During his first concert tour of the United States (1927–1928) Bartók played primarily his own music in lecture-recitals, orchestra performances, and chamber music concerts in fifteen American cities. Over the course of the tour, he collaborated with violinists Jelly d’Arányi and Joseph Szigeti to present a few of his works for violin and piano to members of musical clubs in New York City and Philadelphia, and before dignitaries at the Hungarian Embassy in Washington, D.C. – namely his Sonata for Violin and Piano no. 2 (1922), Hungarian Folk Tunes, for violin and piano (arranged by Joseph Szigeti, 1926), and Romanian Folk Dances for Violin and Piano (arranged by Zoltán Székely, 1925). In Boston and New York, Bartók played on recitals that also included performances of his String Quartets nos. 1 and 2. In this article I document the American reception of Bartók’s violin music during his U.S. recitals of early 1928. Music criticism in American newspapers and music journals, as well as detailed program notes from the string quartet performances, have been taken into account to reveal the assessment of Bartók’s violin music and string quartets and the characterization of the composer in the American press and concert halls. The reviews have also been considered in comparison to later recordings of the violin and piano works made by Bartók and Szigeti.
{"title":"Performance and Reception of Bartók’s Violin Music during His First Concert Tour of the United States (1927–1928)","authors":"","doi":"10.1556/6.2021.00007","DOIUrl":"https://doi.org/10.1556/6.2021.00007","url":null,"abstract":"\u0000 During his first concert tour of the United States (1927–1928) Bartók played primarily his own music in lecture-recitals, orchestra performances, and chamber music concerts in fifteen American cities. Over the course of the tour, he collaborated with violinists Jelly d’Arányi and Joseph Szigeti to present a few of his works for violin and piano to members of musical clubs in New York City and Philadelphia, and before dignitaries at the Hungarian Embassy in Washington, D.C. – namely his Sonata for Violin and Piano no. 2 (1922), Hungarian Folk Tunes, for violin and piano (arranged by Joseph Szigeti, 1926), and Romanian Folk Dances for Violin and Piano (arranged by Zoltán Székely, 1925). In Boston and New York, Bartók played on recitals that also included performances of his String Quartets nos. 1 and 2. In this article I document the American reception of Bartók’s violin music during his U.S. recitals of early 1928. Music criticism in American newspapers and music journals, as well as detailed program notes from the string quartet performances, have been taken into account to reveal the assessment of Bartók’s violin music and string quartets and the characterization of the composer in the American press and concert halls. The reviews have also been considered in comparison to later recordings of the violin and piano works made by Bartók and Szigeti.","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":"48457250","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 early Violin Concerto (1907–1908) dedicated to the young violinist, Stefi Geyer, is regarded as one of the most personal compositions by Béla Bartók. The transparent structure, and the ethereal, unearthly tone of the first movement, probably inspired by Stefi Geyer’s playing, belongs to the warmest and most intimate tone used by the composer. Presumably, its re-emergence in certain passages of the two Violin-Piano Sonatas (1921 and 1922) was not by chance. It might have been the composer’s reaction to Jelly d’Arányi’s violin playing that evoked the memory of the early concerto and its source of inspiration. However, despite their similarities the “ideal” tone of the Sonatas is not the same as that in the Violin Concerto. It is still recognisable, but it has a different, perhaps more mature character and, furthermore, within the material surrounding it, we can detect the kernel of those Bartókian types which gain their definite form only in his 1926 emblematic piano pieces, for instance some elements of his “night music” type, his mourning song type, and some characteristic traits of his “chase” music. In the present article, besides following the process of transformation of the “ideal,” I make an attempt to identify the newly developed musical types, and to find an explanation of all these changes.
