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Convergence And Divergence In Peter Mennin's Canzona, Gene H. Anderson
Convergence And Divergence In Peter Mennin's Canzona, Gene H. Anderson
Music Faculty Publications
In a brief but perspicacious study of Mennin' s music in 1954, Walter Hendl describes the composer as "a consummate craftsman who devotes great attention to the organization of materials." Although Hendl may not have known Canzona, which had been premiered in 1951 but not published until the year of his essay, the author's statement could well have been written with Mennin's sole piece for band specifically in mind. Not only is every aspect of Canzona integrally related to every other, but the relationships are deployed with a remarkable economy of means.
The Triumph Of Timelessness Over Time In Hindemith's "Turandot Scherzo" From The Symphonic Metamorphosis Of Themes By Carl Maria Von Weber, Gene H. Anderson
The Triumph Of Timelessness Over Time In Hindemith's "Turandot Scherzo" From The Symphonic Metamorphosis Of Themes By Carl Maria Von Weber, Gene H. Anderson
Music Faculty Publications
Hindemith's title of his four-movement von Weber suite of 1943 poses a problem. The composer's characteristic reticence about his sources delayed their documentation for some twenty years, whereupon it was found that the Symphonic Metamorphosis was based, not only on themes, but on complete pieces. Rather than "thematic transformation," the "metamorphosis" of the title would thus be more accurately regarded as "recomposition," in which changes of tone system, timbre, harmony, rhythm, and form, in addition to the melody itself, transform every level and component of the original composition's structure. This study attempts to demonstrate how Hindemith achieves such a metamorphosis …
Musical Metamorphoses In Hindemith's "March" From The Symphonic Metamorphosis Of Themes By Carl Maria Von Weber, Gene H. Anderson
Musical Metamorphoses In Hindemith's "March" From The Symphonic Metamorphosis Of Themes By Carl Maria Von Weber, Gene H. Anderson
Music Faculty Publications
From the composer we learn nothing about his approaches to the construction of this piece or about specific methods of musical metamorphosis. Hindemith, in fact, considered such knowledge useless, as he trenchantly observed in an early autobiographical note: " ... for people with ears my things are perfectly easy to understand, so an analysis is superfluous. For people without ears such cribs can't help." Indeed, one is struck, not by the differences, but by the similarities between the March and its prototype, von Weber's Marcia from Huit pièces for piano duet, Op. 60, No. 7, composed in 1819. But while …