Choral Music of the Post-War Avant-Garde
Italy, Germany, France
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Beschreibung
This book offers the first comprehensive study of choral composition within the second-wave avant-garde. Focusing on composers such as Luigi Nono, Pierre Boulez, Karlheinz Stockhausen, Luciano Berio, Mauricio Kagel, György Ligeti, Iannis Xenakis, and Bruno Maderna, it examines how experimental approaches transformed modern choral writing and expanded its expressive possibilities.
The study explores the relationship between words and music through textural structure and vocal articulation techniques, presenting a methodological approach developed through the author’s own performance practice. It highlights how avant-garde composers redefined traditional choral forms through innovative musical and vocal experimentation.
Alexander Ryzhinsky is Rector of the Gnesin Russian Academy of Music, Doctor of Arts, Professor, and Chair of the Academic Board. A specialist in choral conducting and contemporary choral music, he directs the Choral Conducting Section and teaches at the Academy’s Choral Conducting Department.
In 2000, he entered the Gnesin Russian Academy of Music, graduating in 2005 as an academic choral conductor under Professor Elena Baykova. He completed postgraduate studies at the Academy under Professor Tatiana Tsaregradskaya. In 2008, he defended his dissertation on Arnold Schoenberg’s choral music, and in 2016 completed his Doctor of Arts dissertation on the development of Italian choral music in the works of Luigi Nono, Bruno Maderna, and Luciano Berio.
Since 2009, he has taught conducting, vocal ensemble, contemporary choral notation, and textural analysis at the Gnesin Russian Academy of Music, while also lecturing on the history of choral and contemporary music.
In 2010, he founded the contemporary music ensemble Altro Coro, dedicated to promoting twentieth- and twenty-first-century choral and vocal repertoire. Under his direction, the ensemble has performed works by composers including Arnold Schoenberg, Sofia Gubaidulina, Arvo Pärt, Luciano Berio, Karlheinz Stockhausen, John Tavener, Luigi Nono, Pascal Dusapin, and Alfred Schnittke, many of them receiving their first performances in Russia. Through his work as a conductor, teacher, and scholar, Ryzhinsky has made significant contributions to the study and performance of contemporary choral music.
This book offers the first comprehensive study of choral composition within the second-wave avant-garde. Focusing on composers such as Luigi Nono, Pierre Boulez, Karlheinz Stockhausen, Luciano Berio, Mauricio Kagel, György Ligeti, Iannis Xenakis, and Bruno Maderna, it examines how experimental approaches transformed modern choral writing and expanded its expressive possibilities.
The study explores the relationship between words and music through textural structure and vocal articulation techniques, presenting a methodological approach developed through the author’s own performance practice. It highlights how avant-garde composers redefined traditional choral forms through innovative musical and vocal experimentation.
Highlights how music historical information can be put to use by performing musicians Studies 20th cenury European choral composition in the context of the second-wave avant-garde Builds on author's decades of experience conducting and performing the compositions studied
Autor*in
Alexander Ryzhinsky
Themen in »Choral Music of the Post-War Avant-Garde«
Avant-Garde Choral Composition Darmstadt Verbal Text and Music Vocal Articulation Choral Music 20th Century Music