{"title":"The Appearance of the “Ideal” and Other Topoi in Bartók’s Two Sonatas for Violin and Piano nos. 1–2","authors":"Virág Büky","doi":"10.1556/6.2021.00005","DOIUrl":"https://doi.org/10.1556/6.2021.00005","url":null,"abstract":"\u0000 The early Violin Concerto (1907–1908) dedicated to the young violinist, Stefi Geyer, is regarded as one of the most personal compositions by Béla Bartók. The transparent structure, and the ethereal, unearthly tone of the first movement, probably inspired by Stefi Geyer’s playing, belongs to the warmest and most intimate tone used by the composer. Presumably, its re-emergence in certain passages of the two Violin-Piano Sonatas (1921 and 1922) was not by chance. It might have been the composer’s reaction to Jelly d’Arányi’s violin playing that evoked the memory of the early concerto and its source of inspiration. However, despite their similarities the “ideal” tone of the Sonatas is not the same as that in the Violin Concerto. It is still recognisable, but it has a different, perhaps more mature character and, furthermore, within the material surrounding it, we can detect the kernel of those Bartókian types which gain their definite form only in his 1926 emblematic piano pieces, for instance some elements of his “night music” type, his mourning song type, and some characteristic traits of his “chase” music. In the present article, besides following the process of transformation of the “ideal,” I make an attempt to identify the newly developed musical types, and to find an explanation of all these changes.","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":"45040879","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 the focus of this paper a survey of the draft score will disclose major corrections of the concept and discuss deleted and rewritten sections in both Sonatas for Violin and Piano no. 1 (1921) and no. 2 (1922). A close study of the unusual-type preliminary sketches of the First Sonata in his so-called Black Pocket-Book (facsimile edition: 1987) already gave insight into Bartók’s atypical composition when he had to work without a piano at hand for shaping and refining a new major work (see Somfai, “‘Written between the Desk and the Piano’: Dating Béla Bartók’s Sketches,” in A Handbook to Twentieth-Century Musical Sketches, ed. by Patricia Hall and Friedemann Sallis, Cambridge: Cambridge University Press, 2004). The two draft scores (no. 1 = 34 pages, no. 2 = 21 pages, including discarded and rewritten sections) open new vistas in understanding the concept of the individual compositions. The next stage of manuscripts provides a significant source: the score and violin part used at the first performances, the latter with fingering and bowing contributed by the hand of Jelly Arányi and Imre Waldbauer in the First Sonata, Waldbauer, Ede Zathureczky, Zoltán Székely, and Jelly Arányi in the Second. A study of the revision of metronome numbers will conclude the investigation.
{"title":"Bartók’s Sonatas for Violin and Piano nos. 1–2: The Compositional Process","authors":"L. Somfai","doi":"10.1556/6.2021.00003","DOIUrl":"https://doi.org/10.1556/6.2021.00003","url":null,"abstract":"\u0000 In the focus of this paper a survey of the draft score will disclose major corrections of the concept and discuss deleted and rewritten sections in both Sonatas for Violin and Piano no. 1 (1921) and no. 2 (1922). A close study of the unusual-type preliminary sketches of the First Sonata in his so-called Black Pocket-Book (facsimile edition: 1987) already gave insight into Bartók’s atypical composition when he had to work without a piano at hand for shaping and refining a new major work (see Somfai, “‘Written between the Desk and the Piano’: Dating Béla Bartók’s Sketches,” in A Handbook to Twentieth-Century Musical Sketches, ed. by Patricia Hall and Friedemann Sallis, Cambridge: Cambridge University Press, 2004). The two draft scores (no. 1 = 34 pages, no. 2 = 21 pages, including discarded and rewritten sections) open new vistas in understanding the concept of the individual compositions. The next stage of manuscripts provides a significant source: the score and violin part used at the first performances, the latter with fingering and bowing contributed by the hand of Jelly Arányi and Imre Waldbauer in the First Sonata, Waldbauer, Ede Zathureczky, Zoltán Székely, and Jelly Arányi in the Second. A study of the revision of metronome numbers will conclude the investigation.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41850828","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 Second Rhapsody, one of Bartók’s technically most demanding concert pieces for violin, arranges archaic-improvisatory bagpipe imitations for concert performance. The arrangement itself shows a well-designed, coherent structure: the succession of dances, tonally and motivically related between each other, outline a kind of evolutionary progression from free motive-structure to strophic form. Bagpipe-music had a long-term influence on Bartók’s violin music, figuring as episodes in original works like the two Violin Sonatas or the Violin Concerto; but none exploits the genre to such an extent as the Second Rhapsody. The violin pieces with motive-structure of fascinatingly wild and virtuoso character were among Bartók’s major discoveries of the collecting trips to the Maramureş region. For the Rhapsody Bartók chose melodies from the one-time Ugocsa county, whose music, closely related to that of Maramureş county, was considered by him “the most interesting in our country [i.e., Hungary of the time], due exactly to its primitive character.” In Maramureş these melodies are less eccentric; instead, the violinists have a broader and more varied repertoire of dance music. In my article I discuss the different types of violin music of this region, focusing on structural, melodic, or interpretational elements that were of special interest for the composer. For this investigation I have made use of the primary sources of the respective collections: phonogram recordings, field notations, later transcriptions.
