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Vicissitudes is a composition for orchestra with a duration of approximately 13$ sp prime$ 30$ sp{ prime prime}$. The main idea of the piece, the subdivision of the orchestra into small soloistic groups along with larger ensembles, was inspired by the principles of one of the Baroque forms, namely the Concerto Grosso.
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Defining the differentiated semantics of new and novelty, reversing the dictum non nova sed nove into non nove sed nova, the author of the chamber cantata „Give me Aladdin’s lamp” is based on the rich experience of leading myriad of mid-century modernism. The investigation of the paradigms of new relationships between vocal and instrumental in creation of Dora Cojocaru, is directed in present at the chamber cantata for mezzo-soprano, brass quintet and percussion on lyrics by Emil & Dan Botta, Georg Trakl, Rainer Maria Rilke and Ady Endre (1998). The relations text - melody by their phenomenological reduction to fruitful combinations between poetic word - musical sound in Dora Cojocaru’s cantatas represent a stylistic-rhetorical subsumption of autochthonous and foreign experiences in promoting new compositional and interpretive skills meant for adaptation of appropriate musical expression in portraying contemporary aesthetic message. They are designed on the wide range of contemporary aesthetic values from the grotesque in nascendi to the absurd in morendi. As long as the Cantata Galgenlieder in der Nacht with lyrics by Christian Morgenstern (1995) is conceived at the grotesquely pole on the axis of the field of contemporary aesthetics, the Cantata Give me Aladdin’s lamp is designed in the sphere of the tragic. In the composer’s vocal and instrumental creation (and not only in them) the experiences of today’s musical composition and interpretation are rethought creatively, suggesting in perspective the permanence of modern horizons.
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Dora Cojocaru is recognized as an outstanding representative of the Cluj school of composition, but also as a strong voice in Romanian musicology. While her musicological output includes books, studies, articles, radio programs, conference papers, master classes and scientific communication sessions, her most important contribution remains the book entitled Creația lui Gyӧrgy Ligeti în contextul stilistic al secolului XX [Gyӧrgy Ligeti's Work in the Stylistic Context of the Twentieth Century], which was the first book about Ligeti that appeared in the Romanian musicological landscape. Dora Cojocaru’s compositional portrait can be drawn by following the language characteristics and compositional devices used in the chamber cantata Dați-mi lampa lui Aladin [Give Me Aladdin's Lamp]. The composer’s work is characterised by a propensity for chamber music. The composer confesses that it is also a consequence of the fact that this genre comes with a plethora of expressive possibilities. In terms of the musical language used by the composer, its first characteristic is the concern to avoid repetition in expression and the variation of an already used musical material. This is strikingly evident in the chamber cantata Dați-mi lampa lui Aladin [Give Me Aladdin's Lamp]. Another peculiarity is the construction based on a developmental discourse, while a third characteristic is the frequent construction of the discourse based on an economy of means and on a musical material consisting of only a few notes. In the case of this cantata, it is essential to note the historical context, which is closely linked to the symbolic title suggesting the composer’s desperate desire to bring her brother back to life, although she is aware that this is only possible by magic. The composer’s choice of lyrics is derived from the fact that Trakl’s and Rilke’s texts allude to the theme of death, which is one of the frequent themes of late Expressionism, and are therefore pervaded by a tragic note, in tune with the composer’s musical intentions. If we follow the text-music relationship, we notice some extremely significant moments, in which music creates sonic images that are suggestive of the message of the text.
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Produced by Juro Kim Feliz under the Canadian Music Centre Library Residency, Nomadic Sound Worlds is a four-part blog/podcast series exploring Canadian contemporary music through the lens of present-day global migration. A collection of essays named Letters of Transit: Reflections on Exile, Identity, Language, and Loss (ed. André Aciman, 1999) informs and inspires this project, with trajectories branching out from related themes including mobility, displacement, loss, reconciliation of polarized truths, and invention of selves. In this regard, the series will feature selected immigrant Canadian composers whose musical worlds collide with various personal stories of immigration.
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Faisant état de l’influence sur elle du répertoire baroque, la compositrice montre quel rôle de modèle ont joué pour elle les préludes non mesurés de Rameau et Couperin, notamment dans son oeuvre Trait, Écart, Réparties. Elle en indique ensuite les prolongements dans quelques autres pièces.
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During its 25 years of activities, the nem has played 635 works by 374 composers at local concerts, public workshops or world tours. Collectively, these works cover most of the aesthetic tendencies of the music of the 20th century. However, it is possible to define the repertoire of the ensemble along two main axes: on one hand, works that have become “classics” of contemporary music, and, on the other hand, new works engaged in musical innovation. Thus, the policy for disseminating works through concerts established by Lorraine Vaillancourt introduces a new culture within the world of musical creation, based on the development of a repertoire of works from the 20th and 21st centuries.