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Performers as Patrons of New Music

<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" > <channel> <title>Performers as Patrons of New Music</title> <atom:link href="https://ppnm.hypotheses.org/feed" rel="self" type="application/rss+xml" /> <link>https://ppnm.hypotheses.org</link> <description>Conditions - Collaborations - Impacts</description> <lastBuildDate>Mon, 10 Feb 2025 14:18:38 +0000</lastBuildDate> <language>en-US</language> <sy:updatePeriod> hourly </sy:updatePeriod> <sy:updateFrequency> 1 </sy:updateFrequency> <generator>https://wordpress.org?v=6.7.2</generator> <item> <title>“ps – How about the Sibelius concerto occasionally?” &#124; by T. Wozonig</title> <link>https://ppnm.hypotheses.org/2747</link> <comments>https://ppnm.hypotheses.org/2747#respond</comments> <dc:creator><![CDATA[Thomas Wozonig]]></dc:creator> <pubDate>Mon, 10 Feb 2025 14:18:37 +0000</pubDate> <category><![CDATA[Workshop Vienna 2024]]></category> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=2747</guid> <description><![CDATA[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 The Creative Labor of Music Patronage in Interwar France, was defined as “premeditated collaborations between patrons and composers to produce new music,” I had to adapt some [&#8230;]]]></description> <wfw:commentRss>https://ppnm.hypotheses.org/2747/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>The Creative Process of Ernst von Dohnányi&#8217;s American Rhapsody (op. 47) &#124; by I. Kovács</title> <link>https://ppnm.hypotheses.org/2637</link> <comments>https://ppnm.hypotheses.org/2637#respond</comments> <dc:creator><![CDATA[Ilona Kovács]]></dc:creator> <pubDate>Thu, 14 Nov 2024 08:17:37 +0000</pubDate> <category><![CDATA[Case Studies]]></category> <category><![CDATA[Workshop Vienna 2024]]></category> <category><![CDATA[commission]]></category> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=2637</guid> <description><![CDATA[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 [&#8230;]]]></description> <wfw:commentRss>https://ppnm.hypotheses.org/2637/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>Music for Commissions, Competitions, and Requests: Béla Bartók and musical patronage &#124; by Zs. Németh</title> <link>https://ppnm.hypotheses.org/2556</link> <comments>https://ppnm.hypotheses.org/2556#respond</comments> <dc:creator><![CDATA[Zsombor Németh]]></dc:creator> <pubDate>Wed, 02 Oct 2024 09:01:37 +0000</pubDate> <category><![CDATA[Case Studies]]></category> <category><![CDATA[Workshop Vienna 2024]]></category> <category><![CDATA[commission]]></category> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=2556</guid> <description><![CDATA[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 [&#8230;]]]></description> <wfw:commentRss>https://ppnm.hypotheses.org/2556/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>On Commissioning the Musical Avant-garde &#124; by R. Adlington</title> <link>https://ppnm.hypotheses.org/2408</link> <comments>https://ppnm.hypotheses.org/2408#respond</comments> <dc:creator><![CDATA[Robert Adlington]]></dc:creator> <pubDate>Fri, 23 Aug 2024 11:53:38 +0000</pubDate> <category><![CDATA[General]]></category> <category><![CDATA[Workshop Vienna 2024]]></category> <category><![CDATA[commission]]></category> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=2408</guid> <description><![CDATA[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. That this came as a surprise to me probably reflects how the [&#8230;]]]></description> <wfw:commentRss>https://ppnm.hypotheses.org/2408/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>Commissioning Soundalikes. What if clients want imitation instead of originality? &#124;by K. Hondros</title> <link>https://ppnm.hypotheses.org/2355</link> <comments>https://ppnm.hypotheses.org/2355#respond</comments> <dc:creator><![CDATA[Konstantin Hondros]]></dc:creator> <pubDate>Mon, 12 Aug 2024 08:27:43 +0000</pubDate> <category><![CDATA[Workshop Vienna 2024]]></category> <category><![CDATA[commission]]></category> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=2355</guid> <description><![CDATA[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 [&#8230;]]]></description> <wfw:commentRss>https://ppnm.hypotheses.org/2355/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>Lady Gaga’s “Poker Face” as a Baroque Aria. Or: How a problem is solved by a singer as a commissioner &#124; by A. Flor</title> <link>https://ppnm.hypotheses.org/2239</link> <comments>https://ppnm.hypotheses.org/2239#respond</comments> <dc:creator><![CDATA[Alexander Flor]]></dc:creator> <pubDate>Thu, 01 Aug 2024 09:30:24 +0000</pubDate> <category><![CDATA[Case Studies]]></category> <category><![CDATA[Workshop Vienna 2024]]></category> <category><![CDATA[commission]]></category> <category><![CDATA[singer]]></category> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=2239</guid> <description><![CDATA[As a coloratura soprano, Simone Kermes specializes in the virtuosic music of the early eighteenth-century dramma per musica, primarily singing pieces composed by Georg Friedrich Handel, Antonio Vivaldi, and their lesser-known contemporaries. Critics often call her the “Lady Gaga of Baroque music,” a nickname she now embraces, skillfully navigating between the realms of Baroque and pop. What makes her fascinating is her ability to handle the demanding music of the eighteenth-century castrati and prime donne – while fearlessly embracing various elements of pop culture. [&#8230;]]]></description> <wfw:commentRss>https://ppnm.hypotheses.org/2239/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>Reflections on the International Workshop &#8220;Historical Perspectives on Musical Commission&#8221; &#124; by E. Reisinger</title> <link>https://ppnm.hypotheses.org/1957</link> <comments>https://ppnm.hypotheses.org/1957#respond</comments> <dc:creator><![CDATA[Elisabeth Reisinger]]></dc:creator> <pubDate>Wed, 19 Jun 2024 12:24:21 +0000</pubDate> <category><![CDATA[General]]></category> <category><![CDATA[Presentations]]></category> <category><![CDATA[Workshop Vienna 2024]]></category> <category><![CDATA[patronage]]></category> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=1957</guid> <description><![CDATA[On May 17, 2024, we welcomed colleagues from Austria, Germany, Hungary, the UK, and the US at the University of Music and Performing Arts Vienna (mdw) for focused exchange on the often neglected aspect of musical commissions. The speakers presented topics ranging from the early eighteenth century to the present and from Europe to North America. We discussed questions of hierarchy and power, the interaction of economic, political, and cultural agents, as well as the creative possibilities of the individual in collaborative constellations. Producing [&#8230;]]]></description> <wfw:commentRss>https://ppnm.hypotheses.org/1957/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>Performers as Producers &#124; by J. Stacher</title> <link>https://ppnm.hypotheses.org/1722</link> <comments>https://ppnm.hypotheses.org/1722#respond</comments> <dc:creator><![CDATA[Johanna Stacher]]></dc:creator> <pubDate>Thu, 25 Jan 2024 12:03:21 +0000</pubDate> <category><![CDATA[Case Studies]]></category> <category><![CDATA[Kurt Weill]]></category> <category><![CDATA[Lotte Lenya]]></category> <category><![CDATA[T.W. Adorno]]></category> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=1722</guid> <description><![CDATA[Let’s finish our time travel where we once started (Back to the Golden Twenties): In the interview with Lotte Lenya, the philosopher T. W. Adorno points out a central moment that was characteristic of the Golden Age in 1920s Berlin: You said, Lenya, [&#8230;] what role you played as an actress in the production of these works [Threepenny Opera and Rise and Fall of the City of Mahagonny]. Well, the fact that you were able to do this as an actress has to do [&#8230;]]]></description> <wfw:commentRss>https://ppnm.hypotheses.org/1722/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>Two Sylvias and a Surprising Discovery in New York &#124; by E. Reisinger</title> <link>https://ppnm.hypotheses.org/1518</link> <comments>https://ppnm.hypotheses.org/1518#respond</comments> <dc:creator><![CDATA[Elisabeth Reisinger]]></dc:creator> <pubDate>Thu, 19 Oct 2023 12:01:23 +0000</pubDate> <category><![CDATA[Case Studies]]></category> <category><![CDATA[harpsichord]]></category> <category><![CDATA[New York]]></category> <category><![CDATA[Sylvia Marlowe]]></category> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=1518</guid> <description><![CDATA[I&#8217;ve recently returned from my latest research trip to the United States, a trip with a truly extraordinary backstory. This time, my journey took me to Philadelphia to explore the holdings of the University of Pennsylvania (stay tuned for more details on that in an upcoming report), and then to New York, where a rather remarkable development reached its climax. The beginning of this story, however, takes us back to August 2022, when I was attending the congress of the International Musicological Society in [&#8230;]]]></description> <wfw:commentRss>https://ppnm.hypotheses.org/1518/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>From Vienna to Berlin &#124; by J. Stacher</title> <link>https://ppnm.hypotheses.org/1346</link> <comments>https://ppnm.hypotheses.org/1346#respond</comments> <dc:creator><![CDATA[Johanna Stacher]]></dc:creator> <pubDate>Mon, 04 Sep 2023 10:29:09 +0000</pubDate> <category><![CDATA[Case Studies]]></category> <category><![CDATA[Kurt Weill]]></category> <category><![CDATA[Lotte Lenya]]></category> <category><![CDATA[singer]]></category> <guid isPermaLink="false">https://ppnm.hypotheses.org/?p=1346</guid> <description><![CDATA[In some cases, life is mysterious. As I discovered that Lotte Lenya grew up in the same environment as I did, I wondered if my research had been coincidence or destiny (see my first post on Lenya: Back to the Golden Twenties). When I was riding the bike on a sunny spring day through Vienna’s fourteenth district, I traveled through time in two perspectives. First, I explored her birthplace, which was literally next door to the school I was attending. Furthermore, I spent some [&#8230;]]]></description> <wfw:commentRss>https://ppnm.hypotheses.org/1346/feed</wfw:commentRss> <slash:comments>0</slash:comments> </item> </channel> </rss>