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Corrigendum: Performance Perspectives in Jenő Hubay's Violin Concertos 勘误:胡拜小提琴协奏曲的表演视角
3区 艺术学 Q4 Arts and Humanities Pub Date : 2023-08-03 DOI: 10.1556/6.2023.00111
Lihua Pu
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引用次数: 0
György Cziffra's Life in Hungary (1921–1956) György Cziffra的匈牙利生活(1921–1956)
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00008
Máté Cselényi
Georges Cziffra (1921–1994) was one of the outstanding figures of Hungarian and international performing arts in the twentieth century. His adventurous life, career, fate, the virtuosity of his technical skills and his international fame have created a cult of his own, especially in recent years. However, his professional career and general biography have not yet been studied, and little to no literature has been written in the two and a half decades since his death. Thus, the reader/researcher can rely almost exclusively on his autobiography (Cannons and Flowers) and on personal reminiscences and anecdotes, which, as my research has shown, resemble a very limited extent of reality. My aim is to reconstruct and present an objective, fact-based biography in the current study, relying on the material of archives and other institutions and libraries I have collected, as well as on the complete contemporary digitized press material.
乔治·齐夫拉(1921–1994)是二十世纪匈牙利和国际表演艺术的杰出人物之一。他富有冒险精神的生活、职业生涯、命运、精湛的技术以及在国际上的名气,造就了他自己的崇拜,尤其是近年来。然而,他的职业生涯和一般传记尚未得到研究,在他去世后的25年里,几乎没有文学作品问世。因此,读者/研究人员几乎完全可以依赖他的自传(《大炮与花朵》)以及个人回忆和轶事,正如我的研究所表明的那样,这些回忆和轶事与现实的相似程度非常有限。我的目标是在当前的研究中,根据我收集的档案、其他机构和图书馆的材料,以及完整的当代数字化新闻材料,重建并呈现一本客观的、基于事实的传记。
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引用次数: 1
Béla Bartók and the Pro Arte Quartet Béla Bartók与艺术四重奏
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00011
Zsombor Németh
Béla Bartók's relationship with the Pro Arte Quartet was not as personal as the composer-pianist's relationship with the Waldbauer-Kerpely Quartet, the New Hungarian Quartet, or even the Kolisch Quartet. Professionally, however, it was equally fruitful. This study describes the relationship between the composer and the quartet, mainly based on the surviving correspondence between Bartók and the impresario Gaston Verhuyck-Coulon, and between Bartók and the Viennese publisher Universal Edition. It discusses in detail the circumstances surrounding the dedication of String Quartet no. 4, the commissioning of String Quartet no. 5, and the background to the surviving recordings of String Quartets nos. 1 and 5. It also takes stock of the plans that went up in smoke: the exclusive performance rights of String Quartet no. 3, a concerto for string quartet and orchestra, the studio recording of String Quartet no. 4, and the fact that the ensemble never met Bartók in person.
比拉克与职业的关系四方不一样的个人艺术composer-pianist与Waldbauer-Kerpely四方的关系,新匈牙利四重奏,甚至Kolisch四重奏。然而,在职业上,它同样硕果累累。本研究描述了作曲家和四重奏之间的关系,主要基于Bartók与经理Gaston Verhuyck-Coulon之间以及Bartók与维也纳出版商Universal Edition之间的幸存通信。它详细地讨论了第一号弦乐四重奏奉献的情况。第4号弦乐四重奏的调试。第五,以及现存的第一和第五弦乐四重奏录音的背景。它还盘点了那些化为泡影的计划:弦乐四重奏(String Quartet no.)的独家表演权。3、为弦乐四重奏和管弦乐队而作的协奏曲,弦乐四重奏的录音室录音。4、事实上,剧组从未见过Bartók本人。
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引用次数: 0
Performance Perspectives in Jenő Hubay's Violin Concertos 胡贝小提琴协奏曲的演奏视角
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00014
Lihua Pu
Jenő Hubay (1858–1937) attained his greatest stature as the founder of the Hungarian Violin School. Although Hubay's name is mostly mentioned in violin pedagogy, he was also a popular composer during his lifetime. He composed over 300 violin works, and his role as composer is underestimated unlike those of contemporaries such as Eugène Ysaÿe. The present paper focuses on the performance perspectives in Hubay's violin concertos, by examining the historical background of each concerto, followed by a systematic approach to violin and musical techniques. This includes guidelines for determining tempo, dynamics/dynamic planning, bowing/articulation, tempo rubato, and portamenti/vibrato to create a style of performance appropriate to Hubay's works.