{"title":"Bartók and the Violin Music of Maramureș","authors":"Viola Biró","doi":"10.1556/6.2021.00006","DOIUrl":"https://doi.org/10.1556/6.2021.00006","url":null,"abstract":"\u0000 The Second Rhapsody, one of Bartók’s technically most demanding concert pieces for violin, arranges archaic-improvisatory bagpipe imitations for concert performance. The arrangement itself shows a well-designed, coherent structure: the succession of dances, tonally and motivically related between each other, outline a kind of evolutionary progression from free motive-structure to strophic form. Bagpipe-music had a long-term influence on Bartók’s violin music, figuring as episodes in original works like the two Violin Sonatas or the Violin Concerto; but none exploits the genre to such an extent as the Second Rhapsody. The violin pieces with motive-structure of fascinatingly wild and virtuoso character were among Bartók’s major discoveries of the collecting trips to the Maramureş region. For the Rhapsody Bartók chose melodies from the one-time Ugocsa county, whose music, closely related to that of Maramureş county, was considered by him “the most interesting in our country [i.e., Hungary of the time], due exactly to its primitive character.” In Maramureş these melodies are less eccentric; instead, the violinists have a broader and more varied repertoire of dance music. In my article I discuss the different types of violin music of this region, focusing on structural, melodic, or interpretational elements that were of special interest for the composer. For this investigation I have made use of the primary sources of the respective collections: phonogram recordings, field notations, later transcriptions.","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":"43029619","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}
Ernst von Dohnányi's brilliant instrumentation skills were already recognized by his contemporaries. His former disciple and first monographer Bálint Vázsonyi published an anecdote, according to which Béla Bartók considered the orchestral version of Ruralia hungarica (op. 32) as the first truly “orchestrated” Hungarian symphonic work. Nevertheless, neither Dohnányi's own orchestration practices nor the transcriptions he prepared for symphony orchestra from the works of other composers have been studied. This paper examines two of these orchestrations, made in 1928 on the occasion of the Schubert Centenary – Dohnányi's orchestral transcriptions of the Fantasy in F Minor, originally written for piano four hands, and the piano cycle Moments musicaux – both being virtually unknown to the public. The analysis also provides an insight into Dohnányi's interpretation of Schubert, including his approach to the Austrian composer.
Ernst von Dohnányi出色的乐器演奏技巧已经得到了同时代人的认可。他的前弟子、第一位专著作者巴林特·瓦兹松伊发表了一则轶事，根据这则轶事，贝拉·巴托克认为匈牙利鲁拉利亚·胡加里卡的管弦乐版本（作品32）是第一部真正“精心编排”的匈牙利交响作品。尽管如此，无论是Dohnányi自己的配器实践，还是他为交响乐团准备的其他作曲家作品的转录，都没有被研究过。本文考察了其中两个管弦乐队，它们制作于1928年舒伯特百年诞辰之际——Dohnányi的《F小调幻想曲》的管弦乐转录本，最初是为四手钢琴创作的，以及钢琴周期《Moments musicaux》——这两个作品几乎都不为公众所知。该分析还深入了解了多恩尼对舒伯特的诠释，包括他对这位奥地利作曲家的态度。
{"title":"Dohnányi's Orchestrations of Schubert's Fantasy in F Minor and the Moments musicaux Piano Cycle","authors":"Anna Laskai","doi":"10.1556/6.2020.00019","DOIUrl":"https://doi.org/10.1556/6.2020.00019","url":null,"abstract":"\u0000 Ernst von Dohnányi's brilliant instrumentation skills were already recognized by his contemporaries. His former disciple and first monographer Bálint Vázsonyi published an anecdote, according to which Béla Bartók considered the orchestral version of Ruralia hungarica (op. 32) as the first truly “orchestrated” Hungarian symphonic work. Nevertheless, neither Dohnányi's own orchestration practices nor the transcriptions he prepared for symphony orchestra from the works of other composers have been studied. This paper examines two of these orchestrations, made in 1928 on the occasion of the Schubert Centenary – Dohnányi's orchestral transcriptions of the Fantasy in F Minor, originally written for piano four hands, and the piano cycle Moments musicaux – both being virtually unknown to the public. The analysis also provides an insight into Dohnányi's interpretation of Schubert, including his approach to the Austrian composer.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45895492","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}
This paper attempts to stress that the composer Luigi Nono never overlooked early music, particularly Renaissance music, and his avant-garde works were created on the basis of late Renaissance and early Baroque music. Furthermore, this paper has tried to shed light on the relationship between music and space, which was an essential parameter of musical composition in the twentieth century as well as in the Renaissance. The sound modulated by live electronics transports the listener into synesthetic and perceptive listening and sonic space. As a result, it is demonstrated that Nono indicated the power and fascination of the voice, the polychoral structure, and the influence of the interaction between sound and space in his Prometeo.
