In describing the form of his Fourth String Quartet, Bartók employed the terminology of the German Formenlehre with which he was acquainted thanks to the teaching of Hans Koessler. Bartók's elucidation suggests that the models for the construction of thematic units, contrasts, developments and closing segments, which were normative for the sonata cycle in the nineteenth century, continued to exercise their influence despite the distance from functional tonality. An analysis of the five movements of the Fourth String Quartet with systematic reference to Bartók's synopsis shows that a subtle dialectic between adoption and transformation was at stake. The principles of traditional form gained new strength through the reinvention of harmonic structures, melodic lines and hypermetric groups. The symmetrical–architectural framework was preserved but filled with unconventional tone progressions, irregular phraseology, and a new sense for development and reprise.
{"title":"Adoption and Transformation of Traditional Forms in the Fourth String Quartet of Béla Bartók","authors":"G. Borio","doi":"10.1556/6.2021.00018","DOIUrl":"https://doi.org/10.1556/6.2021.00018","url":null,"abstract":"\u0000 In describing the form of his Fourth String Quartet, Bartók employed the terminology of the German Formenlehre with which he was acquainted thanks to the teaching of Hans Koessler. Bartók's elucidation suggests that the models for the construction of thematic units, contrasts, developments and closing segments, which were normative for the sonata cycle in the nineteenth century, continued to exercise their influence despite the distance from functional tonality. An analysis of the five movements of the Fourth String Quartet with systematic reference to Bartók's synopsis shows that a subtle dialectic between adoption and transformation was at stake. The principles of traditional form gained new strength through the reinvention of harmonic structures, melodic lines and hypermetric groups. The symmetrical–architectural framework was preserved but filled with unconventional tone progressions, irregular phraseology, and a new sense for development and reprise.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41426540","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 Serenata con una Cantatina by Ignaz von Seyfried is a particular work for choir, soloists and Harmoniemusik, which was performed in 1805 for a courtly occasion. The music is above all entertaining, but certain objectives, probably imposed by Empress Maria Theresia, are in the background. The objective is to understand how Seyfried combines a festive but cultivated music with social and political purposes. The origins of the score and the creation process are first considered. The issues at stake are exemplified by an analysis of the different movements, particularly the Quolibet. This study aims to reveal the composer's engagement, the performance practice as well as the reception of this work a time when the Harmoniemusik was very successful in Vienna.
伊格纳兹·冯·塞弗里德(Ignaz von Seyfried)的《小夜曲》(Serenata con una Cantatina)是合唱团、独奏家和Harmoniemusik的特别作品，于1805年在一个宫廷场合演出。音乐最重要的是娱乐，但某些目标，可能是玛丽亚·特蕾西亚皇后强加的，是在背景中。目的是了解塞弗里德是如何将喜庆但有教养的音乐与社会和政治目的结合起来的。首先考虑乐谱的起源和创作过程。通过对不同运动的分析，特别是对Quolibet的分析，可以举例说明利害攸关的问题。本研究旨在揭示作曲家的参与，演奏实践以及这部作品在维也纳非常成功的时候的接受情况。
{"title":"Die Serenata con una Cantatina von Ignaz von Seyfried (1805)","authors":"David Gasche","doi":"10.1556/6.2021.00024","DOIUrl":"https://doi.org/10.1556/6.2021.00024","url":null,"abstract":"\u0000 The Serenata con una Cantatina by Ignaz von Seyfried is a particular work for choir, soloists and Harmoniemusik, which was performed in 1805 for a courtly occasion. The music is above all entertaining, but certain objectives, probably imposed by Empress Maria Theresia, are in the background. The objective is to understand how Seyfried combines a festive but cultivated music with social and political purposes. The origins of the score and the creation process are first considered. The issues at stake are exemplified by an analysis of the different movements, particularly the Quolibet. This study aims to reveal the composer's engagement, the performance practice as well as the reception of this work a time when the Harmoniemusik was very successful in Vienna.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42525900","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}
In addition to folk music, Zoltán Kodály was interested in folk dance. This is evidenced not only by his writings dedicated to the subject – some relevant ideas are to be found in his publications mainly focused on other topics. In this article, the author collects both Kodály's writings explicitly related to folk dance as well as the “hidden” ideas, presented partly chronologically, partly in thematic groups. Topics include: Kodály's dance experiences, his practical dance knowledge, his work of exploring data of historical dance music, his role in the emergence of Hungarian ethnochoreology as a scholarly discipline, his critical views on the use of folk dance on stage, etc. In contrast to the earlier literature, this article no longer considers the Hungarian shepherds' horn signals as the inspirational sources for Bécsi harangjátek [Viennese Clock], a movement which imitates a musical clock in Kodály's Singspiel Háry János. The movement entitled Branle de village, part of seventeenth-century Austrian composer Johann Heinrich Schmelzer's Partita ex Vienna, contains some bars that bear a close resemblance to the repeated main motif of Kodály's Viennese Clock. It is safe to assume that Branle de village was Kodály's source of inspiration, given that there is evidence that he studied the DTÖ-collection of Schmelzer's works: he referred to this volume where he found a Styrian version of a Székely dance tune.
