[Smt-talk] Smt-talk Digest, Vol 64, Issue 40
William Helmcke
whelmcke at music.umass.edu
Tue May 20 07:34:37 PDT 2014
Juliusz Zarebski (1854-1885) wrote Grande Polonaise Op. 6 in F# Major.
Stanislaw Moniuszko (1819-1872) also wrote a polonaise in F# major.
William Helmcke,
Doctoral Candidate in Music Theory, University of Massachusetts Amherst
Fulbrighter to Poland 2012-2013, University of Warsaw
Fulbrighter to Poland 2011-2012, University of Warsaw
Quoting smt-talk-request at lists.societymusictheory.org:
> Send Smt-talk mailing list submissions to
> smt-talk at lists.societymusictheory.org
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
>
> or, via email, send a message with subject or body 'help' to
> smt-talk-request at lists.societymusictheory.org
>
> You can reach the person managing the list at
> smt-talk-owner at lists.societymusictheory.org
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Smt-talk digest..."
>
>
> Today's Topics:
>
> 1. Boulez and World War II (Patrick van Deurzen)
> 2. Re: F SHARP MAJOR (Olli V?is?l?)
> 3. Re: F# Major (Nathan Blustein)
> 4. Re: F SHARP MAJOR (Ildar Khannanov)
> 5. Re: F SHARP MAJOR (Murphy, Scott Brandon)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 20 May 2014 12:31:52 +0200
> From: Patrick van Deurzen <patrickv at ndeurzen.nl>
> To: smt-talk at lists.societymusictheory.org
> Subject: [Smt-talk] Boulez and World War II
> Message-ID: <717993DB-CE36-418C-BB91-80FFDA606D37 at ndeurzen.nl>
> Content-Type: text/plain; charset=windows-1252
>
>
> I?m studying Boulez relation to tradition. Does anybody know if he
> ever reflected on the influence of the Second World War on his
> thinking and composing?
>
> Thanks,
>
> Patrick van Deurzen
> Royal Conservatoire The Hague
> Conservatoire Rotterdam
> patrickv at ndeurzen.nl
> www.patrickvandeurzen.nl
>
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Tue, 20 May 2014 14:18:40 +0300
> From: Olli V?is?l? <ovaisala at siba.fi>
> To: Fiona McAlpine <fe.mcalpine at auckland.ac.nz>
> Cc: smt-talk smt <smt-talk at societymusictheory.org>
> Subject: Re: [Smt-talk] F SHARP MAJOR
> Message-ID: <A1758C5D-0446-41C8-91B2-1A9FF1B03188 at siba.fi>
> Content-Type: text/plain; charset="windows-1252"; Format="flowed";
> DelSp="yes"
>
> Fiona McAlpine wrote:
>
>> Keyboards, fingers & organists: why might Messiaen have found F#
>> major a congenial key signature ? or an accustomed place to put his
>> hands ? at a time when he was developing his modes de
>> transposition limit?e?
>
> The "accustomed place to put his hands" is also a good point
> concerning Messiaen's compatriot predecessor, Debussy (some of whose
> pieces have already been mentioned in this thread). For example, in
> several preludes of the first book, Debussy focused on the set D#?F#?
> A#?C# or Eb?Gb?Bb?Db, whose privileged position on the keyboard is
> easy to understand. The suggested tonality varies, however, from Eb
> minor (Le vent dans la plaine) to B major (Les collines d'Anacapri)
> and to Gb major (La fille aux cheveux de lin). (Stephen, apologies
> for making a false start with Gb major.)
>
> A propos La fille, the different expressive connotations of sharps
> and flats can hardly be more clearly illustrated than by comparing
> the F# added-sixth chord at end of Ce qu'a vu le vent d'ouest to the
> new notation of the same set in the next piece.
>
>
> Olli V?is?l?
> Sibelius Academy
> University of the Arts, Helsinki
> ovaisala at siba.fi
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20140520/9e0b67c1/attachment.htm>
>
> ------------------------------
>
> Message: 3
> Date: Tue, 20 May 2014 07:43:32 -0400
> From: Nathan Blustein <nabluste at indiana.edu>
> To: smt-talk at lists.societymusictheory.org
> Subject: Re: [Smt-talk] F# Major
> Message-ID:
> <CACTyEHCccOu2N8WnUuDB2=ZJYcQqwaujqpLqfmvXmggMNRAckw at mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
>
> Dear all,
>
> Perhaps citing more Messiaen is simply unfair, but "Pourquoi?" from
> the *Trois
> M?lodies *is yet another example.
