skip to main content
Goldsmiths - University of London
  • Students, Staff and Alumni
  • Search Students, Staff and Alumni
  • Study
  • Course finder
  • International
  • More
  • Search
  • Study
  • Courses
  • International
  • More
 
Main menu

Primary

  • About Goldsmiths
  • Study with us
  • Research
  • Business and partnerships
  • For the local community
  • Academic departments
  • News and features
  • Events
  • Give to Goldsmiths
Staff & students

Staff + students

  • New students: Welcome
  • Students
  • Alumni
  • Library
  • Timetable
  • Learn.gold - VLE
  • Email - Outlook
  • IT support
  • Staff directory
  • Staff intranet - Goldmine
  • Graduate School - PGR students
  • Teaching and Learning Innovation Centre
  • Events admin
In this section

Breadcrumb navigation

  • Events
    • Degree Shows
    • Black History Month
  • Calendar
Lecture

Music Research Series: George Kovalevsky, Russian Institute for Art History, St Petersburg


4 Dec 2017, 5:00pm - 6:30pm

RHB 274, Richard Hoggart Building

Event overview

Cost Free
Department Music , Centre for Russian Music
Contact J.Bernard(@gold.ac.uk)
020 7919 7645

A Phenomenon of Hidden Word and Numbers in Alexander Knaifel's "Chapter Eight": To the Problem of Music interpretation of Biblical Texts

Alexander Knaifel is one of the most special composers of our time, and one of the brightest among them. The largest part of his compositions (the last updated list includes 96 of them) hardly could be identified within the existing system of music genres. Thus, musicologists will have a long time arguing which stylistic trends his oeuvre could be a part of. Alexander Knaifel's music, which was under an unofficial ban, would receive high international recognition in the 1980s and 90s; and since then it would be performed on prestigious festivals altogether with the music of Luigi Nono, György Kurtág, Helmut Lachenmann and other masters of avant-garde. Knaifel's “Chapter Eight” for a temple, choruses and cello is one of the central and most mysterious Knaifel's compositions. It was created in a very short time in the beginning of 1993 and was dedicated to Slava Rostropovich, who had performed in it on its premiere in Washington D.C. in April 1995.

“Chapter Eight” is based on the book from the Old Testament entitled "Song of Songs". The composer, however, does not make a soundtrack for the sacred text, but creates his own construction, in which the lyrics and digits are given the role that defines the form of the composition. “Chapter Eight” sounded several times in the temples of European cities; and every time -- notwithstanding the visible meditativeness and seemed tranquility of unfolding of the music -- the peculiar mood was created in the concert hall, the mood that is related to a different perception of time and space. The paper will consider the principle of author's work with the sacred text in detail -- which is represented in its heard and concealed aspect, -- and also with the digital rows that are related to the text and define a dramaturgy of the entire composition.

Dates & times

Date Time Add to calendar
4 Dec 2017 5:00pm - 6:30pm
  • apple
  • google
  • outlook

Accessibility

If you are attending an event and need the College to help with any mobility requirements you may have, please contact the event organiser in advance to ensure we can accommodate your needs.

Event controls

  • About us
  • Accessibility statement
  • Contact us
  • Cookie use
  • Find us
  • Copyright and disclaimer
  • Jobs
  • Modern slavery statement
Admin login
  • Twitter
  • Linkedin
  • TikTok
  • Instagram
  • YouTube
© Goldsmiths, University of London Back to top