Список произведений Филиппа Моисеевича Гершковича

Материал из Wikilivres.ru
Перейти к навигацииПерейти к поиску

Список произведений Филиппа Моисеевича Гершковича / List of works by Philip Herschkowitz
Википроекты:  Wikipedia-logo.png Википедия 


Филипп Моисеевич Гершкович (нем. Philipp Herschkowitz, рум. Filip Herşcovici, также: Philip Herschkowitz, Filipp Gershkovich); 7 сентября 1906, Яссы, Румыния — 5 января 1989, Вена) — австрийский, румынский и российский композитор, педагог, теоретик музыки, наследник и пропагандист «новой венской школы».

Произведения

Музыкальные композиции

1929 Вальс для ф-п. (предполагалась в качестве части более развёрнутой композиции)

1930 Die Tulpen (Тюльпаны). Мелодрама по Петеру Альтенбергу/Melodrama after Peter Altenberg (проект)

1930 Фуга для 14 сольных инструментов (flute, oboe, clarinet, bass clarinet, bassoon, alto saxophone, horn, trumpet, harp, percussion, violin, viola, cello, double bass and piano (предполагалась в качестве части более развёрнутой композиции)

1932 Wie des Mondes Abbild zittert (Генрих Гейне/Heinrich Heine) для голоса и ф-п.

1947 Весенние цветы (Spring Flowers) для ф-п.

1950-е Каприччио (Capriccio), 2 ф-п. ‘Советский композитор, Москва, 1957

1960-е Три пьесы для ф-п. (Drei Klavierstücke)
Nos. 2–3 arranged as Kleine Kammer-Suite for 2 clarinets, violin, viola, cello and piano, in 1970s

1960-е Fünf Klavierstücke (Пять пьес для ф-п.)

1962 Vier Lieder (Четыре песни, Пауль Целан/Paul Celan для меццо-сопрано и ф-п.
I. Schlaf und Speise
II. Espenbaum
III. Der uns die Stunden zählte
IV. Leuchten

1960s «Клеймо» (Brandmal/Stigma) (Paul Celan/Пауль Целан) для голоса и ф-п.

1964 Три пьесы (Drei Stücke/Three Pieces) [Violoncellostücke mit Klavierbegleitung] for cello and piano [auf dem Autograf „1964“ überklebt]
I. Allegretto un poco sostenuto, ma quasi rubato
II. Andante
III. Allegro

1965–6 Три песни на стихи Иона Барбу (3 lieduri/Songs, Ion Barbu) для голоса и ф-п.
I. Margini de seară (On the Edge of Evening)
II. Grup (Group)
III. Lemn sfînt (Holy Wood)

1968 Четыре пьесы (Vier Stücke/Four Pieces) для виолончели и ф-п.
I. Andante con moto, ma tranquillo
II. Allegretto quasi andantino, un poco rubato
III. Andante
IV. Allegro

1969 Четыре пьесы для ф-п. (Klavierstiück/Piano Piece in 4 movements)
I. Moderato (Andantino)
II. Allegretto moderato tranquillo
III. Poco lento
IV. Allegretto giusto

1971 «Клеймо» (Brandmal/Stigma) for mezzo-soprano, flute, 2 clarinets, piano in 4 hands, percussion, 6 violas and double bass

нач. 1970-х Espenbaum (Paul Celan) for mezzo-soprano, flute, 2 clarinets, percussion, piano in 4 hands, 6 violas and double bass

нач. 1970-х Leuchten (Paul Celan) for mezzo-soprano, 2 flutes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, piano, 4 violins, 2 violas and 2 celli

нач. 1970-х Четыре песни на стихи Пауля Целана (Vier Lieder/Four Songs, Paul Celan, for mezzo-soprano, 2 flutes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, small drum, piano, 4 violins, 2 violas and 2 celli) для голоса и камерного оркестра
I. Leuchten
II. Der uns die Stunden zählte
III. Schlaf und Speise
IV. Espenbaum

1970s Malaya kamernaya syuita (A Small Chamber Suite) for 2 clarinets, violin, viola, cello and piano
I. Lento non troppo
II. Allegretto poco rubato

1979 Малая камерная сюита в трех частях (Malaya kamernaya syuita/A Small Chamber Suite) for mezzo-soprano, 2 clarinets, violin, 2 violas, cello and Piano) для меццо-сопрано, скрипки, двух альтов, виолончели, двух кларнетов и фортепьяно на стихи Ф. Г. Лорки, Р. М. Рильке.
IV. Moderato
V. Derevo pesen (A Song Tree, Frederico García Lorca)
III. Dama pered zerkalom (The Lady In Front of the Mirror, Rainer Maria Rilke)

