Res Musica 11 (2019)

Selle kollektsiooni püsiv URIhttps://hdl.handle.net/10062/97430

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17. sajandi esimese poole Tartu ja Tallinna muusikalistest pulmaõnnitlustest
(Eesti Muusika- ja Teatriakadeemia, 2019) Kaju, Katre; Kõlar, Anu, koostaja
This article deals with a number of occasional poems printed in Tartu and Tallinn during the period 1632–1656 which are either accompanied by sheet music or composed on the basis of some well-known song. Altogether there are three pieces of occasional music preserved, together with 15 poems which could be defined as contrafacta. The small amount of printed sheet music shows that this was an exception in Tartu and Tallinn. The songs that were used as models for new poetical compositions are both religious and secular. The authors of the religious songs include composers such as Philipp Nicolai, Michael Praetorius and Basilius Förtsch. Among the authors of the secular songs we may mention Gabriel Voigtländer, Johann Nauwach and Caspar Kittel. Many of the secular models were pastorals, some of which used the text of the very influential German poets Martin Opitz and Paul Fleming.
Arvo Pärt, Hardijs Lediņš and the Ritual Moment in Riga, October 1977
(Eesti Muusika- ja Teatriakadeemia, 2019) Karnes, Kevin C.; Kõlar, Anu, koostaja
Drawing on archival research and oral history, this article reconstructs events surrounding the premieres of Arvo Pärt’s first openly sacred tintinnabuli-style compositions, including his Missa syllabica, at the Festival of Contemporary Music held in Riga in October 1977. It highlights the work of the Latvian artist and architecture student Hardijs Lediņš (1955–2004), whose discotheque at the Riga Polytechnic Institute hosted the event. Tracing the reception of the festival and Pärt’s music by participants, notably the pianist Alexei Lubimov, the composer Vladimir Martynov, and the violinist Boriss Avramecs, the article suggests that an informal network of students and alternative artists played a crucial role in nurturing and supporting this most ideologically problematic corner of Pärt’s compositional activity of the period. For a little over a year, Lediņš’s disco provided an underground space for the presentation of experimental art and the experience of creative freedom. That experience, however, was short-lived, as festival organizers were charged with distributing religious propaganda shortly afterwards, and they were barred from engaging in future organizational work of the sort.
Autorid/Authors
(Eesti Muusika- ja Teatriakadeemia, 2019) Kõlar, Anu, koostaja
Editors’ Preface
(Eesti Muusika- ja Teatriakadeemia, 2019) Kõlar, Anu; Kõlar, Anu, koostaja
Guldžahon Jussufi (koost.). 100 eesti rahvakandlemängijat ja -meistrit. XX–XXI sajand. Tallinn 2018
(Eesti Muusika- ja Teatriakadeemia, 2019) Pärtlas, Žanna; Kõlar, Anu, koostaja
Intervjuu Richard Taruskiniga
(Eesti Muusika- ja Teatriakadeemia, 2019) Siitan, Toomas; Kõlar, Anu, koostaja
Mart Jaanson. Eesti muusika 100 aastat. Tallinn 2018
(Eesti Muusika- ja Teatriakadeemia, 2018) Tool, Aare; Kõlar, Anu, koostaja
Millist muusikat kirjutas Johann Valentin Meder Tallinnas? Mõtisklusi Mederi teoste dateeringute põhjal
(Eesti Muusika- ja Teatriakadeemia, 2019) Schaper, Anu; Kõlar, Anu, koostaja
Few of the 26 extant compositions by Johann Valentin Meder (1649–1719) can be linked unequivocally to any one of his main places of activity, namely Tallinn (1674–83), Gdańsk (1687–99) and Riga (1684–87 and 1699–1719). To draw conclusions about the work and activity of Meder in his different positions and locations it is first necessary to consider the dating of his compositions; only after this does it become possible to reach some general conclusions about his oeuvre. Two sacred pieces from Meder’s years in Tallinn, Ach Herr, straffe mich nicht (for which Johann Rosenmüller’s work of the same title would seem to have served as a model) and In principio erat verbum represent two trends which appear to have been rather characteristic of the composer’s early and middle works: sacred concertos and Latin pieces modelled on Roman patterns. However, the existence of the printed text of an occasional piece, the music for which has not survived, suggests that Meder’s oeuvre during his years in Tallinn may well have been more varied than his surviving works from the same period would suggest, and might already have included other more dramatic cantata-like compositions on mixed texts.
Muusika performatiivsed aspektid
(Eesti Muusika- ja Teatriakadeemia, 2019) Ross, Jaan; Kõlar, Anu, koostaja
Muusikaloolase prof. Toomas Siitani 60. sünnipäevaks. Mõned aktsendid Eesti 19. sajandi muusikaloo käsitlemisel Toomas Siitani töödes
(Eesti Muusika- ja Teatriakadeemia, 2019) Pappel, Kristel; Kõlar, Anu, koostaja
Muusikateadusliku elu kroonikat 2018/2019
(Eesti Muusika- ja Teatriakadeemia, 2019) Klooren, Äli-Ann; Kõlar, Anu, koostaja
Perilous Listening. Early Music, Historically Informed Listening, and the Sacrosphere of Spaces
(Eesti Muusika- ja Teatriakadeemia, 2019) Waczkat, Andreas; Kõlar, Anu, koostaja
