Jablonski, Marek (Michael)

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ES (M. Viale-Ferrero); GroveO (M. Boetzkes) [incl. further bibliography]

S. Maffei: ‘Elogio del signor abate D. Filippo Juvara’, Osservazioni letterarie, iii (Verona, 1738), 193–204

L. Masini: La vita e l’arte di Filippo Juvarra (Turin, 1920)

L. Rovere, M. Viale and E.A. Brinckmann: Filippo Juvarra (Milan, 1937)

M. Viale: Mostra di Filippo Juvarra architetto e scenografo, Università degli studi di Messina, 1966 (Turin, 1966) [exhibition catalogue]

M. Viale-Ferrero: Filippo Juvarra scenografo e architetto teatrale (Turin, 1970) [with catalogue of stage designs]

H.A. Millon: Filippo Juvarra (Rome, 1984)


Juzeliūnas, Julius

(b Čepolė Zeimelìs region, 20 Feb 1916). Lithuanian composer. He graduated from Gruodis’s class at the Kaunas Conservatory (1948) and completed postgraduate studies at the Leningrad Conservatory in 1952. From that year he taught composition at the Vilnius Conservatory, where he was made professor and doctor of art criticism. His early works such as the first two symphonies and the ballet Ant marìų kranto, on the life of Lithuanian fishermen -are neo-romantic, but the mature music shows a combination of national elements with new techniques. In the development of his orchestral and harmonic writing, the Afrikietiški eskizai are particularly important; these form a five-part symphonic cycle, freely using Congolese melodies to create pictures of African nature and life; the harmonies are constructed predominantly from 4ths and 2nds. Baroque forms are taken up in the Concerto for strings and in the Concerto for organ, violin and strings; the latter brings together virtuoso solo parts, clearcut structure and laconic expression. A philosophical deepening in Juzeliūnas’s art began with the vocal symphonic poem Pelenų lopšinė, concerning the tragedy of the Lithuanian village of Pirčiupis, a victim of Nazi atrocities. His mature works, notably the Third Symphony, employ an original modal-diatonic harmonic system, set out in detail in K voprosu o stroyenii akkorda (‘On the question of chord structure’; Kaunas, 1972). This system divides the 12 pitch classes into groups of three, corresponding to characteristic complexes of Lithuanian folk melody. Transformations and combinations of these trichord cells form the basis of a composition; the principal harmonic intervals are 4ths and 5ths. In 1966 Juzeliūnas was made a People’s Artist of the Lithuanian SSR.


(selective list)

Stage: Ant marių kranto [On the seashore], ballet, 1953; Sukilėliai [The rebels] (opera, V. Mykolaitis-Putinas), 1957; Zaismas [The game] (opera, after Dürrenmatt), 1967–8

Orch: Sym. no.1, 1948; Sym. no.2, 1949; Heroinė poema [Heroic Poem], 1950; Passacaglia, 1961–2; Afrikietiški eskizai [African sketches, 1962; Conc., org, vn, str, 1963; Conc., str, 1964; Conc. grosso, 1966

Vocal: Conc., T, orch, 1955; Pelenų lopšinė [Lullaby of ashes] (J. Marzinkevičius), 1v, chorus, orch, 1962–3; Sym. no.3 Žmogaus lyra [Lyre of man] (E. Meželaitis), B, chorus, orch, 1964–5; 8 sutartinės [8 Lithuanian folk sutartinės], 1v, pf, 1969; Sonata ‘Melika’, lv, org, 1973; Cantus magnificat, chorus, orch, 1979

Inst: 3 str qts, 1962, 1966, 1972; Sonata, ob, cl, 1971; Sonata, vn, pf, 1972; Conc., org, n.d.

Principal publishers: Muzïka, Sovetsky kompozitor, Vaga


V. Karpavičius: ‘Uzpech litovskovo kompozitora: o vokalnom kontserta Yu. Yuzelyunasa’, SovM (1956), no.1, p.23

‘Juzeliūnas, Julius’, Encyclopedia Lituanica, ii (Boston, 1972), 575



See Jigg.

Jyske Opera.

Opera company founded in 1947 in Århus.

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