1983 Мадригалы (Madrigaly/Madrigals) для голоса и камерного ансамбля на стихи Р. М. Рильке, Ф. Г. Лорки, Г. Апполинера.
I. Dama pered zerkalom (The Lady In front of the Mirror, Rainer Maria Rilke) for mezzo-soprano, 2 clarinets, violin, viola, cello and piano
II. Alkhimik (Alkhemist, Rainer Maria Rilke) for mezzo-soprano, 2 clarinets, bass clarinet, 2 violas, 2 celli and piano
III. Derevo pesen (A Song Tree, Frederico García Lorca) for mezzo-soprano, 2 clarinets, 2 violas and piano
IV. Osen’ (Automne, Guillaume Apollinaire) for mezzo-soprano, 2 clarinets, violin, viola, cello and piano

1980s Beethoven’s String Quartet in F Major (Hess 34) after his Ninth Piano Sonata (Op.14/1), arranged for string orchestra.

1987-8 Drei Gesänge mit Begleitung eines Kammerensembles (Three Songs with Chamber-Ensemble Accompaniment)
I. Arbol de canción (A Song Tree, Frederico García Lorca) for mezzo-soprano, 2 clarinets, 2 violas and piano
II. Dame vor dem Spiegel (The Lady In Front of the Mirror, Rainer Maria Rilke) for mezzo-soprano, 2 clarinets, violin, viola, cello and piano
III. «Клеймо» (Brandmal/Stigma) for mezzo-soprano, flute 2 clarinets, bass clarinet, percussion, 2 violins, 4 violas, cello and piano

Writings


‘Tonal'nye istoki shyonbergovoi dodekafonii’ (The tonal sources of Schoenberg’s dodecaphony), in ‘Uchenye zapiski tartuskogo universiteta: trudy po znakovym sistemam’ (Tartu University Scholarly Notes: Studies in Semiotics), VI, Tartu, 1973, pp. 344–379, (Russian)

trans. in ‘Nuova Rivista Musikale Italiana’, VIII, pp. 540–578, 1974 (Italian)

trans. in ‘Istoria na muzikata na XX vek’, Muzika, Sofia, 1976, pp. 109-147 (Bulgarian)

‘Some Thoughts on Lulu’, in ‘The International Alban Berg Society Newsletter’, no. 7, 1978, p. 11 (English)
 
‘Ob odnoi inventsii Ioganna Sebastiana Bacha: k voprosu o proiskhozhdenii klassicheskoi venskoi sonatnoy formy’ (On an invention of Johann Sebastian Bach: to the problem of the genesis of Viennese classical sonata form), in ‘Uchenye zapiski tartuskogo universiteta: trudy po znakovym sistemam’ (Tartu University Scholarly Notes: Studies in Semiotics), XI, Tartu, 1979, pp. 44–70 (Russian)

‘Mahler and memories of War’ – some fragments from the memories and letters translated by Ghuzal Badamshina in ‘Tempo’ No.190 (September 1994), pages 23-25. (English)

‘O muzyke’ (‘On music’), books I–IV, ed. L. Herschkowitz, Moscow, 1991–7 (collected writings) (Russian, but some fragments in English and German), including:

‘Schubert’s song cycle Die schöne Müllerin’ (1960-61) II, pp. 265-269

‘Something about the types of a principal theme in a sonata form’ (1963-65) I, pp. 75-77

‘Uncollected musical thoughts’ (1963-66) I, pp. 323-326

‘Parallel fifths and octaves: the reasons of their prohibition’ (middle of 60s) III, pp. 339-340

‘Mozart and Beethoven’ (1967) I, pp. 165-173

<On Mozart’s piano sonatas > a series of essays (60-70s) III, pp. 61-184
‘The First Piano Sonata by Mozart’ (1967) III pp. 61-98

‘The slow movement of the First Sonata’ (early 70s) III, pp. 176-184
‘The tonal statistics of the cycles’ (second half of 60s – early 70s) III pp. 98-99, 112
‘Mozart. Sonatas’ (end of 60s – early 70s) III, pp. 100-136
‘Comparative, etc.’ <Notebook B [Notebook A has been lost]> (early 70s) III, pp. 137-176

<On form> (60s) III, pp. 5-6

‘Teaching of musical form’ (end of 60s) II, pp. 16-97

<On Beethoven> I-III

‘Beethoven’s paradoxes’ (end of 60s) I, pp.162-164

‘Beethoven’s creative work – the highest point of homophonic musical form’ (end of 60s) II, pp. 99-100

‘Beethoven’s Bach’ (first half of 70s) III, pp. 7-60

‘About one of the essential features of Beethoven’s creative development’ (80s) I, pp. 159-162

‘Proust and Beethoven’ (80s) I, pp.308-309

<On Beethoven’s piano sonatas> a series of essays (60-80s) I, II

<On the First Sonata> (1965-early 70s) II, pp. 125-128

‘The exposition of the First Piano Sonata by Beethoven (Unsystematized notes)’ I, pp. 95-99