{"title":"A Reconstruction of Late Renaissance Music in Nono's Prometeo","authors":"","doi":"10.1556/6.2020.00017","DOIUrl":"https://doi.org/10.1556/6.2020.00017","url":null,"abstract":"\u0000 This paper attempts to stress that the composer Luigi Nono never overlooked early music, particularly Renaissance music, and his avant-garde works were created on the basis of late Renaissance and early Baroque music. Furthermore, this paper has tried to shed light on the relationship between music and space, which was an essential parameter of musical composition in the twentieth century as well as in the Renaissance. The sound modulated by live electronics transports the listener into synesthetic and perceptive listening and sonic space. As a result, it is demonstrated that Nono indicated the power and fascination of the voice, the polychoral structure, and the influence of the interaction between sound and space in his Prometeo.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42872991","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 subject of this contribution is Alexander/Sándor Albrecht’s musical output from the 1920s in the context of the development of the composer’s musical style, his life and the social and political changes in Bratislava after 1918. Albrecht returned to Pressburg/Pozsony in 1908 after his studies in Budapest and devoted his organisational and artistic activity to the city; in 1921 he became the conductor at the Kirchenmusikverein (until 1952), a traditional music institution of the city. In 1920s Albrecht also achieved the creation of his own musical style. Coming out from a base of late Romanticism, Albrecht applied in that time the modernistic principles to his œuvre. In 1924 he wrote his mature Piano Suite, and in 1926 his Sonatina for 11 Instruments, an interesting piece of well-balanced formal and harmonic innovations, and one of the first pieces for chamber ensemble (after Schoenberg’s Kammersinfonie) in the Central European context. In 1929 Albrecht’s oratorio-like Marienleben: Three Poems after R. M. Rilke for soprano, mixed chorus and orchestra was successfully premiered. The present study contains detailed analyses of these three pieces, which are the most outstanding and distinctive works by the composer.
{"title":"Alexander Albrecht’s Musical Output in the Milieu of Interwar Bratislava","authors":"","doi":"10.1556/6.2020.00020","DOIUrl":"https://doi.org/10.1556/6.2020.00020","url":null,"abstract":"\u0000 The subject of this contribution is Alexander/Sándor Albrecht’s musical output from the 1920s in the context of the development of the composer’s musical style, his life and the social and political changes in Bratislava after 1918. Albrecht returned to Pressburg/Pozsony in 1908 after his studies in Budapest and devoted his organisational and artistic activity to the city; in 1921 he became the conductor at the Kirchenmusikverein (until 1952), a traditional music institution of the city. In 1920s Albrecht also achieved the creation of his own musical style. Coming out from a base of late Romanticism, Albrecht applied in that time the modernistic principles to his œuvre. In 1924 he wrote his mature Piano Suite, and in 1926 his Sonatina for 11 Instruments, an interesting piece of well-balanced formal and harmonic innovations, and one of the first pieces for chamber ensemble (after Schoenberg’s Kammersinfonie) in the Central European context. In 1929 Albrecht’s oratorio-like Marienleben: Three Poems after R. M. Rilke for soprano, mixed chorus and orchestra was successfully premiered. The present study contains detailed analyses of these three pieces, which are the most outstanding and distinctive works by the composer.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45484796","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 this paper the musicographic significance of the essays on music and the musical criticism of Hungarian novelist Géza Csáth is discussed on the basis of lexicographic entries and the few scholarly papers in which some of his views are present. The picture of this music critic is completed by a brief account of the problems of a stylistic determination of his literary œuvre, as well as of the importance of psychoanalysis for his artistic creativity and activity. There are three main problems in Csáth's writings on music: support of modernism in music, advocacy of national style in artistic music, and emphasis on the importance of artistic individualism; while the first two problems are mentioned in several scholarly works, the third – Csáth's insistence on artistic individualism – has not been the subject of musicological consideration. Likewise, Géza Csáth's aesthetic views on music have not even been identified, though he was a highly educated critic who was among the first to recognize the importance of Béla Bartók and to support impressionism, expressionism and tendencies towards atonal music. Csáth's aesthetic attitudes were clearly influenced by Darwinism and the positivism of the late nineteenth century; yet, in his essays on music, we find much more than an organicistic and psychologistic interpretation, and that is a deeper understanding of the connection between artistic music, the cultural climate, and the changing needs of audiences at the turn of the nineteenth and twentieth centuries.