>
> Wikipedia's article on the key also lists the "Presentation of the Rose"
> from Strauss's *Der Rosenkavalier.*
>
> Tim Minchin claims to prefer singing songs in F-Sharp Major, but he clearly
> conflates "in a key" with "on a pitch."
>
> Best,
> Nathan
>
> ---
> Nathan Beary Blustein
> Music Theory Department
> Jacobs School of Music
> Indiana University Bloomington
>
>
>
>
> On Mon, May 19, 2014 at 10:04 PM, Michele Ignelzi <m.ignelzi at tin.it> wrote:
>
>> Yes, as are "Le baiser de l'Enfant-J?sus" (XVI.), "Je dors, mais mon coeur
>> veille" (XIX.), and the last parts from both "Par lui tout a ?t? fait" ("La
>> cr?ation chante le th?me de Dieu", VI.) and "Regard de l'Eglise d'amour"
>> (Glorification du th?me de Dieu", XX. and last).
>>
>> Another case in Messiaen is "Les Mages" (VIII. from _La Nativit? du
>> Seigneur_), but most striking to me is the last movement from
>> _Turangal?la-Symphonie_ (a section of "D?veloppement de l'amour" and the
>> Ondes Martenot and strings of the whole "Jardin du sommeil d'amour" also
>> have the same key signature).
>>
>> To remain in France: "Les parfums de la nuit" from _Ib?ria_, "...La
>> terrasse des audiences du clair de lune" from _Pr?ludes_ II., and "Poissons
>> d'or" from _Images_ II. by Debussy, and "Laideronnette, imp?ratrice des
>> pagodes" from _Ma m?re l'Oye_ by Ravel. Among various non-full movements,
>> Debussy and Ravel have the middle sections of the last Etude ("Pour les
>> accords") and _Menuet antique_ (trio?) respectively.
>>
>> Sorry for the multiple postings and best wishes,
>> Michele
>>
>> ---------------------
>> Michele Ignelzi
>> m.ignelzi at tin.it
>> Conservatorio Statale di Musica, Florence, Italy
>>
>>
>> On May 19, 2014, at 9:53 PM, Amy Bauer wrote:
>>
>> > It's a little out of the common practice wheel house, but the "God
>> Theme" in Messiaen's Vingt Regards sur l'Enfant-J?sus is nominally in
>> F# major, as is the first movement, "Regard du P?re."
>> >
>> > Best,
>> >
>> > Amy Bauer
>> >
>> > --
>> > Amy Bauer
>> > Associate Professor of Music Theory
>> > 3043 Contemporary Arts Center
>> > Claire Trevor School of the Arts
>> > University of California, Irvine
>> > Irvine, CA 92697-2775
>> >
>> >
>> > Tel: 949-824-6615
>> > Fax: 949-824-4914
>> > e-mail: abauer at uci.ed
>> > Department website
>> > Ligeti's Laments: Nostalgia, Exoticism and the Absolute
>> >
>> > _______________________________________________
>> > Smt-talk mailing list
>> > Smt-talk at lists.societymusictheory.org
>> >
>> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
>> _______________________________________________
>> Smt-talk mailing list
>> Smt-talk at lists.societymusictheory.org
>>
>> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
>>
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20140520/4c292c4a/attachment.htm>
>
> ------------------------------
>
> Message: 4
> Date: Tue, 20 May 2014 06:28:05 -0700 (PDT)
> From: Ildar Khannanov <solfeggio7 at yahoo.com>
> To: Devin Chaloux <devin.chaloux at gmail.com>
> Cc: smt-talk smt <smt-talk at societymusictheory.org>
> Subject: Re: [Smt-talk] F SHARP MAJOR
> Message-ID:
> <1400592485.98862.YahooMailNeo at web125302.mail.ne1.yahoo.com>
> Content-Type: text/plain; charset="us-ascii"
>
> Dear Devin and the List,
>
> considering these interesting choices, made by different composers
> from different places and periods, it makes sense to talk about
> semantics of a key, beyond simple color associations. F sharp minor
> must have meant something to all these composers. How to express
> this semantic equivalent is another question, though.
>
> Best wishes,
>
> Ildar Khannanov
> Peabody Conservatory, Johns Hopkins University
> solfeggio7 at yahoo.com
> On Tuesday, May 20, 2014 6:51 AM, Devin Chaloux
> <devin.chaloux at gmail.com> wrote:
>
>
>
> I have a few personal favorites that are from less traditional, but
> still common-practice sources:
>
> Edward MacDowell's "To A Water Lily" from Woodland Sketches, Op.
