which he is most immediately recognised; indeed, once regilaul had come to dominate the ‘Tormis style’, he dedicated himself almost exclusively to choral composition. This paper examines regilaul, its impact on Tormis during his formative years, and its integration into his mature compositional style, leading him to claim that he had ‘found his voice’ as a composer.
This paper deals with an Abgar image in the Liszt Ferenc Memorial Museum (Budapest), which was used as a devotional image by the composer. First the relationship of this representation to its prototype, the cult image of S. Silvestro in Capite in Rome is examined. Second we discuss information about the panel's first possessor, an abbess of the Poor Clares in Pozsony (today's Bratislava), whose name is known from the inscription of the verso. Not only do we attempt a more precise dating based on this information, but also endeavour to place the picture in its original context. The use of images among the nuns of the order of St. Clare, and the question on what occasion the abbess may have received this panel are also considered. The third part addresses the issue of Liszt's relations with Rome, in particular the role his cordial relationship with Pope Pius IX may have played from his painting's point of view. As music and visual arts were considered closely related in Liszt's eyes, in the last part of the paper an analogy is drawn between the composer's Abgar image and his sacred choral works in terms of their archaicism.
György (Đuro) Arnold (1781-1848) the composer, teacher, conductor, lexicographer and founder of the first music school in Subotica, was the regens chori of the Subotica's Sv. Terezija church (1800-48). He was a prolific composer, writing in a variety of genres, from compositions for the church of Sv. Terezija, choral and chamber works to operas, melodramas, songs, overtures, and verbunkos (the complete list of his works is included in the appendix). Arnold's style was influenced by Viennese Classical church music and the emerging Hungarian national style. In his early sacred pieces, he used quotations from popular operas, but in later compositions he was closer to Haydn, and the Te Deum Solenne dedicated to the Zagreb Bishop Aleksandar Alagović shows possible influence of early Beethoven. In many aspects, Arnold was a composer on the periphery. He liked large ensembles which could impress audiences with the brightness of the orchestral sound altough, as far as we know, he never attempted to build a large symphonic form which would match the richness of such a sound. He ususally set the text in short sentences, quickly exhausting its possibilities, undermining the expectations raised by the large-scale gradations which open his compositions. In 1819, Arnold published Pismenik, a collections of texts (without tunes) of Croatian Roman Catholic hymns collected in Bačka (western Vojvodina); the preface to Pismenik and its complete table of contents are reprinted in an appendix. In 1839-40, he completed the hymnal Valóságos egyházi kántori fontos énekeskönyv with 186 church compositions intended for Hungarian and Transylvanian chuch musicians, which remained unpublished. In 1826, Arnold began working on the Historisch-musikalisch bibliographisches Tonkünstler Lexikon, which expanded to four manuscript volumes in length, but remained unpublished and seems to be lost today.
main carriers of musical life in Belgrade and Serbia before World War I were numerous choral societies, formed mostly from musical amateurs. 4 Their repertoire was varied, and always included the national Serbian compositions (secular and church music
A fragment of a book-roll from Oxyrhynchus, dated by its handwriting to the second/third century AD, is here briefly presented as a case-study in the reading and restoration of previously unknown Greek texts. It is argued that the fragment is part of a choral lyric from an Athenian Old Comedy, perhaps the
of Cratinus, and that it may mention Pericles at a time not long before his death in 429 BC.
, Dubrovnik) studied at the conservatories in Vienna and Brno. From 1924 to 1927 he worked in Sarajevo as a conductor of the Sarajevo Philharmonic Orchestra, a violin teacher at the District School of Music, and a conductor of the Jewish Choral Society Lira
proportions of this short choral passage are very similar to the preceding one – an ascending, chromatic melodic line, then a shocking climax ‒ a leap from the B of the altos to the A 2 of the sopranos on the word “dem Einem;” this word is directly