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Apparebit repentina dies: Hindemith’s musical panorama of Judgment Day

100%

Bruhn S.

Interdisciplinary Studies in Musicology

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2015

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issue 14

34-47

PL

In 1947, while teaching at Yale University, the German composer Paul Hindemith (1895-1963) wrote a composition for mixed chorus and brass ensemble based on an anonymous Latin hymn believed to date from the 8th century or before. This text, which he had discovered in The Oxford Book of Medieval Latin Verse, tells in a poetic rewording of New T estament passages of the events to be expected on Judgment Day. Below a deceptively simple surface with regular trochaic tetrameters organized in 23 couplets that are launched by the consecutive letters of the alphabet, the hymn hides various dramatic perspectives. These include a narrator announcing what is to come and later describing what he witnesses in a vision, direct-speech dialogues between Christ as the Judge of the World and the two groups of the chosen and the damned, and a concluding moral admonishment addressed by the pious author to his contemporary listeners or latter-day readers. As the analysis of the musical structure and texture, meter and rhythm, thematic material and tonal organization shows, Hindemith achieves a semiotic rendering of these aspects and many finer nuances. Just as the medieval text ostensibly uses only one mode throughout without depriving the message of any of its colorful expressiveness, so Hindemith’s music uses only one constellation of sound colors - choral singing against or in alternation with ten brass instruments - to bring the multifaceted scene to life. This music is both text setting and scenic painting, replete with refined allusions as well as onomatopoeic depiction, weaving a web of signification with which the composer at once heightens and deepens the early poet’s message.

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Bazhenov A. I. Ukrainian “music” (on the example of the violin miniature by I. F. Karabits “music”)

86%

Rіabinin A.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2023

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issue 10(3)

55-60

EN

The Ukrainian creative galaxy of outstanding Ukrainian composers and performers has forever entered its history into the world treasure of musical creativity. Respect for the history and revival of Ukrainian musical art revives a new generation in the spirit of dignity and pride for the country. On the example of the work of Ukrainian professional masters, a new page of deep understanding of the identity of the nation and the purpose of society is revealed, there is a definition of the importance of preserving the Ukrainian musical treasure, both composer and performing. The main principle of the creative combination “composer-performer-listener” is to highlight the beauty of the country where you live. Historical memory, folk wisdom, Ukrainian identity, the beauty of the nature of the Ukrainian corner, melodious songs and national traditions, all the colors of the nationality are at the heart of Ukrainian composers. Executive professionalism and sensual perception of the violinist’s music provides an even more colorful trend for the listener. The article analyzes the combination of the disclosure of the composer’s idea and performance. The play “Music” by Ivan Fedorovich Karabits for solo violin fully corresponds to the semantic meaning of the concept of “music”, corresponding to all folklore folk traditions, revealing the violinist and his violin. The images are multifaceted, boundless; Pictures of everyday life, love songs, folk tales and legends, Ukrainian songs, the beauty of the native land, the history of the Motherland, the courage of brothers, etc. All stages of the program are a common understanding of the deep, essential and significant contribution to the creation of the form, principles and content of the work. And the main purpose of a piece of music is to understand the composer’s intention and musical idea of both the performer and the one for whom he reveals the beauty of the play “Music”, which is simply an example of the possibility of improvisation. Listening to music performed by an outstanding Ukrainian violinist, you really feel the master, Ukrainian “music”, a real Ukrainian. Understanding the work has recently become a hot topic for research. It is the psychological and emotional possibilities of human qualities that are studied by a fairly new concept of scientific musicology, musical hermeneutics. The combination of the outstanding violinist Anatoly Ivanovich Bazhenov and the talent of expressing his thoughts on the musical palette of the Ukrainian composer of our time Ivan Fedorovych Karabits carries the beauty and pride of Ukraine, especially in a difficult time for our country, when there is a war. Such music and performances raise the national spirit and the desire to win.

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WAS HEIßT, MUSIK ZU VERSTEHEN? THEORETISCHE EINSICHTEN UND PRAKTISCHE EMPFEHLUNGEN EINER LEBENSWELTORIENTIERTEN ÄSTHETISCHEN HERMENEUTIK

72%

Heinrich Ehrenforth K.

Ars inter Culturas

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2014

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issue 3

43-51

EN

The author argues that music should not be mediated as a scientifically reduced object to amateurs and students, but as a message for the listener. Music is not a kind of strange “thing”, but a “virtually-you”, and looks for a dialogue with everybody who listens to it. Music claims: “I mean you! I’m talking about you! I want to talk to you”! Not only is music sound and structure, but a life lived as a reflection of sounds. It is the shape in which the dialogue with music finds its sustenance. The author examines one of the time-honored musical forms – the rondo – to demonstrate his view. From a historical perspective, the rondo is a round-song, which plays an important role in our daily lives. With its typical contrast between what is already known (chorus) and new elements (couplet), the rondo reflects our different experiences of time: time as a line (time of day) and time as a circle (circle of celebration). This article offers an insight into the the

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1 Ars inter Culturas

1 Interdisciplinary Studies in Musicology

1 Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

1 Bruhn S.

1 Heinrich Ehrenforth K.

1 Rіabinin A.

1 2023

1 2015

1 2014

Apparebit repentina dies: Hindemith’s musical panorama of Judgment Day

Bazhenov A. I. Ukrainian “music” (on the example of the violin miniature by I. F. Karabits “music”)

WAS HEIßT, MUSIK ZU VERSTEHEN? THEORETISCHE EINSICHTEN UND PRAKTISCHE EMPFEHLUNGEN EINER LEBENSWELTORIENTIERTEN ÄSTHETISCHEN HERMENEUTIK