{"title":"Brahms as a Vanishing Point in the Music of Wolfgang Rihm:","authors":"Nicole K. Grimes","doi":"10.2307/j.ctv6jm9gm.33","DOIUrl":"https://doi.org/10.2307/j.ctv6jm9gm.33","url":null,"abstract":"For many years, the composer Wolfgang Rihm has engaged in writing new works in response to the music of Johannes Brahms. There are very good reasons why he might do so. These two German composers, living and writing more than a century apart from one another, share a strong historicist approach to music. Whereas the sphere of Rihm’s allusions stretches from Bach to Varèse, and from Gesualdo to Stockhausen, a significant part of his œuvre responds to a number of prominent German composers from the long-nineteenth century. Amongst them are Schubert, Schumann, and Mahler. Rihm’s Erscheinung: Skizze über Schubert (1978) for nine string players, Ländler (1979) arranged for 13 string players, and his many Goethe-Lieder are strongly evocative of Schubert. “Eine Art Traumbild” from the seventh scene of the chamber opera Jakob Lenz (1977/78) responds to Schumann’s Kinderszenen,1 whilst the third movement of his Piano Trio Fremde-Szenen I–III (1982–84) called “Charakterstück” also conjures up thoughts of Schumann. Rihm’s Abgesang of Morphonie, Sektor IV for string quartet and orchestra (1972/73), the large orchestral adagios Dis-Kontur (1974) and Sub-Kontur (1974/75), and Symphony No. 2 (1975) and No. 3 (1976/77) are strongly suggestive of Mahler.2 Rihm’s compositions that respond directly to the music of Brahms do so in manifold ways (see Table 1). The title of the 1985 composition Brahmsliebewalzer conjures up Brahms’s Liebesliederwalzer. Written for solo piano, however, Rihm’s","PeriodicalId":254212,"journal":{"name":"The Well-Tempered Festschrift","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125417541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Singing the way:","authors":"Jaimé Jones","doi":"10.2307/j.ctv6jm9gm.44","DOIUrl":"https://doi.org/10.2307/j.ctv6jm9gm.44","url":null,"abstract":"In Maharashtra, the devotional songs composed by the singer-saints of the Hindu Vārkarī sect are performed publicly and spectacularly during the vārī, one of the largest annual mass pilgrimages in the world. Neither the musical repertory nor the ritual journey itself, despite deep associations with tradition and the past, have fixed meanings, and the complex affective experience of pilgrimage does much more than simply reinforce religious ideology. Drawing upon anthropological frameworks developed since Victor Turner’s foundational work in the 1970s, I understand pilgrimage as a dynamic temporal overlapping between people, places, and texts. While songs are often understood as simply one point in this dynamic (text), in this article I argue that music is the medium through which these entities are merged. Pilgrimage comes to be when people sing through, about and in place. Developing an ethnomusicology of pilgrimage, therefore, is not just tangential, but fundamental.","PeriodicalId":254212,"journal":{"name":"The Well-Tempered Festschrift","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127681427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Counter-Reformation Reaction to Slovenian and Croatian Protestantism:","authors":"I. Cavallini","doi":"10.2307/j.ctv13xpr2h.38","DOIUrl":"https://doi.org/10.2307/j.ctv13xpr2h.38","url":null,"abstract":"","PeriodicalId":254212,"journal":{"name":"The Well-Tempered Festschrift","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132627928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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