FONTES ARTIS MUSICAE最新文献

{"title":"After the Collection, What Next? Challenges of Preservation of Folk Music Recordings in an Unstable Climatic Environment in Nigeria (Library of Folk Music of Nigeria Project in Focus)","authors":"E. Onyeji, C. Onyeji","doi":"10.1353/fam.2023.a901181","DOIUrl":"https://doi.org/10.1353/fam.2023.a901181","url":null,"abstract":"English Abstract:This article discusses the state of the music collected through the Folk Music of Nigeria Recording Project since 2005. It discusses the inevitable challenge of preservation of the delicate recorded musical items in an environment that may not be suitable for recorded sound. The recording project has focused on indigenous music of Nigeria and now faces the challenges of racing against time to collect the vanishing music materials from local communities, as well as finding appropriate ways to preserve the recorded sound in a suitable climatic environment. This article discusses the issues of the environmental condition of the collected recordings and the challenges of the effects of weather and of preservation, as well as the long-term implications for the project. The article draws on the firsthand experience of the authors who are the project coordinators and secondary sources to reveal the impact of the environment arising from harsh climatic conditions and the lack of adequate preservation methods for recorded sound.French Abstract:Cet article examine l'état de la musique collectée dans le cadre du Folk Music of Nigeria Recording Project depuis 2005. Il aborde l'inévitable défi que représente la préservation des enregistrements musicaux sur des supports fragiles dans un environnement qui n'est pas toujours adapté à ces enregistrements. Le projet s'est concentré sur la musique indigène du Nigeria et doit maintenant relever le défi d'une course contre la montre pour collecter les matériaux musicaux en voie de disparition auprès des communautés locales, ainsi que pour trouver des moyens appropriés de préservation du son enregistré dans un environnement climatique adéquat. Cet article aborde les questions de conditions ambiantes des enregistrements collectés et les défis liés aux effets du climat et de la conservation, ainsi que les implications à long terme pour le projet. L'article s'appuie sur l'expérience directe des auteurs, qui sont les coordinateurs du projet, et sur des sources secondaires pour révéler l'impact de cet environnement dû aux conditions climatiques difficiles et à l'absence de méthodes de conservation adéquates pour les enregistrements sonores.German Abstract:Dieser Artikel befasst sich mit dem Zustand der seit 2005 bestehenden Musiksammlung des Folk Music of Nigeria Recording Project. Er diskutiert die unausweichliche Herausforderung der Konservierung empfindlicher Musikaufnahmen aus einer Umgebung, die eigentlich nicht für Tonaufnahmen geeignet ist. Das Aufnahmeprojekt hat sich auf die indigene Musik Nigerias konzentriert und steht nun in einem Wettlauf gegen die Zeit vor der Problemstellung, einerseits das verschwindende Musikmaterial lokaler Gemeinschaften zu sammeln und andererseits geeignete Wege zu finden, um die Aufnahmen in einer geeigneten klimatischen Umgebung zu bewahren. Wir diskutieren die Problematik der während der Aufnahmen herrschenden Umweltbedingungen, die aufgrund von Witterungseinflüssen ","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"127 - 141"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48498027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Briefs / Feuilletons","authors":"Jim Cassaro, Georgina Binns","doi":"10.1353/fam.2023.a901182","DOIUrl":"https://doi.org/10.1353/fam.2023.a901182","url":null,"abstract":"Briefs / Feuilletons Jim Cassaro and Georgina Binns RILM Music Encyclopedias has just added two new titles into its continuously expanding collection of historical and current reference texts: • Kovačević, Krešimir, gen. ed. Muzička enciklopedija, 2d ed. (Zagreb: Jugoslavenski Lekskografski Zavod, 1971–1977). 3 vols. (713–[14] p. [7]; 742 p.; 789 p.) • In Croatian and Serbian. • Krešimir Kovačević, ed. Leksikon jugoslavenske muzike (Zagreb: Jugoslavenske Leksikografski Zavod Miroslav Krlea, 1984). 