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.
{"title":"Béla Bartók and the Pro Arte Quartet","authors":"Zsombor Németh","doi":"10.1556/6.2022.00011","DOIUrl":"https://doi.org/10.1556/6.2022.00011","url":null,"abstract":"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.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44253936","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}
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.
{"title":"Performance Perspectives in Jenő Hubay's Violin Concertos","authors":"Lihua Pu","doi":"10.1556/6.2022.00014","DOIUrl":"https://doi.org/10.1556/6.2022.00014","url":null,"abstract":"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.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42532989","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}
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。
{"title":"A “Centaur” in Music and Genre: G. F. Handel's Parnasso in festa for Princess Anne's Wedding","authors":"Judit Zsovár","doi":"10.1556/6.2022.00015","DOIUrl":"https://doi.org/10.1556/6.2022.00015","url":null,"abstract":"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.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49130546","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}
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.
{"title":"Der Pester Lloyd als Quelle musikhistorischer Forschungen •","authors":"Hedvig Ujvári","doi":"10.1556/6.2022.00017","DOIUrl":"https://doi.org/10.1556/6.2022.00017","url":null,"abstract":"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.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47728244","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}
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.
{"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":null,"pages":null},"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}
{"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":null,"pages":null},"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}
Dénes Bartha (1908–1993), the internationally renowned Hungarian music historian, worked as a music critic for Pester Lloyd, the German-language Budapest daily newspaper between 1939 and 1944. Within the five concert seasons, I found a total of four hundred and sixty-five writings by Bartha in the columns of the newspaper, mostly reviews of concerts and opera performances but also some interviews and theoretical articles. The importance of the articles is enhanced by the fact that they commemorate the performances of such distinguished Hungarian musicians as Béla Bartók, Ernst von Dohnányi, Emil Telmányi, Ede Zathureczky, the Waldbauer–Kerpely String Quartet and the Végh Quartet among others, and they also document guest performances in Budapest by such renowned foreign performers as Herbert von Karajan, Wilhelm Furtwängler, Willem Mengelberg, Hans Knappertsbusch, Clemens Krauss, Edwin Fischer and Walter Gieseking. In 2022, one hundred and twenty articles were published in my Hungarian translation from this extremely valuable and diverse material. In this study, I present the main features of Dénes Bartha's perspective as a music critic, taking examples from the articles included in the volume.
Dénes Bartha（1908–1993），国际著名的匈牙利音乐历史学家，1939年至1944年间担任布达佩斯德语日报Pester Lloyd的音乐评论家。在五个音乐会季中，我在报纸的专栏中总共发现了巴塔的四百六十五篇文章，其中大部分是对音乐会和歌剧表演的评论，也有一些采访和理论文章。这些文章的重要性因其纪念了著名的匈牙利音乐家Béla Bartók、Ernst von Dohnányi、Emil Telmányy、Ede Zathureczky、Waldbauer–Kerpely弦乐四重奏和Végh四重奏等的表演而得到加强，它们还记录了赫伯特·冯·卡拉扬等著名外国演员在布达佩斯的客串演出，威廉·弗特文格勒、威廉·蒙格尔伯格、汉斯·克纳珀茨布施、克莱门斯·克劳斯、埃德温·费舍尔和沃尔特·吉塞金。2022年，我用匈牙利语翻译了120篇文章，这些文章都是从这些极其宝贵和多样化的材料中发表的。在这项研究中，我以该卷中的文章为例，介绍了Dénes Bartha作为音乐评论家视角的主要特征。
{"title":"Musical Life in Budapest during World War II: Music Reviews by Dénes Bartha in Pester Lloyd (1939–1944)","authors":"Anna Scholz","doi":"10.1556/6.2022.00018","DOIUrl":"https://doi.org/10.1556/6.2022.00018","url":null,"abstract":"Dénes Bartha (1908–1993), the internationally renowned Hungarian music historian, worked as a music critic for Pester Lloyd, the German-language Budapest daily newspaper between 1939 and 1944. Within the five concert seasons, I found a total of four hundred and sixty-five writings by Bartha in the columns of the newspaper, mostly reviews of concerts and opera performances but also some interviews and theoretical articles. The importance of the articles is enhanced by the fact that they commemorate the performances of such distinguished Hungarian musicians as Béla Bartók, Ernst von Dohnányi, Emil Telmányi, Ede Zathureczky, the Waldbauer–Kerpely String Quartet and the Végh Quartet among others, and they also document guest performances in Budapest by such renowned foreign performers as Herbert von Karajan, Wilhelm Furtwängler, Willem Mengelberg, Hans Knappertsbusch, Clemens Krauss, Edwin Fischer and Walter Gieseking. In 2022, one hundred and twenty articles were published in my Hungarian translation from this extremely valuable and diverse material. In this study, I present the main features of Dénes Bartha's perspective as a music critic, taking examples from the articles included in the volume.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44157945","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}
{"title":"What We Talk about When We Talk about Narrativity in Music","authors":"D. Nagy","doi":"10.1556/6.2022.00012","DOIUrl":"https://doi.org/10.1556/6.2022.00012","url":null,"abstract":"","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44264255","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：