胡拜(1858-1937)作为匈牙利小提琴学校的创始人而获得了最高的地位。虽然胡贝的名字在小提琴教学中被提及最多,但他一生也是一位受欢迎的作曲家。他创作了300多部小提琴作品,他的作曲家角色被低估了,不像同时代的作曲家尤格伦Ysaÿe。本文通过对胡贝小提琴协奏曲的历史背景的考察,以及对小提琴和音乐技巧的系统研究,重点探讨胡贝小提琴协奏曲的演奏视角。这包括确定节奏、动态/动态规划、弓形/发音、节奏节奏、组合/颤音的指导方针,以创造适合胡贝作品的演奏风格。
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引用次数: 0
Bálint Sárosi (1925–2022) in Memoriam Bálint Sárosi(1925–2022)在《回忆》中
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00009
Pál Richter
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引用次数: 0
A “Centaur” in Music and Genre: G. F. Handel's Parnasso in festa for Princess Anne's Wedding 音乐和流派中的“半人马”:G.F.亨德尔的帕纳索在安妮公主婚礼庆典上
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00015
Judit Zsovár
Parnasso in festa (HWV 73, 1734), George Frideric Handel's festa teatrale, composed for the wedding festivities of his royal pupil Princess Anne, is a neglected piece within his oeuvre, mostly because of its hybrid nature. The fact that a considerable portion of the work was adapted from the Oxford oratorio Athalia ought not to cloud our appreciation of the newly-composed parts, since this appropriation is best understood as an act of Athalia's “repatriation” to its patrons. As a musical “centaur,” Parnasso shows intriguing multi-layered ambiguities. Was the Janus-faced Handel (Apollo/Orpheus) lamenting the departure of his favorite, or was this a bitter-sweet celebration of an unwanted marriage? Dramatically, the focus falls on Apollo's and Orpheus's loss of their loved ones, but how does this fit together with the massive vocal domain of Carestini (Apollo) and Strada (Clio)? On the vocal side, Carestini was given the most virtuosic numbers, resulting in the musical polarization of the main roles. Anna Maria Strada, as a Muse, represented the pastoral side, while Carlo Scalzi (Orfeo) added plaintive pathetic arias to the palette. Nevertheless, harmonizing points both in Carestini's and Strada's musical style and vocal tone formed a “thread” that helped sew the diverse parts of the Parnasso-centaur together.
乔治·弗里德里克·亨德尔(George Frideric Handel)为其皇室学生安妮公主(Princess Anne)的婚礼而创作的《节日中的帕纳索》(HWV 731734)是他的作品中被忽视的一件,主要是因为它的混合性。这部作品的很大一部分改编自牛津清唱剧《阿他利亚》,这一事实不应影响我们对新创作部分的欣赏,因为这种挪用最好被理解为阿他利亚对其赞助人的“遣返”行为。作为一个音乐“半人马”,帕纳索展现了有趣的多层次模糊性。Janus面孔的Handel(阿波罗/俄耳甫斯饰)是在哀叹他最爱的人的离去,还是这是对一段不想要的婚姻的苦乐参半的庆祝?戏剧性的是,焦点落在了阿波罗和俄耳甫斯失去亲人的身上,但这与Carestini(阿波罗饰)和Strada(克利奥饰)的巨大声域是如何结合在一起的呢?在声乐方面,Carestini获得了最精湛的数字,导致了主要角色的音乐两极分化。安娜·玛丽亚·斯特拉达(Anna Maria Strada)作为一位缪斯,代表了田园的一面,而卡洛·斯卡齐(Carlo Scalzi)(奥尔费奥饰)则在调色板中加入了悲伤而可悲的咏叹调。尽管如此,Carestini和Strada的音乐风格和音色中的协调点形成了一条“线”,有助于将Parnasso半人马的不同部分缝合在一起。
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引用次数: 0
Der Pester Lloyd als Quelle musikhistorischer Forschungen • 作为音乐历史研究来源的害虫劳埃德•
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00017
Hedvig Ujvári
The cultural exchange processes can also be formulated from the point of view of transfer research, because plurality and hybrid cultures are primarily characteristic of the Central European communication space. The actors of these cultural mediation processes, who had the authority to shape and transport knowledge and culture, were authors, translators, publishers, journalists, and critics. As far as the research initiative of the author of this study is concerned, which focuses on the period between 1867 and the turn of the century (around 1900), it must be stated that this period has so far been only sparsely investigated. As a result of our own wide-ranging press-historical research, a cultural-historical database of the most important German-language organs of this epoch was created, whereby the focus was primarily on the culture section, mainly on the feuilleton yield of these newspapers. In addition to literature and theater, there was also intensive reference to neighboring disciplines, since art criticism, art history and, last but not least, the musical stages in Pest and Vienna were given plenty of space in these organs. In the following, an overview of the history of the press is given in a compact form, followed by selected finds on the subject of music from the last third of the nineteenth century.