2 vols. (589 p.; 575 p.) • In Croatian. The 2023 additions to RILM Music Encyclopedias enrich the content of the collection with two complementary titles that document the music history and musical life of Southeastern Europe. Both reference works were edited by the distinguished Croatian music historian Krešimir Kovačević (1913–1992), who was active as a music writer, critic, teacher, conductor, and editor-in-chief of the Croatian music periodical Arti musices (1973–1979). Both works were published by the Jugoslavenski Leksikografski Zavod in Zagreb and represent a collaboration of the best scholars from all six Yugoslav states. The addition of these titles, which augment the coverage and depth of RILM Music Encyclopedias, emphasizes RILM's mission to include the music scholarship of all countries and in all languages. RILM Music Encyclopedias can be accessed via EBSCOhost and on RILM's platform Egret at rme.rilm.org. For further information, please e-mail encyclopedias@rilm.org. _______ This summer, RILM Abstracts with Full Text will add eleven more titles to its full-text journal collection. The new titles are: • 1/1: The Journal of the Just Intonation Network (San Francisco: Just Intonation Network. 1985–2007). ISSN 8756-7717 • Beiträge zur Musikwissenschaft (Berlin: Verlag Neue Musik, Sonderpublikationen, 1973–1979). ISSN 0005-8106 • Етномузика: Збірник наукових праць і матеріалів [Etnomuzika: Zbìrnik naukovih prac' ì materìalìv] (L'vìv: L'vìvs'ka Nacìonal'na Muzična Akademìâ ìmenì M. V. Lisenka, 2006–). ISSN 2523-4846 and e-ISSN 2523-4854 • Hortus musicus (Bologna: Ut Orpheus Edizioni, 2000–2005). ISSN 1129-4965 • Journal of the Association of Nigerian Musicologists (Ife-Ife: Association of Nigerian Musicologists, 2007–). e-ISSN 1597-0590 • Journal of the International Alliance for Women in Music (Washington, DC: International Alliance for Women in Music, 1989–). ISSN 1082-1872 • Magyar zene: Zenetudományi folyóirat (Budapest: Magyar Zenetudományi és Zenekritikai Társaság, 1960–). ISSN 0025-0384 [End Page 142] • Nachrichten zur Mahler-Forschung/News About Mahler Research (Wien: Internationale Gustav Mahler Gesellschaft, 1976/1977–). ISSNs 1608-8956 and 1609-0349 • Research Perspectives in Music Education (Tallahassee, FL: Florida Music Educators Association, 1990–). ISSN 1947-7457 • Sinfónica (Montevideo: Sinfónica, 1995–). ISSN 1510-3544 • 中央音乐学院学报 [Zhongyang Yinyue Xueyuan xuebao]/Journal of the Central Conservatory of Music (Beijing: Zhongyang ","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135722807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sacred Chameleons: Form, Function, and Dissemination Patterns in the Motets of Leopold Hofmann","authors":"Allan Badley","doi":"10.1353/fam.2023.0004","DOIUrl":"https://doi.org/10.1353/fam.2023.0004","url":null,"abstract":"Abstract:While the eighteenth-century Viennese Mass, oratorio, cantata, and litany have all been the focus of independent genre studies, smaller-scale settings of liturgical and non-liturgical texts, of which hundreds of exemplars survive, have been largely ignored. One of the most interesting of these genres, the motet, is also arguably the most complex in terms of textual studies since these works were treated as flexible musical texts that could be adapted for specific occasions throughout the liturgical year. The process of adaptation extended beyond the provision of contrafacta. Multi-movement motets were frequently dismembered, their individual arias and closing choruses appropriated for new purposes. The extent to which this practice flourished is evident both from extant manuscript copies of the works and entries in contemporary thematic catalogues. Inconsistent nomenclature and the flexible approach to instrumentation that characterises so much eighteenth-century music compounds the problem of establishing the original form and function of much of this repertory.One of the most widely disseminated Viennese composers of motets during this period was Leopold Hofmann (1738–1793), regens chori at St Peter’s from ca. 1764 and from 1772, Kapellmeister at St Stephen’s Cathedral. Over sixty motets and offertories survive in attributions to Hofmann of which thirty-three have strong claims to authenticity. Of these authentic works, a third are cast in a single movement while the remainder are dominated by three-movement cycles. Taking three representative works as case studies, this article examines how these motets were employed during the composer’s lifetime, the extent to which he may have initiated or condoned the use of contrafacta, and how they were adapted elsewhere for other liturgical functions.Abstract:Alors que la messe, l’oratorio, la cantate et la litanie viennois du dix-huitième siècle ont tous fait l’objet d’études de genre indépendantes, les mises en musique à plus petite échelle de textes liturgiques et non liturgiques, dont des centaines d’exemplaires ont survécu, ont été largement ignorées. L’un des genres les plus intéressants, le motet, est aussi sans doute le plus complexe en termes d’études de la textualité, dans la mesure où ces œuvres étaient traitées comme des textes musicaux flexibles