除了民间音乐，Zoltán Kodály对民间舞蹈也很感兴趣。这一点不仅可以从他致力于这一主题的著作中得到证明——在他主要关注其他主题的出版物中也可以找到一些相关的观点。在这篇文章中，作者收集了Kodály与民间舞蹈明确相关的作品以及“隐藏”的想法，部分按时间顺序呈现，部分按主题分组呈现。主题包括:Kodály的舞蹈经历，他的舞蹈实践知识，他对历史舞蹈音乐数据的探索工作，他在匈牙利民族舞蹈学作为一门学术学科的出现中的作用，他对舞台上使用民间舞蹈的批判观点等。与早期文献不同的是，本文不再将匈牙利牧羊人的号角信号视为b csi harangjátek[维也纳时钟]的灵感来源，b csi harangjátek[维也纳时钟]是模仿Kodály的Singspiel Háry János中的音乐时钟的运动。这首名为Branle de village的乐章是17世纪奥地利作曲家约翰·海因里希·施梅尔策(Johann Heinrich Schmelzer)的《维也纳聚会》(Partita ex Vienna)的一部分，其中的一些小节与Kodály的《维也纳时钟》(Vienna ese Clock)的重复主题非常相似。可以肯定的是，Branle de village是Kodály的灵感来源，因为有证据表明他研究了DTÖ-collection Schmelzer的作品:他参考了这本书，在那里他发现了一个施蒂里亚版本的sz舞蹈曲调。
{"title":"Zoltán Kodály and Hungarian Dance","authors":"István Pávai","doi":"10.1556/6.2021.00020","DOIUrl":"https://doi.org/10.1556/6.2021.00020","url":null,"abstract":"\u0000 In addition to folk music, Zoltán Kodály was interested in folk dance. This is evidenced not only by his writings dedicated to the subject – some relevant ideas are to be found in his publications mainly focused on other topics. In this article, the author collects both Kodály's writings explicitly related to folk dance as well as the “hidden” ideas, presented partly chronologically, partly in thematic groups. Topics include: Kodály's dance experiences, his practical dance knowledge, his work of exploring data of historical dance music, his role in the emergence of Hungarian ethnochoreology as a scholarly discipline, his critical views on the use of folk dance on stage, etc. In contrast to the earlier literature, this article no longer considers the Hungarian shepherds' horn signals as the inspirational sources for Bécsi harangjátek [Viennese Clock], a movement which imitates a musical clock in Kodály's Singspiel Háry János. The movement entitled Branle de village, part of seventeenth-century Austrian composer Johann Heinrich Schmelzer's Partita ex Vienna, contains some bars that bear a close resemblance to the repeated main motif of Kodály's Viennese Clock. It is safe to assume that Branle de village was Kodály's source of inspiration, given that there is evidence that he studied the DTÖ-collection of Schmelzer's works: he referred to this volume where he found a Styrian version of a Székely dance tune.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67003856","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":"Nicolòe Palazzetti (2021). Béla Bartók in Italy: The Politics of Myth-Making","authors":"M. Gillies","doi":"10.1556/6.2021.00025","DOIUrl":"https://doi.org/10.1556/6.2021.00025","url":null,"abstract":"","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46211409","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":"Bartók and the Violin","authors":"","doi":"10.1556/6.2021.00001","DOIUrl":"https://doi.org/10.1556/6.2021.00001","url":null,"abstract":"","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47832720","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}
It has been a hot topic in Bartók literature whether he followed some particular order, or relied on creative intuition when he composed. His own statem ents appear to be ambiguous, that is, he occasionally stressed that he consciously worked out his musical language, but on other occasions he emphasised the role of intuition. A contrapuntal short piece from the Forty-Four Duos, namely no. 37 “Prelude and Canon”, can be considered an appropriate material in order to examine how these different viewpoints are applied in an analysis (and to evaluate how appropriate the application of these viewpoints is). From a technical point of view, the Canon part of this piece deserves special attention, as it contains three different types of canon one after another. While the dux always remains in E, each comes is on different degrees (G, A, then B) and different temporal distances (one, two, and three crotchets). This can be regarded as a kind of compositional virtuosity; especially because it is not easy to write such canons on an original theme, much less on an original folk tune. Thus, this piece might be considered an example of how Bartók rationally and consciously worked out his compositions. Such a view can be refined, or possibly superseded by the examination of the original folk tune. The genre of the original folk tune, “párosító” [matchmaking song], as well as the way of its actual performance on the original recording gives us an insight into how an apparently systematic application of the compositional technique is nevertheless related to what we would call a secret programme. Thus, it was probably not only a particular folk song but also the people's life surrounding the folk song which fascinated the composer, and he tried to vividly encode a typical village scene into a piece of art music.