‘The anatomy of the third movement of the First Piano Sonata by Beethoven’ I, pp. 79-95
‘Opus 2’ (1979) I, pp. 133-136
‘N.B.’ I, p. 137

<Notes on 3rd, 4th, 5th, 6th, 13th, 22nd, 23rd, 26th, 28th, 29th Piano Sonatas> I, pp. 100-129

‘Piano Sonatas by Beethoven. Uncollected notes (Still uncollected…)’ (1979) I, pp. 130-132
'Notable phenomena in Beethoven's music' (mostly about relations and parallelisms)’ I, pp. 137-138
‘Miscellanea on the super-cycle’ (80s) I, pp. 138-141
‘The analysis of “irregular” principal themes’ II, pp. 100-102
<On Beethoven’s piano sonatas Nos. 1-15 and 18> II, pp. 102-125
‘On the problem of Beethoven’s 21st Piano Sonata (second half of 60s) II, pp. 129-130

‘To Beethoven. On two-movement sonatas’ <on 23rd Sonata> II, pp. 116-120

‘About the principal theme of the First movement of Beethoven’s 27th Sonata’ (second half of 60s) II, pp. 130-131

‘Transitions in the First movements of Beethoven’s Piano Sonatas’ (March 1982) II, pp. 120-125

‘Rondo’ (second half of 80s) II, pp. 132-167

‘The real minuets’ I, p. 320-21

<On the 7th and 28th Sonatas> I, p. 321

‘Pathetique’ (1984) I, p. 321

<On Beethoven Kreutzer Sonata>
‘Notes on the Kreutzer Sonata’ I, pp. 248-254

‘About one of Beethoven’s tonal problems (Kreutzer Sonata)’ I version (second half of 80s) II, pp. 168-238

‘About one of Beethoven’s tonal problems (Kreutzer Sonata)’ II version (second half of 80s) III, p. 242-294

‘About one of Beethoven’s tonal problems (Kreutzer Sonata)’ III version (completed in 1988) I, pp. 255-304)

<On Beethoven’s string quartets> a series of essays (60-80s) I, pp. 143-145

<7th Quartet Op59/1, F Major) I, p. 145

‘An attempt to state the essence of the structure of the First movement of the 12th String Quartet by Beethoven Op.127, E-flat Major’ I, pp. 142-143

<15th Quartet Op.132, A Minor> I, pp. 143-144

<On Beethoven’s symphonies> a series of essays (60-80s) I, II

Formal and harmonic inversions in the Finale of the Third Symphony by Beethoven considered in relation to the general processes of development and the essence of musical structure (early 80s) I, pp. 146-159

‘Beethoven – Third Symphony, the first movement’ (70s) II, pp. 239-245

< On the Fifth Symphony> (1987) II, pp. 256-259

<On the Sixth Symphony> II, pp. 260-264

‘Beethoven. Seine fünfte Symphonie anders betracht’ (1988) II (German) pp. 245-256

‘Modulation’ (after 1966) I, pp. 306-307

‘On “programmatic” music’ (end of 60s) I, pp. 318-319

‘Webern and his teaching of form’ (end of 60s) I, pp. 60-75

‘Augenlicht’ (60s-70s) III, pp.298-339

<On Mahler> a series of articles (60s-70s) I, II
On a song of young Mahler I, 175-178
Preliminary notes on Mahler’s works I, pp. 178-179
The First movement of his First Symphony (after 1965) I, pp. 179-182

Mahler’s Third Symphony, the First movement. The experiment of the research on Mahler’s harmony, form and writing (1963-64) I, pp. 182-186
Notes on Mahler’s works (1963-64) I, pp. 186-188
<On Mahler in general, and on his First and Fourth Symphonies > II, pp. 270-275

‘On an invention of Johann Sebastian Bach: to the problem of genesis of Viennese classical sonata form’ (1967-70s) I, pp. 190-213

<On Bach’s music> (60s-80s) III, pp. 185-241

‘F Minor Three-part Invention (No.9)’ (7-17 October 1967) III, pp. 237-241

‘Prelude in F Minor, WTK I’ (69-70) III, pp. 203-208
‘Fantasy and Fugue in G Minor for organ (J.S.B.)’ (after 1975) III, pp. 226-231

‘Bach, Fugue in C-sharp Minor’ <WTK I> (80s) III, pp. 185-193
‘Some notes on the Prelude in D Major, WTK I’ (80s) III, pp. 194-195
‘Fugue in D Minor’ <WTK I> (80s) III, pp. 196-201
‘Prelude in E-flat Major, WTK I’ (80s) III, pp. 201-202
‘Fugue in E-flat Major’ <WTK I> (80s) III, p. 202
‘Fugue in B Minor’ <WTK I> (second half of 80s) III, pp. 208-223
‘Fugue in F Minor, WTK II’ (1983) III, pp. 223-226