pouvant être adaptés à des occasions spécifiques tout au long de l’année liturgique. Le processus d’adaptation allait au-delà de la production de contrafacta. Les motets à plusieurs mouvements étaient souvent décomposés, leurs arias isolés et leurs chœurs de clôture étant adaptés à de nouvelles fins. La proportion dans laquelle cette pratique s’est développée est manifeste tant dans les copies manuscrites des œuvres qui subsistent que dans les entrées des catalogues thématiques contemporains. Compte tenu de la souplesse de la nomenclature et de l’approche instrumentale qui caractérise une grande partie de la musique du XVIIIe siècle, il est","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"16 - 33"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48627274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In silenzio senza disturbare nessuno. Claudio Sartori, Brescia 1913–Milano 1994 by Mariella Sala, Massimo Gentili-Tedeschi and Pinuccia Carrer (review)","authors":"P. Milan","doi":"10.1353/fam.2023.0007","DOIUrl":"https://doi.org/10.1353/fam.2023.0007","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"74 - 77"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45339446","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Communications","authors":"William Kinderman","doi":"10.1353/fam.2023.0008","DOIUrl":"https://doi.org/10.1353/fam.2023.0008","url":null,"abstract":"The review by Barry Cooper of my book Beethoven: A Political Artist in Revolutionary Times in Fontes Artis Musicae (Vol. 68, No. 3 [ July–September 2021], 273–276) contains errors. Professor Cooper writes that ‘the theory that the Eroica Sketchbook was begun in 1802 rather than 1803 (p. 65) is based on flawed evidence and has been comprehensively discredited’. However, the publication of Beethoven’s “Eroica” Sketchbook: A Critical Edition, edited by Lewis Lockwood and Alan Gosman (2013), and the literature cited therein, indeed supports a dating of 1802, which has not been ‘comprehensively discredited’. Cooper also writes that ‘the contredance . . . used in the finale of the Eroica was not composed until after Beethoven’s ballet Prometheus of 1801’, which makes no sense since that very theme already assumes prominence in the ballet, to be later absorbed into the very different context of the symphony. Furthermore, the gripping narrative of Beethoven refusing to play for French officers and leaving Grätz in defiance of his patron Prince Lichnowsky in October 1806 is not merely ‘a compilation from a number of unconfirmed recollections’ but an event that can now be vividly re-envisioned from Beethoven’s rain-stained music manuscripts and from the diary of the young poet Joseph von Eichendorff, who reported ‘threatening weather from the West’ with lightning and thunder coinciding with the ‘bolt out of the blue’ of Napoleon’s decisive victory at Auerstädt and Jena.","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"78 - 78"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46927509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Interviews with American Composers: Barney Childs in Conversation ed. by Virginia Anderson (review)","authors":"Ken Smith","doi":"10.1353/fam.2023.0006","DOIUrl":"https://doi.org/10.1353/fam.2023.0006","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"71 - 74"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42024966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Vocal Virtuosity: The Origins of the Coloratura Soprano in Nineteenth-Century Opera by Sean M. Parr (review)","authors":"Andrea Cawelti","doi":"10.1353/fam.2023.0000","DOIUrl":"https://doi.org/10.1353/fam.2023.0000","url":null,"abstract":"","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"69 - 71"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48129580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Surveying Composers Part II: Perspectives on Composer and Library Engagement for the Future","authors":"Elizabeth Berndt, Sandi-Jo Malmon","doi":"10.1353/fam.2023.0005","DOIUrl":"https://doi.org/10.1353/fam.2023.0005","url":null,"abstract":"Abstract:This article builds on our previous research, ‘Surveying Composers: Methods of Distribution, Discoverability, and Accessibility of their Works and the Corresponding Impact on Library Collections’, published in this journal (Vol. 67, no. 2 [April–June 2020]: 81–98). In this second round of research, we interviewed eighteen composers with the goal of including global perspectives, digging deeper into their compositional styles, formats, and current understanding of libraries. Interviewees told us about their hopes for the future of libraries and contemporary music. Through our