Jablonski, Marek (Michael)

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Arts du spectacle et histoire des idées: recueil offert en hommage à Jean Jacquot (Tours, 1984) [incl. list of writings]


Jadassohn, Salomon

(b Breslau [now Wrocław], 13 Aug 1831; d Leipzig, 1 Feb 1902). German composer, theorist, teacher and conductor. He studied first in Breslau and later at the Leipzig Conservatory. He left Leipzig to study the piano with Liszt in Weimar (1849–52); there he heard Wagner's Lohengrin, which greatly impressed him. After returning to Leipzig, he studied with E.F. Richter and privately with Moritz Hauptmann. Jadassohn taught the piano in Leipzig, then conducted the synagogue choir (1865), the Psalterion choral society (1866) and the Musikverein Euterpe concerts (1867–9). In 1871 he was appointed teacher of harmony, counterpoint, composition and piano at the conservatory, and in 1893 named royal professor. His students included Busoni, George Chadwick, Delius, Grieg, Karg-Elert and Felix Weingartner.

Although successful as a performer, theorist and teacher, Jadassohn considered himself primarily a composer. He wrote works for piano, chamber ensemble, orchestra, chorus and solo voices, comprising over 140 opus numbers, but was perhaps best known for his canonic compositions: the Serenade for Orchestra op.35, two serenades for piano opp.8 and 125, the ballet music op.58 and the vocal duets opp.9, 36, 38 and 43. He also edited and arranged works by Bach, Brahms, Chopin, Mendelssohn, Schubert, Schumann, Wagner and others.

Jadassohn's numerous theory texts deal with harmony, counterpoint, form, instrumentation, analysis, pedagogy, melodic theory, figured bass and ear training (see Damschroder and Williams, 1990). The five volumes of Musikalische Kompositionslehre (1883–9) appeared in several editions up to the 1920s. The Lehrbuch der Harmonie (1883) shows the practical aim of Jadassohn's writings. It draws on Gottfried Weber's step theory, as transmitted through the practical manuals of Friedrich Schneider and E.F. Richter. It most resembles Richter's harmony manual (1853), although – because of Jadassohn's exposure to the music of Liszt and Wagner – it goes further in its discussions of chromaticism and enharmonicism. Jadassohn states that

any progression may be sanctioned in which one or two tones common to the two chords are held in the same part or parts. But even without this natural bridge of a sustained tone, the progression may be good when the several parts are led in true vocal style from the tones of the first chord to those of the second.

In analysing Tristan und Isolde (in Melodik und Harmonik bei Richard Wagner, 1899), Jadassohn emphasized chordal meanings, indicating 11 key changes in 12 bars.

Jadassohn's treatise on form asserts that individual musical ideas shape their structure. Formal types are listed and the variant possibilities in their realization are illustrated with examples mainly from the works of Beethoven, whom he credited with many innovations.

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