{"title":"A Triumph of Musical Order? Multiple Sources of Inspiration in “Prelude and Canon,” Forty-Four Duos no. 37","authors":"Yusuke Nakahara","doi":"10.1556/6.2021.00008","DOIUrl":"https://doi.org/10.1556/6.2021.00008","url":null,"abstract":"\u0000 It has been a hot topic in Bartók literature whether he followed some particular order, or relied on creative intuition when he composed. His own statem ents appear to be ambiguous, that is, he occasionally stressed that he consciously worked out his musical language, but on other occasions he emphasised the role of intuition. A contrapuntal short piece from the Forty-Four Duos, namely no. 37 “Prelude and Canon”, can be considered an appropriate material in order to examine how these different viewpoints are applied in an analysis (and to evaluate how appropriate the application of these viewpoints is). From a technical point of view, the Canon part of this piece deserves special attention, as it contains three different types of canon one after another. While the dux always remains in E, each comes is on different degrees (G, A, then B) and different temporal distances (one, two, and three crotchets). This can be regarded as a kind of compositional virtuosity; especially because it is not easy to write such canons on an original theme, much less on an original folk tune. Thus, this piece might be considered an example of how Bartók rationally and consciously worked out his compositions. Such a view can be refined, or possibly superseded by the examination of the original folk tune. The genre of the original folk tune, “párosító” [matchmaking song], as well as the way of its actual performance on the original recording gives us an insight into how an apparently systematic application of the compositional technique is nevertheless related to what we would call a secret programme. Thus, it was probably not only a particular folk song but also the people's life surrounding the folk song which fascinated the composer, and he tried to vividly encode a typical village scene into a piece of art music.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44260235","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}
Imre Waldbauer (1892–1952) attained his greatest stature as a performer in his position as the first violinist of the Waldbauer–Kerpely Quartet, named after him and cellist Jenő Kerpely. This ensemble premièred Bartók's String Quartets nos. 1, 2 and 4 and his early Piano Quintet. Although Waldbauer's name is mostly mentioned in the Bartók-literature primarily because of his quartet, he was also important for Bartók as a “standalone” violinist as well. Waldbauer and Bartók played numerous sonata recitals from the 1910s to the 1930s, and Waldbauer also played the first performance of important violin works by Bartók: the “One Ideal” from the Two Portraits, (première: Budapest, 12 February 1911), the Violin Sonata no. 2 (première: Berlin, 7 February 1923) and nos. 16, 19, 21, 28, 36, 42, 43, 44 from the Forty-Four Duos (concert hall première: Budapest, 20 January 1932). Although Waldbauer seems like an individual of special importance, very little is known about his relation to Bartók and about his life in general (unlike his violinist contemporaries, e.g. Joseph Szigeti or Zoltán Székely). The present paper focuses on the relationship between the composer and the violinist, using materials from the yet unexplored Waldbauer legacy held in the Budapest Bartók Archives (recent donation from the Waldbauer family).
