Zobrazeno 1 - 10
of 76
pro vyhledávání: '"Roger Smalley"'
Publikováno v:
The Musical Times. 138:42
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::0ae49c802ebe34a48551489ab468f0b3
https://doi.org/10.2307/1003599
https://doi.org/10.2307/1003599
Autor:
David Wright, Roger Smalley, BBC Symphony Orchestra, Richard Bernas, Dominic Muldowney, Roy Carter, London Symphony Orchestra, Michael Tilson Thomas
Publikováno v:
The Musical Times. 136:43
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::8f43531a261c71e0f090a929375fdd8a
https://doi.org/10.2307/1003290
https://doi.org/10.2307/1003290
Autor:
Roger Smalley
Publikováno v:
Tempo. :2-12
In tempo 91 I wrote an article on the recently discovered and published sketches of Stravinsky's The Rite of Spring. Since that time an equally handsome volume of sketches by Anton Webern has appeared. Studying the sketchbooks of a great composer is
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::a3a6814e40955887c0d57bde141bf6f3
https://doi.org/10.1017/s0040298200018817
https://doi.org/10.1017/s0040298200018817
Autor:
Roger Smalley
Publikováno v:
Tempo. :29-40
The most extensive selection of plates in the volume (13 in all) is devoted to this work. It was originally conceived as a Concerto for Violin, Clarinet, Horn, Piano and String Orchestra and, like the Concerto op. 24, was inspired by (and presumably
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::a4491412ef39fe851b2b7b72b79fad4d
https://doi.org/10.1017/s0040298200021689
https://doi.org/10.1017/s0040298200021689
Autor:
Roger Smalley
Publikováno v:
Tempo. :14-22
The most extensive sketches in the volume are of a third movement for the String Trio op. 20. Thirty-one bars were completed and are headed ‘planned as third movement ofthe String Trio op. 20 (August 1927 broken off in Hafning)’. The sketches cov
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::c79e131b688d520463184da1a44d8e5c
https://doi.org/10.1017/s0040298200026863
https://doi.org/10.1017/s0040298200026863
Autor:
Roger Smalley
Publikováno v:
Tempo. :2-5
The music of Peter Maxwell Davies has recently undergone a remarkable rebirth—a transformation all the more remarkable for taking place in a country (England, if anyone is unsure) where the breath of life rarely enters most composers' works from th
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::c23f88686cdf8313883fce991ce35ca7
https://doi.org/10.1017/s0040298200034847
https://doi.org/10.1017/s0040298200034847
Autor:
Roger Smalley
Publikováno v:
Tempo. :2-13
‘In the winter [of 1910–11 Stravinsky] went with Maurice Ravel to Varese, an Italian town not far from Como, found in a stationer's shop an exercise book and, tempted by its presentation and the quality of the paper, he and Ravel bought one copy
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::d131c4fc478f6916fe5be29d93864791
https://doi.org/10.1017/s004029820002667x
https://doi.org/10.1017/s004029820002667x
Publikováno v:
Tempo. :19-29
What follows is a purely personal account of my speculations about composition today, in relation to a study of Stravinsky's work. Under three main headings I shall try to show the contemporary relevance of certain features of Stravinsky's musical st
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::7a8c1a6663b1bb4b11526066e535b397
https://doi.org/10.1017/s0040298200034471
https://doi.org/10.1017/s0040298200034471
Autor:
Roger Smalley
Publikováno v:
Tempo. :2-7
appeared in 1962 (Faber, s/-). In addition I shall be referring to two recent events in London which proved to be stimulating contributions to the discussion of serialism: the seminars given by Milton Babbitt during the third SPNM Composers' Weekend,
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::7091fe57294590b9268fbfe13ffcd032
https://doi.org/10.1017/s004029820002636x
https://doi.org/10.1017/s004029820002636x
Autor:
Roger Smalley
Publikováno v:
Proceedings of the Royal Musical Association. 96:73-84
The first freedom to be taken out of the performer's hands was that of choice of instrumentation. A large proportion of mediaeval music is without indications of instrumentation, and there often appear to be several equally viable solutions, although
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::fd8afe54dd95f3dcae2f93affa6af5eb
https://doi.org/10.1093/jrma/96.1.73
https://doi.org/10.1093/jrma/96.1.73