文化交流过程也可以从迁移研究的角度来表述,因为多元和混合文化是中欧交流空间的主要特征。这些文化调解过程的参与者是作家、翻译人员、出版商、记者和评论家,他们有权塑造和传播知识和文化。就本研究作者的研究倡议而言,其重点是1867年至世纪之交(1900年左右)这一时期,必须指出的是,到目前为止,这一时期的研究很少。由于我们自己广泛的新闻历史研究,创建了一个关于这个时代最重要的德语机构的文化历史数据库,重点主要放在文化部分,主要放在这些报纸的费伊尔顿产量上。除了文学和戏剧,还有对邻近学科的大量参考,因为艺术批评、艺术史,以及最后但并非最不重要的是,佩斯和维也纳的音乐舞台在这些器官中都有足够的空间。在下文中,以紧凑的形式概述了新闻界的历史,然后是十九世纪末三分之一音乐主题的精选发现。
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引用次数: 0
Polyphonies and Affinities: Ştefan Niculescu and György Ligeti 复调和仿射:Ştefan Niculescu和György Ligeti
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00016
Valentina Sandu-Dediu
I propose an overview of some of the defining aspects of Ștefan Niculescu's composition, some of which link him to his much better known contemporary on the world stage, György Ligeti. The musical affinities between the two have evolved into a steadfast friendship, reflected in a newly published correspondence that is becoming significant for slices of recent music history. I do not intend a comparison or an analytical parallel between the compositions of the two: the focus will fall on Niculescu's musical springs, with some signs of his and Ligeti's compatibility. Niculescu's heterophony versus Ligeti's micropolyphony, the impulses both received from mathematics, linguistics, the natural sciences, as well as the search (since the 1980s) for a new diatonicism that would configure an alternative system to serialism, all can be examined accordingly. It is also not uninteresting that both composers are convinced that they belong neither to the avant-garde nor to postmodernism, but consistently follow modernism.
我建议对特凡·尼古列斯库作品的一些决定性方面进行概述,其中一些方面将他与他在世界舞台上更知名的当代人György Ligeti联系起来。两人在音乐上的亲密关系已经演变成了一种坚定的友谊,这反映在一封最新出版的信件中,这封信件对近代音乐史上的一些片段越来越重要。我不打算对两者的作品进行比较或分析:重点将放在尼古列斯库的音乐泉水上,并有一些迹象表明他和利盖蒂的兼容性。尼古列斯库的异伪论与利盖蒂的微伪论,来自数学、语言学、自然科学的冲动,以及(自20世纪80年代以来)对一种新的泛神论的探索,这些都可以被相应地检验。同样有趣的是,两位作曲家都确信自己既不属于先锋派,也不属于后现代主义,而是始终如一地遵循现代主义。
{"title":"Polyphonies and Affinities: Ştefan Niculescu and György Ligeti","authors":"Valentina Sandu-Dediu","doi":"10.1556/6.2022.00016","DOIUrl":"https://doi.org/10.1556/6.2022.00016","url":null,"abstract":"I propose an overview of some of the defining aspects of Ștefan Niculescu's composition, some of which link him to his much better known contemporary on the world stage, György Ligeti. The musical affinities between the two have evolved into a steadfast friendship, reflected in a newly published correspondence that is becoming significant for slices of recent music history. I do not intend a comparison or an analytical parallel between the compositions of the two: the focus will fall on Niculescu's musical springs, with some signs of his and Ligeti's compatibility. Niculescu's heterophony versus Ligeti's micropolyphony, the impulses both received from mathematics, linguistics, the natural sciences, as well as the search (since the 1980s) for a new diatonicism that would configure an alternative system to serialism, all can be examined accordingly. It is also not uninteresting that both composers are convinced that they belong neither to the avant-garde nor to postmodernism, but consistently follow modernism.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45735732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Estate Law, Historiography, and the Cold War 遗产法、史学和冷战
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00013
L. Hooker, László Borhi
{"title":"Estate Law, Historiography, and the Cold War","authors":"L. Hooker, László Borhi","doi":"10.1556/6.2022.00013","DOIUrl":"https://doi.org/10.1556/6.2022.00013","url":null,"abstract":"","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45123993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Richard Taruskin (1945–2022) in Memoriam 理查德·塔罗斯金(1945–2022)在《回忆》中
IF 0.1 3区 艺术学 Q4 Arts and Humanities Pub Date : 2023-06-19 DOI: 10.1556/6.2022.00010
László Vikárius
{"title":"Richard Taruskin (1945–2022) in Memoriam","authors":"László Vikárius","doi":"10.1556/6.2022.00010","DOIUrl":"https://doi.org/10.1556/6.2022.00010","url":null,"abstract":"","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48220470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
期刊
Studia Musicologica
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