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Article

Sabine Meine

an Unpublished Treatise of René Leibowitz’, Journal of the Arnold Schoenberg Institute , 2/1 (1977), 34–41 J. Maguire : ‘René Leibowitz (1913–1972)’, Tempo , no.131 (1979), 6–10; no.132 (1980), 2–10 J. Maguire : ‘René Leibowitz’, PNM , 21/1 (1982), 241–56 R. Kapp : ‘Die Schatten des Urbilds des Doubles – Vorsichtige Annäherung an eine Figur: René Leibowitz’, Musiktheorie , 2 (1987), 15–31; Eng. trans., Tempo , no.165 (1988), 2–16 R. Kapp : ‘Bibliographie: Materialien zu einem Verzeichnis der Schriften von René Leibowitz’, Musiktheorie , 2 (1987), 275–83

Article

Howard Mayer Brown, Ellen Rosand, Reinhard Strohm, Michel Noiray, Roger Parker, Arnold Whittall, Roger Savage and Barry Millington

Brockway and H. Weinstock : The Opera: a History of its Creation and Performance, 1600–1941 (New York, 1941, 2/1962) D.J. Grout : A Short History of Opera (New York and London, 1947, rev. 3/1988 by H. Williams ) J. Kerman : Opera as Drama (New York, 1956, 2/1989) R. Leibowitz : Histoire de l'opéra (Paris, 1957) C. Hamm : Opera (Boston, 1966) L. Orrey : Opera: a Concise History (London, 1972, 2/1987) A. Basso and G. Barblan , eds.: Storia dell'opera (Turin, 1977) R. Donington : The Opera (London, 1978) C. Clément : L'Opéra, ou La défaite

Article

Wandlung, Legende, Erscheinung, Bedeutung (Vienna, 1924) H. Wind : Die Endkrise der bürgerlichen Musik und die Rolle Arnold Schönbergs (Vienna, 1935) R. Leibowitz : Schönberg et son école (Paris, 1947; Eng. trans., 1949/ R ) D. Newlin : Bruckner, Mahler, Schoenberg (New York, 1947, 2/1978) T.W. Adorno : Philosophie der neuen Musik (Tübingen, 1949, 3/1967; Eng. trans., 1973/ R ) R. Leibowitz : Introduction à la musique de douze sons (Paris, 1949, 3/1981) H.H. Stuckenschmidt : Arnold Schönberg (Zürich, 1951, rev. 2/1957; Eng. trans., 1959)

Article

Michael Steinberg

theory, composition and analysis with René Leibowitz ( 1944–50 ). He went to the USA with Leibowitz in 1951 , and studied at the Juilliard School of Music (composition with Wagenaar) and Columbia University (conducting with Rudolf Thomas). At Juilliard he was also a teaching assistant to Richard Franko Goldman, in whose class he prepared and directed the first all-Webern concert ever given, on 8 May 1951 . Later he studied with Boris Blacher and Josef Rufer in Berlin. Monod made his piano début in a concert conducted by Leibowitz in Paris in 1949 to celebrate Schoenberg’s

Article

Philip L. Miller and Michael Meckna

implications, as in the Ciaccona ( 1943 ), and strictly, as in the String Quartet ( 1954 ). Works ( selective list ) Präludien zur Nacht, suite, chbr orch, 1927 Suite, va, pf, 1937, rev. as Suite concertante, vn, orch, 1937, orchestration completed by R. Leibowitz, 1964 3 chansons populaires (J. Leibowitz), Mez, pf, 1938 Les symphonies bretonnes, orch, 1940 3 caprices de Paganini, vn, pf, 1942 Ciaccona dei tempi di guerra, pf, 1943 Actus tragicus, 9 insts, 1946 4 Nocturnes (T. Corbière, J.P. Worlet, V. Hugo, P.B. Shelley), S, pf, 1954 Str Qt, 1954 MSS in US-NYp

Article

Hanspeter Krellmann

Haentjes, Werner ( b Bocholt am Niederrhein , Dec 16, 1923 ). German composer . He studied at the Musikhochschule in Cologne, and attended the Darmstadt summer courses given by Fortner and Leibowitz ( 1947–50 ). During this period he was conductor at the Stadttheater of Bielefeld and Heidelberg; since 1949 he has worked as a freelance composer in Cologne. His freely tonal, essentially contrapuntal music is highly individual but non-experimental. In 1958 the cultural circle of the Confederation of German Industry awarded him its composition

