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menu-item-object-page menu-item-8"><a href="https://ppnm.hypotheses.org/credits">Impressum/Contact</a></li> </ul></div> </nav> </header> <div id="main" class="wrapper"> <div id="primary" class="site-content"> <div id="content" role="main"> <article id="post-2747" class="post-2747 post type-post status-publish format-standard hentry category-workshop-vienna-2024"> <header class="entry-header"> <h1 class="entry-title"> <a href="https://ppnm.hypotheses.org/2747" rel="bookmark">“ps – How about the Sibelius concerto occasionally?” | by T. Wozonig</a> </h1> <div class="comments-link"> <a href="https://ppnm.hypotheses.org/2747#respond"><span class="leave-reply">Leave a reply</span></a> </div> </header> <div class="entry-content"> <p>The stimulating framework of the workshop “Historical Perspectives on Musical Commissions” prompted me to reflect upon the two protagonists of my ongoing PhD project – Salzburg-born conductor Herbert von Karajan (1908–1989) and Finnish composer Jean Sibelius (1865–1957) – from the perspective of “patronage” and “commission.” While in the call for papers, musical patronage, following Louis Epstein’s 2022-volume <em>The Creative Labor of Music Patronage in Interwar France</em>, was defined as “premeditated collaborations between patrons and composers to produce new music,” I had to adapt some of these concepts: Not only was it necessary to extend the idea of “work” beyond <em>composition</em> to the sphere of <em>performance</em> but also to shift the focus from <em>patron </em>to <em>commission </em>in the broader sense of an agreement to provide a desired product.</p> <a href="https://ppnm.hypotheses.org/2747#more-2747" class="more-link">Continue reading <span class="meta-nav">→</span></a> </div> <footer class="entry-meta"> This entry was posted in <a href="https://ppnm.hypotheses.org/category/workshop-vienna-2024" rel="category tag">Workshop Vienna 2024</a> on <a href="https://ppnm.hypotheses.org/2747" title="16:18" rel="bookmark"><time class="entry-date" datetime="2025-02-10T16:18:37+02:00">10/02/2025</time></a><span class="by-author"> by <span class="author vcard"><a class="url fn n" href="https://ppnm.hypotheses.org/author/wozonig" title="View all posts by Thomas Wozonig" rel="author">Thomas Wozonig</a></span></span>. </footer> </article> <article id="post-2637" class="post-2637 post type-post status-publish format-standard hentry category-case-studies category-workshop-vienna-2024 tag-commission"> <header class="entry-header"> <h1 class="entry-title"> <a href="https://ppnm.hypotheses.org/2637" rel="bookmark">The Creative Process of Ernst von Dohnányi’s American Rhapsody (op. 47) | by I. Kovács</a> </h1> <div class="comments-link"> <a href="https://ppnm.hypotheses.org/2637#respond"><span class="leave-reply">Leave a reply</span></a> </div> </header> <div class="entry-content"> <p>Hungarian pianist, composer, and conductor Ernst von Dohnányi (1877–1960) spent the last eleven years of his life in America, in Tallahassee (Florida). From 1949, the old master worked as a professor of piano and composition at Florida State University, and in addition to teaching, he gave concerts and composed. Unlike in the earlier stages of his career, the majority of his American works were made to order (Table 1), and during these works, Dohnányi had a rather new situation in which he sometimes had to adapt to the wishes of the client.</p> <a href="https://ppnm.hypotheses.org/2637#more-2637" class="more-link">Continue reading <span class="meta-nav">→</span></a> </div> <footer class="entry-meta"> This entry was posted in <a href="https://ppnm.hypotheses.org/category/case-studies" rel="category tag">Case Studies</a>, <a href="https://ppnm.hypotheses.org/category/workshop-vienna-2024" rel="category tag">Workshop Vienna 2024</a> and tagged <a href="https://ppnm.hypotheses.org/tag/commission" rel="tag">commission</a> on <a href="https://ppnm.hypotheses.org/2637" title="10:17" rel="bookmark"><time class="entry-date" datetime="2024-11-14T10:17:37+02:00">14/11/2024</time></a><span class="by-author"> by <span class="author vcard"><a class="url fn n" href="https://ppnm.hypotheses.org/author/kovacs" title="View all posts by Ilona Kovács" rel="author">Ilona Kovács</a></span></span>. </footer> </article> <article id="post-2556" class="post-2556 post type-post status-publish format-standard hentry category-case-studies category-workshop-vienna-2024 tag-commission"> <header class="entry-header"> <h1 class="entry-title"> <a href="https://ppnm.hypotheses.org/2556" rel="bookmark">Music for Commissions, Competitions, and Requests: Béla Bartók and musical patronage | by Zs. Németh</a> </h1> <div class="comments-link"> <a href="https://ppnm.hypotheses.org/2556#respond"><span class="leave-reply">Leave a reply</span></a> </div> </header> <div class="entry-content"> <p>Following the enlightening call for the workshop “Historical Perspectives on Musical Commissions” at the end of 2023, I searched for any comprehensive studies focusing on Béla Bartók and his commissions or Béla Bartók and his commissioners. Over the past century or so, numerous studies have been devoted to Bartók’s compositional output, utilizing a variety of approaches. This led me to believe that there should also be a number of studies on the subject in question. I was surprised to discover that, while one can read about the subject of commissions in works that examine the genesis and early history of individual