{"title":"Géza Csáth's Musicographical Work and His Fundamental Aesthetic Viewpoints","authors":"","doi":"10.1556/6.2020.00021","DOIUrl":"https://doi.org/10.1556/6.2020.00021","url":null,"abstract":"\u0000 In this paper the musicographic significance of the essays on music and the musical criticism of Hungarian novelist Géza Csáth is discussed on the basis of lexicographic entries and the few scholarly papers in which some of his views are present. The picture of this music critic is completed by a brief account of the problems of a stylistic determination of his literary œuvre, as well as of the importance of psychoanalysis for his artistic creativity and activity. There are three main problems in Csáth's writings on music: support of modernism in music, advocacy of national style in artistic music, and emphasis on the importance of artistic individualism; while the first two problems are mentioned in several scholarly works, the third – Csáth's insistence on artistic individualism – has not been the subject of musicological consideration. Likewise, Géza Csáth's aesthetic views on music have not even been identified, though he was a highly educated critic who was among the first to recognize the importance of Béla Bartók and to support impressionism, expressionism and tendencies towards atonal music. Csáth's aesthetic attitudes were clearly influenced by Darwinism and the positivism of the late nineteenth century; yet, in his essays on music, we find much more than an organicistic and psychologistic interpretation, and that is a deeper understanding of the connection between artistic music, the cultural climate, and the changing needs of audiences at the turn of the nineteenth and twentieth centuries.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45577625","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 purpose of this paper is to clarify the compositional process of the revised version of Liszt's Cantico del Sol di San Francesco d’Assisi, especially focusing on the little-known manuscripts preserved in Weimar, Budapest and Leipzig. The author confirmed for the first time that the “Leipzig copy” of the work also includes Liszt's handwriting. Surely both manuscripts in Weimar and Leipzig are Stichvorlagen for the first edition. The latter is the revised vocal score with accompaniment either on piano or organ. Definitely Liszt also checked the engraver's manuscript of the vocal score for himself. On September 6, 1881 to Carolyne, Liszt wrote the following: “I am going to write the arrangement for piano and organ of the new definitive version of the Cantico di San Francesco.” It is very likely that this arrangement means the “Leipzig copy,” not the piano solo version. Therefore, the date of composition of the latter should be reconsidered. On the other hand, the autograph fragment for orchestra in Budapest is an important correction to the missing manuscript between the early version and the revised one.
{"title":"Franz Liszt's Cantico del Sol: A Source Study","authors":"","doi":"10.1556/6.2020.00023","DOIUrl":"https://doi.org/10.1556/6.2020.00023","url":null,"abstract":"\u0000 The purpose of this paper is to clarify the compositional process of the revised version of Liszt's Cantico del Sol di San Francesco d’Assisi, especially focusing on the little-known manuscripts preserved in Weimar, Budapest and Leipzig. The author confirmed for the first time that the “Leipzig copy” of the work also includes Liszt's handwriting. Surely both manuscripts in Weimar and Leipzig are Stichvorlagen for the first edition. The latter is the revised vocal score with accompaniment either on piano or organ. Definitely Liszt also checked the engraver's manuscript of the vocal score for himself. On September 6, 1881 to Carolyne, Liszt wrote the following: “I am going to write the arrangement for piano and organ of the new definitive version of the Cantico di San Francesco.” It is very likely that this arrangement means the “Leipzig copy,” not the piano solo version. Therefore, the date of composition of the latter should be reconsidered. On the other hand, the autograph fragment for orchestra in Budapest is an important correction to the missing manuscript between the early version and the revised one.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46792031","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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