Article

Nikiprowetzky, Tolia ( b Feodosia , Sept 25, 1916 ). French composer of Russian descent . He studied at the Marseilles Conservatory and then in Paris with Laloy and Leibowitz. Subsequently he held posts with Radio Morocco ( 1950–55 ) and the ORTF ( 1969–75 ); he was also active as an ethnomusicologist. He composed two operas. The conte lyrique Les noces d’ombre (1, S. Moreux) was first given in a concert performance in Paris on 20 December 1957 ; it was staged at the Théâtre du Capitole, Toulouse, on 4 May 1974 . La fête et les masques

Article

Masakata Kanazawa

Saigon at the end of the war and remained there as a captive for three years, during which time he came across Leibowitz’s Schönberg et son école and began what was probably the first 12-note piece by a Japanese. The work, a prelude and fugue, was never finished, but Toda took Leibowitz’s book back with him to Tokyo in 1948 and so introduced 12-note serialism to Japan. He joined the Shinseikai, a group formed by Shibata and Irino, both of whom read Leibowitz and soon became the leading Japanese exponents of serialism. Toda himself was rather slow in adopting the technique;

Article

Wayne D. Shirley

a Music Critic (New York, 1936/ R ) On Music and Musicians (New York, 1946/ R ) [trans. of R. Schumann: Gesammelte Schriften über Musik und Musiker , Leipzig, 1875] ed. H.A. Leibowitz : Musical Impressions: Selections from Paul Rosenfeld’s Criticism (New York, 1969) Bibliography J. Mellquist and L. Wiese , eds.: Paul Rosenfeld, Voyager in the Arts (New York, 1948/ R ) H. Leibowitz : ‘Remembering Paul Rosenfeld’, Salmagundi , 9 (1969), 3–27 B. Mueser : The Criticism of New Music in New York, 1919–1929 (diss., CUNY, 1975) H.M. Potter : False Dawn: Paul Rosenfeld

Article

Alan Pope and R. Allen Lott

important catalogue. Among its composers are Arthur Berger, Lansky, Lerdahl, Perle, Roslawez, Schoenberg, Skrowaczewski, and Claudio Spies. In 1975 a sister company, Mobart Music Publications (an affiliate of BMI) was founded; its composers include Babbitt, Gideon, Ives, Leon Kirchner, Leibowitz, Monod, Pollock, Shifrin, Ben Weber, Webern, Zemlinsky, and Zwilich. The distributor for both companies in the United States and Canada is Jerona Music Corporation, part of the Music Associates of America. Bibliography G. Sturm : “Encounters: Walter R. Boelke,”

Article

Richard Dyer and Elizabeth Forbes

one of her last important appearances. Her small but buoyant voice, finished technique, and lively interpretations survive on a small number of recordings; perhaps the best of these is the first, a fresh and elegant performance of Leïla ( Les pêcheurs de perles ) conducted by René Leibowitz. After retiring from the stage, she taught voice as a faculty member at the University of Texas and at Howard University.

Article

Raquel Bustos Valderrama

Alexander ( Pollack ), Leni ( b Breslau [now Wrocław] , June 8, 1924 ; d Aug 7, 2005 ). Chilean composer and educator of German origin . She emigrated to Chile in 1939 and adopted Chilean nationality in 1951 . She studied with Frè Focke ( 1949–53 ) in Chile and with René Leibowitz and Olivier Messiaen in France in 1954 . Through several significant educational projects she contributed to a better public understanding of contemporary music in Chile; she also promoted Chilean musical culture in Europe. Her works won international prizes and she received

Article

Paul Griffiths

Claude ( b Paris , June 18, 1922 ; d Paris , Oct 27, 2004 ). French pianist . He had lessons with Casadesus until 1939 and then studied classics at the Ecole Polytechnique, graduating in 1942 . After the war he studied harmony, counterpoint and composition with Leibowitz, and in 1948 he made his début in Paris. From that time he was particularly active in presenting 20th-century music there, being one of the rare pianists to combine the attributes required by many new works – dexterity in rapid movement and exact definition of colour and rhythm