compositions <a href="#_ftn1" id="_ftnref1">[1]</a>, and the correspondence between Bartók and Paul Sacher (one of his well-known patrons) was published in a dedicated volume a decade ago <a href="#_ftn2" id="_ftnref2">[2]</a>, there is currently no work that provides an overview of the works Bartók composed in response to commissions, competitions, and requests. This prompted me to apply for the workshop, prepare my paper and, subsequently, write a longer study on this subject. The latter is currently in progress and is expected to be published in <a href="https://akjournals.com/view/journals/6/6-overview.xml" data-type="link" data-id="https://akjournals.com/view/journals/6/6-overview.xml" target="_blank" rel="noreferrer noopener"><em>Studia Musicologica</em> – <em>An International Journal of Musicology of the Hungarian Academy of Sciences</em></a> in 2025.</p> <a href="https://ppnm.hypotheses.org/2556#more-2556" class="more-link">Continue reading <span class="meta-nav">→</span></a> </div> <footer class="entry-meta"> This entry was posted in <a href="https://ppnm.hypotheses.org/category/case-studies" rel="category tag">Case Studies</a>, <a href="https://ppnm.hypotheses.org/category/workshop-vienna-2024" rel="category tag">Workshop Vienna 2024</a> and tagged <a href="https://ppnm.hypotheses.org/tag/commission" rel="tag">commission</a> on <a href="https://ppnm.hypotheses.org/2556" title="11:01" rel="bookmark"><time class="entry-date" datetime="2024-10-02T11:01:37+02:00">02/10/2024</time></a><span class="by-author"> by <span class="author vcard"><a class="url fn n" href="https://ppnm.hypotheses.org/author/nemeth" title="View all posts by Zsombor Németh" rel="author">Zsombor Németh</a></span></span>. </footer> </article> <article id="post-2408" class="post-2408 post type-post status-publish format-standard hentry category-general category-workshop-vienna-2024 tag-commission"> <header class="entry-header"> <h1 class="entry-title"> <a href="https://ppnm.hypotheses.org/2408" rel="bookmark">On Commissioning the Musical Avant-garde | by R. Adlington</a> </h1> <div class="comments-link"> <a href="https://ppnm.hypotheses.org/2408#respond"><span class="leave-reply">Leave a reply</span></a> </div> </header> <div class="entry-content"> <p>The Vienna workshop ‘Historical Perspectives on Musical Commissions’ offered a reminder of the array of rationales that have motivated individuals and organisations to commission musical works. Listening to the workshop presentations from my disciplinary perspective as a historian of late twentieth-century modernist and avant-garde music, I found it striking that aesthetic considerations – specific styles, compositional techniques, and attitudes to musical language – by no means predominated as a motivation for patrons.</p> <a href="https://ppnm.hypotheses.org/2408#more-2408" class="more-link">Continue reading <span class="meta-nav">→</span></a> </div> <footer class="entry-meta"> This entry was posted in <a href="https://ppnm.hypotheses.org/category/general" rel="category tag">General</a>, <a href="https://ppnm.hypotheses.org/category/workshop-vienna-2024" rel="category tag">Workshop Vienna 2024</a> and tagged <a href="https://ppnm.hypotheses.org/tag/commission" rel="tag">commission</a> on <a href="https://ppnm.hypotheses.org/2408" title="13:53" rel="bookmark"><time class="entry-date" datetime="2024-08-23T13:53:38+02:00">23/08/2024</time></a><span class="by-author"> by <span class="author vcard"><a class="url fn n" href="https://ppnm.hypotheses.org/author/adlington" title="View all posts by Robert Adlington" rel="author">Robert Adlington</a></span></span>. </footer> </article> <article id="post-2355" class="post-2355 post type-post status-publish format-standard hentry category-workshop-vienna-2024 tag-commission"> <header class="entry-header"> <h1 class="entry-title"> <a href="https://ppnm.hypotheses.org/2355" rel="bookmark">Commissioning Soundalikes. What if clients want imitation instead of originality? |by K. Hondros</a> </h1> <div class="comments-link"> <a href="https://ppnm.hypotheses.org/2355#respond"><span class="leave-reply">Leave a reply</span></a> </div> </header> <div class="entry-content"> <p>Have you ever heard of “soundalikes”? They are music products often found in highly commercial areas of the music business, such as advertising, and are specifically created to sound extremely similar to already existing pieces of music. Soundalikes are problematic. They do not follow the typical intrinsic motivation of music creation to be original and to strive for novelty, it is difficult to perceive their production as “creative” or “creativity,” and they strongly suggest that copyright infringement is always imminent when a soundalike is commissioned and subsequently composed.</p> <a href="https://ppnm.hypotheses.org/2355#more-2355" class="more-link">Continue reading <span class="meta-nav">→</span></a> </div> <footer class="entry-meta"> This entry was posted in <a href="https://ppnm.hypotheses.org/category/workshop-vienna-2024" rel="category tag">Workshop Vienna 2024</a> and tagged <a href="https://ppnm.hypotheses.org/tag/commission" rel="tag">commission</a> on <a href="https://ppnm.hypotheses.org/2355" title="10:27" rel="bookmark"><time class="entry-date" datetime="2024-08-12T10:27:43+02:00">12/08/2024</time></a><span class="by-author"> by <span class="author vcard"><a class="url fn n" href="https://ppnm.hypotheses.org/author/hondros" 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