findings we share what we have learned including composers’ perception of genre in description, trends in compositional output and resulting distribution challenges, use of social media, publishers, vendors and other marketing strategies, and the role of libraries in new music discovery.Abstract:Cet article s’appuie sur notre recherche précédente : « Étudier les compositeurs : méthodes de diffusion, possibilités de découverte et accessibilité de leurs œuvres et les conséquences associées sur les collections des bibliothèques », publiées dans ce journal (vol. 67, no. 2 [avril–juin 2020]: 81–98). Dans cette seconde phase de recherche, nous avons interrogé dix-huit compositeurs, avec pour but d’inclure des perspectives globales, en approfondissant leur style de composition, leurs formats et leur compréhension actuelle des bibliothèques. Les personnes interrogées nous ont parlé de leurs espoirs pour le futur des bibliothèques et de la musique contemporaine. Nous partageons ce que nous avons appris, notamment la perception par les compositeurs de la notion de genre dans la description, les tendances de la production des œuvres musicales et les défis de diffusion qui en découlent, l’utilisation des médias sociaux, des éditeurs, des vendeurs et d’autres stratégies de marketing, ainsi que le rôle des bibliothèques dans la découverte de nouvelles musiquesAbstract:Dieser Artikel baut auf unserer früheren Untersuchung „Surveying Composers: Methods of Distribution, Discoverability, and Accessibility of their Works and the Corresponding Impact on Library Collections“ auf, die in dieser Zeitschrift veröffentlicht wurde (Band 67, Heft 2 [April–Juni 2020] : Seiten 81–98). Für diesen zweiten Teil interviewten wir achtzehn Komponisten mit dem Ziel, globale Sichtweisen einzubeziehen und tiefer in ihre Kompositionsstile, die von ihnen bevorzugten Formate und in ihr aktuelles Verständnis von Bibliotheken einzutauchen. Wir sprachen mit den Interviewten über ihre Hoffnungen für die Zukunft von Bibliotheken und zeitgenössischer Musik. Als Ergebnis vermitteln wir unsere Einsichten über die aufseiten der Komponisten bestehenden Einstellungen zu Genrezuordnungen und zu Trends in der Kompositionspraxis sowie zu den daraus resultierenden Herausforderungen bei der Verbreitung, nämlich der Nutzung von sozialen Medien, dem Umgang mit Verlagen und Händlern wié auch weiterer Marketinginstrumente bis ","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"1 - 15"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48968523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Grand Piano of Ignacy Jan Paderewski in Cartoons","authors":"M. Dziadek, Michał Jaczyński, Justyna Kica","doi":"10.1353/fam.2023.0003","DOIUrl":"https://doi.org/10.1353/fam.2023.0003","url":null,"abstract":"Abstract:This article conducts a contextual analysis of iconographic sources—cartoons and caricatures— the protagonist of which is the famous pianist, composer, and politician Ignacy Jan Paderewski (1860–1941) and his accompanying attribute—a grand piano. Illustrations used for this research come from magazines of different social scope, content, and artistic levels, as well as political colour; the majority of these are English, German, and Polish-language newspapers from 1893 to 1939. Organising these sources and confronting their message with the information found in the daily press of the time makes it possible to identify and describe the various functions that Paderewski’s instrument played in satirical discourse and, thus in the consciousness of the recipient of mass culture. The presence of a grand piano makes it possible, for example, to instantly recognise Paderewski as a pianist; it explains the artist’s significant income (an instrument as a ‘machine’ to multiply wealth) and gives space to reproduce the myth about his supernatural pianistic abilities (in the extreme imaginations of cartoonists, virtuosity distanced Paderewski from what was earthly). Finally, his grand piano symbolised power—both in an artistic sense (absolute power over the concert audience) and political sense (control over opponents in disputes taking place in Poland and the international arena).Abstract:Cet article procède à une analyse contextuelle des sources iconographiques - dessins humoristiques et caricatures - dont le protagoniste est le célèbre pianiste, compositeur et homme politique Ignacy Jan Paderewski (1860–1941) et l’attribut qui lui est associé - un piano à queue. Les illustrations utilisées pour cette recherche proviennent de magazines de champs social, de contenu et de niveau artistique, ainsi que de couleur politique différents ; la majorité d’entre eux sont des journaux de