CUMSPublications

Canadian University Music Review

Revue de musique des universités canadiennes

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CONTENTS * No. 17/2 1997 * SOMMAIRE


Title / Author

Page

Self-Similarity and Compositional Strategies in the Music of Milton Babbitt
John Cuciurean
1
Une nouvelle découverte à Montréal dans la bibliothèque musicale de Jean Girard : des œuvres vocales rares de Lebègue, de Bacilly et de Du Mont
Élisabeth Gallat-Morin
17
Mrs. J.B. Carmichael and the Edmonton Civic Opera Society, 1935–1971
Wesley Berg and Gerry Paulson
30
Richard Strauss à l'œuvre : les premières esquisses pour Salome
Jean-Michel Boulay
49
Completion and Antithesis in Piano Sonata No. 6 by S.C. Eckhardt-Gramatté
Glenn Colton
71

Book Reviews/Comptes rendus

Colin P. Lawson, Mozart: Clarinet Concerto (Lorne Buick) 83
Barrie Martyn, Nicolas Medtner: His Life and Music (Glen Carruthers) 86
R. Larry Todd, ed., Schumann and His World (Glenn D. Colton) 92
John C. Tibbetts, ed., Dvorák in America; Michael Beckerman, ed., Dvorák and His World; David R. Beveridge, Rethinking Dvorák (Kenneth DeLong) 96
R.M.W. Dixon and Grace Koch, Dyirbal Song Poetry (Richard Hardie) 100
Melvin P. Unger, Handbook to Bach's Sacred Cantata Texts (David Hill) 104
John Warrack, Richard Wagner: Die Meistersinger; Michael Tanner, Wagner (Stephen McClatchie) 107
David Kimbell, Italian Opera (Paul F. Rice) 112
Marie-Thérèse Lefebvre, Jean Vallerand et la vie musicale du Québec, 1915-1994(Johnanne Rivest) 115
Hans Keller, Essays on Music; Hans Keller, Three Psychoanalytical Notes on “Peter Grimes”; Hans Keller and Christopher Wintle, Beethoven's String Quartets in F minor, op. 95, and C-sharp minor, op. 131 (Alan Walker) 118

Record Reviews / Comptes rendus de disques

Alexander Scriabin, Complete Piano Sonatas, performed by Marc-André Hamelin; Ludwig van Beethoven: Diabelli Variations, performed by William Kinderman (Glen Carruthers) 129

Conference Reports/Comptes rendus de colloques

International Conference on Music in Eighteenth-Century Britain; The Canadian Society for Eighteenth-Century Studies/La société canadienne d'étude du dix-huitième siècle (Paul F. Rice) 134
Johann Friedrich Fasch und sein Wirken für Zerbst, International Scholarly Conference (Barbara Reul) 136

Contributors/Collaborateurs 141
Directions to Contributors/Protocole de rédaction 144

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Abstracts/Résumés


Self-Similarity and Compositional Strategies in the Music of Milton Babbitt

John Cuciurean

The unfolding of a compact algebraic group into a larger structure which exhibits an isomorphic relationship with the smaller group is the essence of “self-similarity.” Through the use of transformational networks which take advantage of the group properties of the forty-eight canonical operators and through the examination of the hexachordally combinatorial properties of Babbitt's row forms, this paper examines the manner in which Babbitt selects and combines rows to produce maximal diversity on the surface while optimizing internal coherence at the deeper structural levels. This study focuses on three works that cover straightforward serial structures, simple array structures and superarray structures respectively — Babbitt's three main compositional strategies.

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Une nouvelle découverte à Montréal dans la bibliothèque musicale de Jean Girard : des œuvres vocales rares de Lebègue, de Bacilly et de Du Mont

Élisabeth Gallat-Morin

Un recueil donné à la Bibliothèque nationale du Québec (Montréal) en 1993 porte les signatures de François Vachon de Belmont, supérieur des Sulpiciens de Montréal de 1701 à 1732, et de Jean Girard, à qui appartenait le Livre d'orgue de Montréal. Les quatre volumes renferment les Motets (1687) de M. Noël (pseudonyme de Lebègue), les Airs spirituels de « differents autheurs » (1697), édition « pirate » d'œuvres de Baccilly, et lesAirs à quatre parties (1663) de Du Mont. Très rares, voire uniques, ces œuvres complètent la bibliothèque musicale de Jean Girard et ajoutent à notre connaissance du répertoire musical interprété à Ville-Marie au XVIIIe siècle.

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Mrs. J.B. Carmichael and the Edmonton Civic Opera Society, 1935–1971

Wesley Berg and Gerry Paulson

Born in Indiana and trained as a singer, violinist, and conductor in Chicago and New York, Beatrice van Loon travelled to Edmonton, Alberta, in the fall of 1920 as the leader of an all-female ensemble. She married a local dentist and as Mrs. J.B. Carmichael played in the Edmonton Symphony Orchestra and conducted an orchestra at the University of Alberta until 1934. She founded the Edmonton Civic Opera Society in 1935 and worked as its artistic director until her death in 1964. For more than four decades she gave unstintingly of herself to audiences and music students in her adopted city.

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Richard Strauss à l'œuvre : les premières esquisses pour Salome

Jean-Michel Boulay

L'auteur, après avoir tenté d'établir à quel moment Richard Strauss commence son travail sur Salome, fait un inventaire des sources manuscrites de l'opéra. Puis il se concentre sur un exemplaire de la première édition de la traduction allemande de la pièce d'Oscar Wilde ayant appartenu au compositeur et qui contient de nombreuses annotations musicales. Une classification et une description de celles-ci sont suivies de l'analyse détaillée du premier stade de conception de deux passages clés de Salome.

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Completion and Antithesis in Piano Sonata No. 6 by S.C. Eckhardt-Gramatté

Glenn Colton

The Piano Sonata no. 6 by S.C. Eckhardt-Gramatté evolved as a composite work spanning two distinct phases of the composer's career. The first movement (1928), for left hand alone, is representative of the neo-romanticism of her early works, while the atonal second movement (1952), for right hand, typifies the composer's later style. As a synthesis of the first two movements, the finale re-interprets these conflicting tonal and stylistic paradigms, contextually transforming the preceding movements and imbuing each with new meaning. This process is closely analogous to a concept Harold Bloom describes in poetic terms as tessera, or “completion and antithesis.”

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