Article

Gérard Condé

b Verzy , Feb 2, 1925 ; d Vincennes , July 28, 1996 ). French composer . Attracted at first to the study of science, he enrolled in Dandelot's harmony class at the Paris Conservatoire ( 1945–8 ) and discovered the composers of the Second Viennese School as a student of Leibowitz ( 1946–50 ). He joined ORTF in 1949 , where he was successively a music producer (to 1959 ), assistant to Pierre Schaeffer in the Groupe de Recherches Musicales, then to Henri Barraud at France-Culture. Soon in charge of music programmes ( 1964–72 ), he became technical adviser

Article

Brigitte Massin

). French composer . After initial studies with Ginette Martenot, he entered the Paris Conservatoire at the age of 17, studying fugue and counterpoint with Plé-Caussade and harmony with Messiaen. He left the Conservatoire in 1946 and took up studies in 12-note technique with Leibowitz. The path that Nigg's music subsequently took was marked by sudden enthusiasms and violent rejections and may be seen as a reflection of the contradictions of the immediate postwar years. Although Messiaen remained for him ‘the awakener’ and was a strong influence on his earliest

Article

Nikša Gligo

class of Kelemen ( 1958 ). In addition he attended classes given by Frazzi, Leibowitz, Messiaen, Ligeti, Boulez, and Pousseur at Siena, Paris, and Darmstadt variously. After teaching at the Sarajevo Music Academy ( 1959–63 ) Radica joined the staff at the Zagreb Academy as a lecturer in music theory. After tending initially towards neo-classicism (i.e. in Četiri dramatska epigrama , ‘Four Dramatic Epigrams’, 1959 , and the Concerto abbreviato , 1960 ), Radica became influenced by Leibowitz’s interpretation of the works of Schoenberg and Webern. This first became

Article

Kathleen Haefliger

first major collections, Al Que Quiere! ( 1917 ), Kora in Hell ( 1920 ), and Spring and All ( 1923 ) have been more frequently set than his later ones, though in recent years the many rhythmic and musical references in his later works have attracted the interest of composers. Leibowitz set text by Williams in his dramatic symphony Perpetuum mobile ‘The City’ ( 1951 ), as well as in his op.6 and op.25 song collections. Other settings include This is Just to Say ( 1977 ) by Robin Holloway, two of The Nantucket Songs ( 1979 ) by Rorem and, among many others by

Article

Nonet  

Michael Kube

requested by Johann Tost, who commissioned it), inspired other composers to write nonets of their own. They included Louise Farrenc (op.38, 1849 ), Georges Onslow (op.77, 1851 ), Franz Lachner ( 1875 ), Joseph Rheinberger (op.139, 1884 ), C.V. Stanford (Serenade op.95, 1905 ), René Leibowitz (Chamber Concerto op.10, 1944 ) and Tilo Medek (Nonet in Nine Movements, 1974 ). Within the nonet repertory, already a small one, the nonets of Josef Bohuslav Foerster (op.147, 1931 ) and Alois Hába (entitled Fantazie : op.40, 1931 , and op.41, 1932 ) form a separate line of

Article

Clytus Gottwald

composer . He studied the piano and theory at the Mannheim Musikhochschule ( 1939–43 ), composition with Fortner ( 1946–52 ) and musicology at Heidelberg University with Thrasybulos Georgiades and Walter Gerstenberg ( 1953–8 ). In addition, he was deeply influenced by his contact with Leibowitz, Krenek and Varèse at Darmstadt summer courses. After early activity as a music critic he was made manager of the press department for Schott of Mainz, and from 1968 to 1992 he was editor in the music department of South German Radio. He became President of the Freie Akademie der

Article

Stephen Ruppenthal and David Patterson

Pellegrino, Ron(ald Anthony) ( b Kenosha, WI , May 11, 1940 ). American composer and performer . After early training as a clarinettist, he studied theory, composition and philosophy at Lawrence University (BM 1962 ) and later studied with Kolisch, Leibowitz and Crane at the University of Wisconsin (MM 1965 , PhD 1968 ). He began working in electronic music in 1967 and in 1969 published An Electronic Music Studio Manual , which became the standard text on the Moog synthesizer. He directed the electronic music studios at Ohio State University