> 51/6 (one of my favorite in this set, free MP3 on IMSLP)
> Louis Moreau Gottschalk's "The Banjo"
> A couple from Grieg's Op. 43 Lyric Suites: "In My Homeland" Op. 43/3
> and "To Spring" Op. 43/6
> Opening of George Whitfield Chadwick's tone poem "Aphrodite"
> (bearing an uncanny resemblance to the prelude of Tristan und
> Isolde...which is also strange because there have been some who have
> said the same about Melpomene too [see Bomberger])
> Cesar Franck's Piano Trio Op. 1/1 (first movement is in F# minor
> with a very significant section in F# major, finale is in F# major)
>
> Best,
>
> Devin Chaloux
> Indiana University
> Ph.D. in Music Theory (enrolled)
> University of Cincinnati - College-Conservatory of Music
> M.M. in Music Theory '12
> University of Connecticut
> B.M. in Music Theory '10
>
>
> _______________________________________________
> Smt-talk mailing list
> Smt-talk at lists.societymusictheory.org
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20140520/9ea1c60f/attachment.htm>
>
> ------------------------------
>
> Message: 5
> Date: Tue, 20 May 2014 13:45:04 +0000
> From: "Murphy, Scott Brandon" <smurphy at ku.edu>
> To: Fiona McAlpine <fe.mcalpine at auckland.ac.nz>
> Cc: SMT Talk <smt-talk at societymusictheory.org>
> Subject: Re: [Smt-talk] F SHARP MAJOR
> Message-ID: <CFA0C139.569D5%smurphy at ku.edu>
> Content-Type: text/plain; charset="windows-1252"
>
> A keyboard-centered view also suggests an analogy to the divine:
> vis-?-vis Bemetzrieder and F?tis, F-sharp major is the only key in
> which both notes of the appellative tritone are "called to" a higher
> plane.
>
> -Scott
>
> --
> Scott Murphy
> Director, Music Theory and Composition Division
> Associate Professor, Music Theory
> University of Kansas School of Music
> smurphy at ku.edu
>
> From: Fiona McAlpine
> <fe.mcalpine at auckland.ac.nz<mailto:fe.mcalpine at auckland.ac.nz>>
> Date: Tue, 20 May 2014 06:47:40 +0000
> To: Ildar Khannanov
> <solfeggio7 at yahoo.com<mailto:solfeggio7 at yahoo.com>>, Conor Cook
> <conor.p.cook at gmail.com<mailto:conor.p.cook at gmail.com>>, Michael
> Luxner <mluxner at mail.millikin.edu<mailto:mluxner at mail.millikin.edu>>
> Cc: SMT Talk
> <smt-talk at societymusictheory.org<mailto:smt-talk at societymusictheory.org>>
> Subject: Re: [Smt-talk] F SHARP MAJOR
>
> Keyboards, fingers & organists: why might Messiaen have found F#
> major a congenial key signature ? or an accustomed place to put his
> hands ? at a time when he was developing his modes de transposition
> limit?e? See his early Banquet C?leste which ends on what would be a
> V7 chord in relation to the key signature, or 'Les Mages' from La
> Nativit? du Seigneur
>
> (Dr) Fiona McAlpine
> Honorary Research Fellow
> School of Music
> University of Auckland
>
> Le B?guinage
> 42 Horns Rd
> RD 1
> Oxford 7495
> North Canterbury
> NEW ZEALAND
> ________________________________
> From: Smt-talk
> [smt-talk-bounces at lists.societymusictheory.org<mailto:smt-talk-bounces at lists.societymusictheory.org>] on behalf of Ildar Khannanov
> [solfeggio7 at yahoo.com<mailto:solfeggio7 at yahoo.com>]
> Sent: Tuesday, 20 May 2014 14:51
> To: Conor Cook; Michael Luxner
> Cc: smt-talk smt
> Subject: Re: [Smt-talk] F SHARP MAJOR
>
> Dear Conor and the List,
>
> I have published an article on music of Dmitri Tiomkin for the High
> Noon in the Film Music Journal. His Oscar-winning ballade Do not
> forsake me, o my darling is written in D flat major. It is difficult
> to visualize this key while horse-riding and singing on the prairie,
> and the guitar is not the best friend of this key! However,
> considering Dmitri's lessons with Glazunov it does not seem far
> fetched at all.
>
>
> Best wishes,
>
> Ildar Khannanov
> Peabody Conservatory, Johns Hopkins University
> solfeggio7 at yahoo.com<mailto:solfeggio7 at yahoo.com>
> On Monday, May 19, 2014 3:44 PM, Conor Cook
> <conor.p.cook at gmail.com<mailto:conor.p.cook at gmail.com>> wrote:
>
>
> Have any scholars examined keys in film scores or broadway? The
> number and nature of keys changes often require extremely full key
> signatures and key area juxtapositions.
