Résumés
Abstract
This article includes comments on some of Cherney’s compositions, and an account of his work on Weinzweig: Essays on His Life and Music (Waterloo: Wilfrid Laurier University Press, 2011), of which he and John Beckwith were the co-editors. Cherney’s approach to composing equips him for dealing with a wide range of musical questions, and his exceptional command of both German and Jewish history (as evidenced, for example, in his University of Toronto dissertation on the Bekker-Pfitzner controversy of 1919, and in his essay on the sources of Weinzweig’s radicalism in the 2011 publication) has in turn suggested avenues of exploration in his creative work. Further observations touch on his gift for parody and musical in-jokes.
Résumé
Cet article inclut des commentaires sur certaines compositions de Cherney et un compte rendu de sa contribution à l’ouvrage intitulé Weinzweig: Essays on His Life and Music (Waterloo, Wilfrid Laurier University Press, 2011), dont il a été coéditeur en collaboration avec John Beckwith. Son approche de la composition prépare bien Cherney au traitement d’un vaste éventail de questions musicales, tandis que sa connaissance poussée de l’histoire de l’Allemagne et des Juifs (que révèlent par exemple sa dissertation présentée à l’Université de Toronto sur la controverse Bekker-Pfitzner de 1919 et son essai sur les sources du radicalisme de Weinzweig incluse dans la publication de 2011) révèle des pistes d’exploration dans son travail de création. D’autres observations portent sur son don pour la parodie et les blagues musicales pour initiés.
Veuillez télécharger l’article en PDF pour le lire.
Télécharger
Parties annexes
Biographical note
John Beckwith, composer, music educator, writer, and editor, was born in Victoria in 1927. He received his musical education in Toronto (1945–50) and Paris (1950–2). He was appointed to the Faculty of Music, University of Toronto, in 1952 and served as the dean 1970–77 and as the first director of its Institute for Canadian Music from 1985 until his early retirement in 1990. He has written more than 160 compositions, three books, and many articles on music.
Bibliography
- Beckwith, John. 1975. “Music Criticism.” Globe and Mail, 7 October.
- Beckwith, John, and Brian Cherney, eds. 2011. Weinzweig: Essays on His Life and Music. Waterloo, ON: Wilfrid Laurier University Press.
- Cherney, Brian. 1973. “The Bekker-Pfitzner Controversy (1919–1920): Its Significance for German Music Criticism during the Weimar Republic (1919–1932).” PhD diss., University of Toronto.
- Cherney, Brian. 1975. Harry Somers. Canadian Composers / Compositeurs Canadiens, I. Toronto: University of Toronto Press.
- Cherney, Brian. 2002. Die klingende Zeit (score). Saint-Nicolas, QC: Doberman-Yppan.
- Kraglund, John. 1975. “A Theme Lost in Pedantry.” Globe and Mail, 27 September.
- MacKay, Gillian. 2006. “A New Composition for Wind Ensemble.” Canadian Music Educator 47 (4): 10.
- Middleton, Neil. 2008. “Hidden Meaning in Brian Cherney’s Die klingende Zeit.” In Compositional Crossroads: Music, McGill, Montreal, ed. Eleanor Stubley, 227–45. Montreal and Kingston: McGill-Queen’s University Press.