This essay deals with a musical performance at the 20th Haapsalu Early Music Festival in 2013, when the viol ensemble Phantasm played a concert entitled “Perilous Polyphony” consisting of works by William Byrd, Elway Bevin, and other composers of Elizabethan Britain. After a cursory overview of Haapsalu’s characteristics, the programme and the programme notes of the concert in question are discussed with regard to potential perils in the music as they can be observed in some contrapuntal details of the compositions. While the Early Music Festival is centred on concerts that feature period instruments and historically informed performance practice, it is questionable whether the audience, even if historically informed itself, is able to perceive the music’s perils as the audience in Elizabethan Britain did. But since the very performance situation is entirely different, the heading “Perilous Polyphony” turns out to rather be an atmospheric label.
Reiseberichte aus dem 19. und 20. Jahrhundert als Quellen für die historische Chorforschung und den Diskurs über Typologien reisender Musiker und Sänger
(Eesti Muusika- ja Teatriakadeemia, 2019) Brusniak, Friedhelm; Kõlar, Anu, koostaja
A comprehensive interdisciplinary, historical-critical and systematic processing of documents relating to the networking of choral singing associations through travel – and thus involving the important fields of mobility and migration research, transnationality and interculturality – is a desideratum of historical choral sociology research. This study is intended as a contribution to the subject of “amateur choir singing and cultural transfer” and as an impulse to continue the discourse on the typologies of travelling musicians (Konrad 2009). The multitude and heterogeneity of the sources requires an exemplary approach, whereby the selected case studies are interpreted against the background of decades of the author’s research in the fields of music biography, musical social history and the historiography of musical education. Particular attention is given to information on travel topics in autobiographies and association chronicles as well as printed documentations of Sängerreisen and Sängerfahrten by Karl Pfaff (Swabia), Carl Gollmick (Switzerland), Julius Melchert (diary of the singers’ journey of the Schleswig-Holstein singers to the Erstes allgemeines deutsches Sängerfest 1845 in Würzburg and through Southern Germany), August Schmidt (Wiener Männergesang-Verein in the Vormärz), Otto Elben (Deutsch-Vlaemisches Sängerfest 1846 in Cologne) and Henry Führer Deutschlandfahrt des Arion von Brooklyn im Sommer 1908).
René Descartes’i heksahordide akustilisest ehitusest
(Eesti Muusika- ja Teatriakadeemia, 2019) Humal, Mart; Kõlar, Anu, koostaja
As we know, the medieval system of solmization is based on hexachords which correspond to the first six degrees of the modern major key. Its tones have been designated as solmization syllables ut–re–mi–fa–sol–la. According to the theory outlined in the treatise Compendium musicae (1618) by the French philosopher and mathematician René Descartes (1596–1650), the interval ut to re must always be a minor whole-tone (9:10), re to mi a major whole-tone (8:9), mi to fa a major semitone (15:16), fa to sol a major whole-tone, and finally sol to la a minor whole-tone. Among the notes of the English physicist and mathematician Isaac Newton dated 1665, there is a diagram, which, probably following one of Descartes’s examples, represents five hexachords. In these, Descartes’s figures marking string lengths are replaced by figures marking units of the 53-division of the octave, having the size of 22.6 cents. In this study, all the Descartes hexachords possible in the 53-division are discussed and compared with those of John Hothby (?–1487) and Gioseffo Zarlino (1517–1590).
Saateks koostajalt
(Eesti Muusika- ja Teatriakadeemia, 2019) Kõlar, Anu; Kõlar, Anu, koostaja
The Train to Brest: Mapping the Borders of Pärt Reception
(Eesti Muusika- ja Teatriakadeemia, 2019) May, Chris; Kõlar, Anu, koostaja
Arvo Pärt and his family left the Soviet Union in January 1980. A young student, Toomas Siitan, accompanied them as far as the border crossing at Brest station. This shared journey was remarkable in its own right, but has also become tightly bound to understandings of Pärt’s music, and of the tintinnabuli style in particular. Motivated by the occasion of Siitan’s sixtieth birthday, this paper does not present new research, but instead treats Pärt’s moment of departure as a springboard for some wider reflections on these patterns of reception. Some major fault lines are briefly reviewed: differences in perception between the so-called East and West, the split identity of tintinnabuli itself, the experiential significance of displacement and trauma. Pärt’s emigration is then linked to two specific issues in slightly more detail: firstly, the status of his pre-tintinnabuli scores, and secondly, the contested perceptions of him as an “Estonian” composer.

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