>
> Best,
> Conor Cook, MMus, M.A.
> LaSalle Catholic Parishes
>
> On May 19, 2014, at 10:54 AM, Michael Luxner
> <mluxner at mail.millikin.edu<mailto:mluxner at mail.millikin.edu>> wrote:
>
> Dear all,
>
> I wonder if anyone has an idea why the composers of 19th-century
> Italian opera, from Bel Canto to late Verdi, are so partial to keys
> with more than four flats, and why they chose these keys on the flat
> side as opposed to the so-called "enharmonic" equivalents on the
> sharp side? I've long suspected that it has something to do the
> primary role of the piano in the gestation and rehearsal of these
> works, but no evidence.
>
> Michael Luxner
> Millikin University
>
>>>> Donna Doyle <donnadoyle at att.net<mailto:donnadoyle at att.net>>
>>>> 5/19/2014 7:11 AM >>>
> Dear Steve,
>
> Notice that most of your list's pieces are for keyboard. Take a look
> at your hand, place it outstretched on a keyboard and observe where
> your fingers rest. F#M/GbM are the most comfortable keys for
> pianists--long fingers on the black keys, short finger(s) on the
> white. 19th c pianist-composers experienced this. A story goes that
> when Schubert submitted his GbM Moment Musical for publication, the
> publisher took away the flats to sell more copies and ended up with
> left-over inventory. Also, who was the American songwriter who
> played everything in C#M on a transposing keyboard? Why not CM?
> Lastly, one need only observe a good church organist to know that
> just about anything can be managed on the keyboard by skillful hands
> (hence the WTC).
>
> Best regards,
> Donna Doyle
>
> Adjunct Assistant Professor
> Aaron Copland School of Music
> Queens College
> Flushing, New York 11367
>
> On May 18, 2014, at 10:38 PM, Stephen Jablonsky
> <jablonsky at optimum.net<mailto:jablonsky at optimum.net>> wrote:
>
> I know that many of our members in academe are preparing for the end
> of the school year and have little time for a dalliance with a
> particular key and the rest of you have busy lives as well. I, on
> the other hand, being a lifteime composer, have a mild case of OCD
> and could not let go of this inquiry into the frequency of usage of
> F sharp major. A cursory search of the Internet, and some help from
> friends, has produced what may be the first definitive list of works
> in this very rare key. Obviously, the list does not include works
> that attempt to do things in every key. G flat major is another
> story for another day.
>
> Beethoven Sonata No. 24, op.78
> Chopin Nocturne op. 15, No. 2; Barcarole, op.
> 60; Impromptu, op. 36
> Dvorak Humoresque, B. 138 (op. 32)
> Hur? Sonata for Cello and Piano No. 3
> Korngold Symphony, op. 40
> Liszt ?Benediction de Dieu dans la
> solitude? from Harmonies poetique et religieuses, III
> Mahler Symphony No. 10
> Scarlatti Sonatas, K. 318 and 319
> Schumann Romance, op. 28, No. 2
> Scriabin Sonata No. 4, op. 30; Poeme, op. 32. No. 1
> Soler Sonata, Rubio 90
>
>
> Dr. Stephen Jablonsky, Ph.D.
> Music Department Chair
> The City College of New York
> Shepard Hall Room 72
> New York NY 10031
> (212) 650-7663
> music at ccny.cuny.edu<mailto:music at ccny.cuny.edu>
>
> America's Greatest Chair
> in the low-priced field
>
>
>
>
>
>
>
> _______________________________________________
> Smt-talk mailing list
> Smt-talk at lists.societymusictheory.org<mailto:Smt-talk at lists.societymusictheory.org>
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
> _______________________________________________
> Smt-talk mailing list
> Smt-talk at lists.societymusictheory.org<mailto:Smt-talk at lists.societymusictheory.org>
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
>
> _______________________________________________
> Smt-talk mailing list
> Smt-talk at lists.societymusictheory.org<mailto:Smt-talk at lists.societymusictheory.org>
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
>
>
> _______________________________________________ Smt-talk mailing
> list
> Smt-talk at lists.societymusictheory.org<mailto:Smt-talk at lists.societymusictheory.org>
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL:
> <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20140520/09308bfa/attachment.htm>
>
> ------------------------------
>
> Subject: Digest Footer
>
> _______________________________________________
> Smt-talk mailing list
> Smt-talk at lists.societymusictheory.org
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
>
>
> ------------------------------
>
> End of Smt-talk Digest, Vol 64, Issue 40
> ****************************************
>
More information about the Smt-talk
mailing list