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Lietuviškų temų“ ambivalencija Vytauto Bacevičiaus (1905–1970) Koncerte fortepijonui Nr. 1, op. 12 (1929)
Straipsnyje analizuojamas Vytauto Bacevičiaus (1905–1970) Koncertas fortepijonui Nr. 1, op. 12 (1929), sukurtas Paryžiuje antruoju kompozitoriaus kūrybos etapu, „individualaus stiliaus kristalizacijos“ laikotarpiu. Tyrime siekiama atskleisti, kokią įtaką V. Bacevičiaus kūrybai darė Paryžiaus mokyklos (pranc. École de Paris) aplinka bei jo paties, kaip pianisto, patirtis. Nors Koncerte Nr. 1 pasitelktos trys lietuvių liaudies dainos, jų traktavimas nėra nuoseklus: melodijos pateikiamos kaip „antisentimentalizmo“ dvasia stilizuotos citatos, todėl sunku jas laikyti bandymu kurti nacionalinę muziką. Analizė atskleidžia, kad folkloro naudojimas čia veikiau funkcionuoja kaip stilizacijos priemonė XX a. pradžios Europos modernizmo diskurse. Be to, kūrinio formos architektonikoje aptinkama sąsajų su Ferenco Liszto (1811–1886) Koncerto fortepijonui Nr. 1 Es-dur (1830–1853) struktūra, liudijančių V. Bacevičiaus kaip pianisto patirtį.
Journal Article
Four seasons in one day
\"From the dawn chorus to an icy sunset, follow one girl and her dog as they adventure through spring, summer, autumn and winter in just one day.\"--Back cover.
BOOK
Two Violin Concerti : a Study in Non-Duality
This dissertation examines two works that I composed within a three-year period (2018 - 2021) through the lens of non-duality. The two works, Violin Concerto No. 1 and Violin Concerto No. 2: with might and main, are sizeable at approximately twenty-seven and twenty-five minutes in duration, respectively, and both were composed during a very productive period. Non-dualistic thinking is a core precept of Buddhist philosophy which offers a path towards seeing the interconnectivity and interdependence of all phenomena. Examining these two concerti from a non-dualistic perspective offers insight into issues of culture and identity, as well as the creative processes that are shaped by them. A central aim of this dissertation is to study how lived experiences and knowledge, steeped in two seemingly disparate musical cultures, those of the Arab Near East and Western concert music, arise from a series of causes and conditions, and influence the creation of these two concerti. The emphasis is not on hybridity, which tends to cast both sides in a light of 'otherness', but on recognizing a holistic view of these two musical traditions and the resultant two concerti. In pursuing this study, the central topic that emerged was that a nondualistic way of experiencing these two traditions reveals a connectivity between them that allows for a musical expression that sees and hears them as one. Though an analysis of each work will be provided, the analytical focus will be on ideas and practices that connect directly to non-dualistic thinking, and not a 'bar-by-bar' analysis of each concerto.
Dissertation
The Concerto
Michael Steinberg's 1996 volume The Symphony: A Reader's Guide received glowing reviews across America.It was hailed as \"wonderfully clear...recommended warmly to music lovers on all levels\" (Washington Post), \"informed and thoughtful\" (Chicago Tribune), and \"composed by a master stylist\" (San Francisco Chronicle).
eBook
The Hybrid Musical Landscape of Ligeti's Late Concertos
Discussing his Horn Trio, György Ligeti imaginatively describes the second movement as a dance that was “inspired by different folk musics of nonexistent people, as if Hungary, Romania, and all of the Balkans were located somewhere between Africa and the Caribbean.” And in more general remarks about his works, he goes on to suggest that, rather than overtly referencing their stylistic features, he abstracted technical principles from various traditions and combined them into an idiosyncratically amalgamated musical language. This essay shows an expansive approach to hybridity in Ligeti's Violin Concerto and Hamburg Concerto , going well beyond previous remarks about African rhythmic influences. Ligeti's practice encompasses not only rhythm, but also texture, pitch, and tuning systems; it spans a wider breadth of traditions as well, including newly identified sources such as flute and panpipe ensembles from New Guinea and yodeling traditions from across the globe. An analysis of passages from these late concertos – undertaken alongside evidence from his ethnomusicological sources, recordings, and sketches housed at the Paul Sacher Stiftung – demonstrates the intricacies and patterns of Ligeti's late style and the compelling statement it makes about the role of hybridity and globalization in contemporary life.
Journal Article