{"title":"Imre Waldbauer, an Important but Little-Known Violinist Partner of Béla Bartók","authors":"Imre Waldbauer","doi":"10.1556/6.2021.00010","DOIUrl":"https://doi.org/10.1556/6.2021.00010","url":null,"abstract":"\u0000 Imre Waldbauer (1892–1952) attained his greatest stature as a performer in his position as the first violinist of the Waldbauer–Kerpely Quartet, named after him and cellist Jenő Kerpely. This ensemble premièred Bartók's String Quartets nos. 1, 2 and 4 and his early Piano Quintet. Although Waldbauer's name is mostly mentioned in the Bartók-literature primarily because of his quartet, he was also important for Bartók as a “standalone” violinist as well. Waldbauer and Bartók played numerous sonata recitals from the 1910s to the 1930s, and Waldbauer also played the first performance of important violin works by Bartók: the “One Ideal” from the Two Portraits, (première: Budapest, 12 February 1911), the Violin Sonata no. 2 (première: Berlin, 7 February 1923) and nos. 16, 19, 21, 28, 36, 42, 43, 44 from the Forty-Four Duos (concert hall première: Budapest, 20 January 1932). Although Waldbauer seems like an individual of special importance, very little is known about his relation to Bartók and about his life in general (unlike his violinist contemporaries, e.g. Joseph Szigeti or Zoltán Székely). The present paper focuses on the relationship between the composer and the violinist, using materials from the yet unexplored Waldbauer legacy held in the Budapest Bartók Archives (recent donation from the Waldbauer family).","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42522462","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}
Biography takes the scant facts of a life that are available to scrutiny, like the waypoints on a journey to be mapped, and attempts to form a coherent narrative from them. That coherence is, to at least some degree, contingent upon the ideological position of the author and as Michael Benton has noted, “the biographical subject is a textual creation as much as a historical recreation.” While fully acknowledging that one cannot “read back” from the works of an author to their life, Benton has described the substance of literary outputs as “quasi-facts” to be set beside “historical facts” and argued that these “can be seen as reflecting some contemporary events or as sublimating some experiences in the writer’s past or mirroring some authorial state of mind.” This article draws on the First Violin Sonata as such a quasi-fact of Bartók’s life to question whether biographical information can or should impact the ways that we understand and perform his music. The article additionally considers whether the content of individual works as mental products may have something tangible to impart about their composer’s personality. Given the broad consensus around the so-called “Five-Factor Model” of personality measurement within the field of psychology, it speculates whether this might offer a tool to refine our portrait of Bartók through analysis of his music.
{"title":"Bartók, Biography, and the Violin","authors":"","doi":"10.1556/6.2021.00002","DOIUrl":"https://doi.org/10.1556/6.2021.00002","url":null,"abstract":"\u0000 Biography takes the scant facts of a life that are available to scrutiny, like the waypoints on a journey to be mapped, and attempts to form a coherent narrative from them. That coherence is, to at least some degree, contingent upon the ideological position of the author and as Michael Benton has noted, “the biographical subject is a textual creation as much as a historical recreation.” While fully acknowledging that one cannot “read back” from the works of an author to their life, Benton has described the substance of literary outputs as “quasi-facts” to be set beside “historical facts” and argued that these “can be seen as reflecting some contemporary events or as sublimating some experiences in the writer’s past or mirroring some authorial state of mind.” This article draws on the First Violin Sonata as such a quasi-fact of Bartók’s life to question whether biographical information can or should impact the ways that we understand and perform his music. The article additionally considers whether the content of individual works as mental products may have something tangible to impart about their composer’s personality. Given the broad consensus around the so-called “Five-Factor Model” of personality measurement within the field of psychology, it speculates whether this might offer a tool to refine our portrait of Bartók through analysis of his music.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43999935","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}
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