‘Ich will den Kreuuzstab gerne Tragen (Cantata No.56), the first movement’ (80s) III, pp. 231-236

<Notes on polyphony> (1970-71) II, pp. 5-15

‘The tonal sources of Schoenberg’s dodecaphony’ (beg. of 70s) I, pp. 13-45

‘Dodecaphony and tonality’ (1972) I, pp. 214-246

‘Some thoughts on Lulu’ (70s) III, pp. 295-297 (English)

<On Schoenberg’s Violin Concerto> a series of essays (1979-80s) II, pp. 277-304

‘An attempt to keep a diary on the research of Schoenberg’s Violin Concerto’ (1982) II, pp. 277-279
‘Opus 36. Schönberg’ (80s) II, pp. 279-304

‘Development of form as a whole; development of the principal theme’ (beg. of 80s) I, pp. 45-60

‘Miscellanea on super-cycle’ (80s) I, pp. 138-141

‘To music and out of music’ I, p. 320

‘Agricultural ideas’ (second half of 80s) I, p. 315-317

‘Memories on Alban Berg’ (1988) I, pp. 337-343.

‘An der Poliphonie’ (1988) III, 340-341 (German)

<Notes, Memoirs, Letters> (60s-80-s) I, pp. 12, 78, 174, 189, 247, 305-350; II, pp. 98, 276

Bibliography

  • ‘Herschkowitz Encountered’: Memoirs by Victor Suslin, Gerard McBurney and David Drew in Tempo, No.173, London, June 1990, pp. 39-43 (English)
  • Alan Ho and Dmitri Feofanov, Biographical Dictionary of Russian/Soviet Composers, pp. 168-169, Conneticut / London 1989 (English)
  • Yuri Kholopov: ‘V Poiskakh utrachennoi sushchnosti muzyki: Filipp Gershkovich’ (‘Searching for the lost essence of Music: Philipp Herschkowitz’) in the collection: ‘Music From The Former USSR’, vol. 1, Kompozitor, Moscow 1994, pp.24-39 (Russian)

trans. ‘Philipp Gershkovich’s search for the lost essence of music’ in ‘Underground Music from the Former USSR’, ed. By Valeria Tsenova, Amsterdam, Harwood Academic Publishers 1997 (English)

also in “Ex oriente…– III” Studia Slavica Musicologica, Band 31, Ernst Kuhn, Berlin 2003 (English)

  • Hanspeter Krellmann: ‘Anton Webern in Selbstzeugnissen und Bilddokumenten’, Hamburg, 1975 (German)
  • Klaus Linder: ‘Philipp Herschkowitz: Drei Gesänge’, Schüler der Wiener Schule, ed. Internationale Musikforschungsgesellschaft, Vienna, 1995, pp. 80–85 (German)
  • Klaus Linder: Herschkowitz, Philip – article in Grove’s Dictionary of Music (English)
  • Hermann Scherchen: ‘Aus meinem Leben, Ruβland in jenen Jahren: Erinnerungen’, ed. E. Klemm, Berlin, 1984 (German)
  • Alfred Schnittke: ‘Pamyati Filippa Moiseyevicha Gerschkovicha’ (‘In memory of Philipp Herschkowitz’) in ‘Besedy s Alfredom Schnittke’ (‘Conversations with Alfred Schnittke’), compilation by Alexander Ivashkin, RIK ‘Kultura’, Moscow 1994, pp. 215-216, (Russian)
  • Dmitri Smirnov: ‘Iz knigi o Gershkoviche’ (‘From a book on Herschkowitz’) – in ‘Moskovskij Muzykoved’, issue 1, Muzyka, Moscow, 1990, pp. 213-232 (Russian)
  • Dmitri Smirnov: ‘Geometr zvukovykh kristallov’ (‘Geometer of sound crystals’) – in ‘Sovetskaya Muzyka’ No.3, pp. 74-81 and No.4, Moscow, 1990, pp. 84-93 (Russian)
  • Dmitri Smirnov: ‘A Visitor from an Unknown Planet: Music in the Eyes of Filipp Herschkowitz’ translated by Rosamund Bartlett. Published in ‘Tempo’, No.173, London, June 1990, pp. 34-38 (English)

also in ‘Shostakovich and the Consequences’. Studia Slavica Musicologica, Band 32, (Schostakowitsch-Studien, Band 6), Ernst Kuhn, Berlin 2003, pp. 149-159 (English)

also ‘S nevedomoi planety’ (‘From an unknown planet: On Philipp Herschkowitz’) (shorter version) – ‘Moskovskij Komsomolets’, Moscow, 21 March 1991, p. 4 (Russian)