langue anglaise, allemande et polonaise de 1893 à 1939. L’organisation de ces sources et la confrontation de leur message avec les informations trouvées dans la presse quotidienne de l’époque permettent d’identifier et de décrire les différentes fonctions que l’instrument de Paderewski a joué dans le discours satirique et, donc, dans la conscience du public de la culture de masse. La présence d’un piano à queue permet, par exemple, de reconnaître instantanément Paderewski comme un pianiste ; elle explique les revenus importants de l’artiste (un instrument comme “machine” à multiplier la richesse) et donne la possibilité de reproduire le mythe de ses capacités pianistiques surnaturelles (dans l’imagination extrême des caricaturistes, la virtuosité éloignait Paderewski de ce qui était terrestre). Enfin, son piano à queue symbolisait le pouvoir, tant au sens artistique (pouvoir absolu sur le public des concerts) qu’au sens politique (contrôle des adversaires dans les conflits qui se déroulaient en Pologne et sur la scène internationale).Abstract:Dieser Artikel führt eine Kontextan","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"34 - 47"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47241485","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Out of the Shadows: The Remarkable Story of Warwick Braithwaite (1896–1971), New Zealand’s Finest Conductor","authors":"R. Flury","doi":"10.1353/fam.2023.0001","DOIUrl":"https://doi.org/10.1353/fam.2023.0001","url":null,"abstract":"Abstract:Warwick Braithwaite was a seminal figure in British musical life for half a century, yet he is largely forgotten today. His archive, held in the Alexander Turnbull Library, Wellington, New Zealand (the country of his birth), gives only a hint of his extensive career with the fledgling British Broadcasting Corporation (BBC), on the concert platform, in the recording studio, and in the opera house. The number of music manuscripts in the archive reminds us that, despite being one of the busiest conductors in Britain, he dedicated much of his spare time to composition.Braithwaite’s career took him from the rough and tumble of touring with Josef O’Mara’s Grand Opera Company, to conducting the Royal Ballet for Margot Fonteyn and the Royal Opera for Boris Christoff and Victoria de los Angeles. He found himself wielding the baton for the finest companies, artists, and orchestras in Britain, South Africa, and Australasia.The manuscript of his autobiography, held in the archive and recently published for the first time, reveals his complex nature and the sheer ambition that drove him to pursue his chosen path despite two World Wars, colonial prejudices, and professional intrigues.Abstract:Warwick Braithwaite a été une figure majeure de la vie musicale britannique pendant un demisiècle, mais il est aujourd’hui largement oublié. Ses archives, conservées à la bibliothèque Alexander Turnbull de Wellington, en Nouvelle-Zélande (son pays natal), ne donnent qu’un aperçu de sa vaste carrière au sein de la toute jeune British Broadcasting Corporation (BBC), sur les scènes de concert, dans les studios d’enregistrement et sur les scènes d’opéra. Le nombre de manuscrits musicaux conservés dans les archives nous rappelle que, bien qu’étant l’un des chefs d’orchestre les plus sollicités de Grande-Bretagne, il consacrait une large part de son temps libre à la composition.La carrière de Braithwaite l’a mené de la rude vie des tournées avec la Grand Opera Company de Josef O’Mara, à la direction du Royal Ballet pour Margot Fonteyn et du Royal Opera pour Boris Christoff et Victoria de los Angeles. Il a été invité à manier la baguette pour les plus grandes compagnies, artistes et orchestres de Grande-Bretagne, d’Afrique du Sud et d’Australasie.Le manuscrit de son autobiographie, conservé dans les archives et récemment publié pour la première fois, révèle sa nature complexe et son ambition à toute épreuve qui l’a poussé à poursuivre sa voie malgré deux guerres mondiales, les préjugés coloniaux et les intrigues professionnelles.Abstract:Warwick Braithwaite war ein halbes Jahrhundert lang eine wegweisende Figur im britischen Musikleben, ist aber heute weitgehend vergessen. Sein Archiv, das sich in der Alexander Turnbull Library, Wellington, Neuseeland (dem Land seiner Geburt) befindet, gibt nur einige Hinweise auf seine umfangreiche Karriere bei der noch jungen British Broadcasting Corporation (BBC), auf Opern- und Konzertbühnen sowie im Aufnahmestudio. Die große Anzahl","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"70 1","pages":"55 - 68"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41611528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}