In the German-speaking countries during the morally uninhibited years of the Weimar Republic, the opposing cultural epochs of Expressionism and Neue Sachlichkeit dominated the aesthetic landscape. Opera was a central proponent of both movements, as implemented by the Expressionist practitioners and those who favored the subsequent topical and objectifying Zeitoper that sought to move away from representations of psychological distortion to depict social realism that emphasized mechanical technology and lighter, popular narrative themes. Max Brand’s famous Zeitoper, Maschinist Hopkins, will be analyzed to illustrate how it bore fundamental trace elements back to Alban Berg’s Expressionist opera Wozzeck, and likewise, how Hopkins in turn influenced Berg’s second opera Lulu, to constitute a linear association of narrative, music, and theatrical design that simultaneously conformed to and defied the operatic models that all three operas are historically associated with. It will also be suggested that both composers were consequentially influenced by Richard Wagner, promoting vestiges of an even older lineage, which contributed to this association between the three operas at a time when Wagner was less applicable to the trends of innovation and progress.
{"title":"Dramaturgical, Theoretical, and Musical Associations between Max Brand’s Maschinist Hopkins and Alban Berg’s Operas","authors":"","doi":"10.1556/6.2020.00015","DOIUrl":"https://doi.org/10.1556/6.2020.00015","url":null,"abstract":"\u0000 In the German-speaking countries during the morally uninhibited years of the Weimar Republic, the opposing cultural epochs of Expressionism and Neue Sachlichkeit dominated the aesthetic landscape. Opera was a central proponent of both movements, as implemented by the Expressionist practitioners and those who favored the subsequent topical and objectifying Zeitoper that sought to move away from representations of psychological distortion to depict social realism that emphasized mechanical technology and lighter, popular narrative themes. Max Brand’s famous Zeitoper, Maschinist Hopkins, will be analyzed to illustrate how it bore fundamental trace elements back to Alban Berg’s Expressionist opera Wozzeck, and likewise, how Hopkins in turn influenced Berg’s second opera Lulu, to constitute a linear association of narrative, music, and theatrical design that simultaneously conformed to and defied the operatic models that all three operas are historically associated with. It will also be suggested that both composers were consequentially influenced by Richard Wagner, promoting vestiges of an even older lineage, which contributed to this association between the three operas at a time when Wagner was less applicable to the trends of innovation and progress.","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":"47887388","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":"Ursula Kirkendale (2017). Georg Friedrich Händel, Francesco Maria Ruspoli e Roma","authors":"Ursula Kirkendale","doi":"10.1556/6.2020.00026","DOIUrl":"https://doi.org/10.1556/6.2020.00026","url":null,"abstract":"","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":"43285592","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":"Laslavíková Jana, (2020). Mestské divadlo v Prešporku na sklonku 19. storočia. Medzi provinciou a metropolou","authors":"","doi":"10.1556/6.2020.00025","DOIUrl":"https://doi.org/10.1556/6.2020.00025","url":null,"abstract":"","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":"48462468","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":"Hyun Joo Kim (2019). Liszt's Representation of Instrumentals Sounds on the Piano: Colors in Black and White","authors":"","doi":"10.1556/6.2020.00024","DOIUrl":"https://doi.org/10.1556/6.2020.00024","url":null,"abstract":"","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":"46200842","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":"Judit Zsovár (2020). Anna Maria Strada, Prima Donna of G. F. Handel","authors":"","doi":"10.1556/6.2020.00027","DOIUrl":"https://doi.org/10.1556/6.2020.00027","url":null,"abstract":"","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":"43307275","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 second half of the nineteenth century, the Habsburg Monarchy was a political entity giving home to great numbers of people of different nationalities and ethnicities. However, the dominant power in the structure of this multi-ethnic state was reserved for the Germans. Yet, the ever more emphatic demands of ethnic groups of other origins for more autonomy had a serious impact on the political and cultural supremacy of the Germans. Based on this recorded background, I will examine in the context of my paper to what extent Viennese music criticism of Franz Liszt’s symphonic programme music proves to be influenced by the reception of his national facets of identity. To do justice to this concern, the first step is to gain an overview of what statements were made during the journalistic discourse on Liszt’s symphonic programme music regarding its nationality. Building on this, it will be determined what function these statements had in the argumentative mediation of the aesthetic judgement on Liszt’s programmatic compositions. Against the political background outlined above, the question arises as to whether the Hungarian-national facet of Liszt’s identity in particular was instrumentalized by Viennese critics in order to strengthen negative judgments about his œuvre by means of a politically motivated German-nationalist narrative.
{"title":"Zwischen Ost und West: Franz Liszts nationale Identität in der Wiener Musikkritik (1857–1900)","authors":"","doi":"10.1556/6.2020.00022","DOIUrl":"https://doi.org/10.1556/6.2020.00022","url":null,"abstract":"\u0000 In the second half of the nineteenth century, the Habsburg Monarchy was a political entity giving home to great numbers of people of different nationalities and ethnicities. However, the dominant power in the structure of this multi-ethnic state was reserved for the Germans. Yet, the ever more emphatic demands of ethnic groups of other origins for more autonomy had a serious impact on the political and cultural supremacy of the Germans. Based on this recorded background, I will examine in the context of my paper to what extent Viennese music criticism of Franz Liszt’s symphonic programme music proves to be influenced by the reception of his national facets of identity. To do justice to this concern, the first step is to gain an overview of what statements were made during the journalistic discourse on Liszt’s symphonic programme music regarding its nationality. Building on this, it will be determined what function these statements had in the argumentative mediation of the aesthetic judgement on Liszt’s programmatic compositions. Against the political background outlined above, the question arises as to whether the Hungarian-national facet of Liszt’s identity in particular was instrumentalized by Viennese critics in order to strengthen negative judgments about his œuvre by means of a politically motivated German-nationalist narrative.","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":"43097532","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 paper deals with the first recording of Richard Strauss’s tone poem Don Juan, of which the first half (i.e. the first two of a total four sides of this 1916 78-rpm recording) has repeatedly been said to be conducted not by Richard Strauss, but by George Szell who served as Strauss’s assistant at the Berlin court opera at that time. By a close examination of written accounts, I wish to clarify the background of this narrative which Peter Morse, somehow misleadingly, has called an “old story” as early as in 1977, though it seems that it was not given currency prior to the late 1960s when Szell himself mentioned the recording en passant during an interview. In a second step, comparative analyses of certain sections from both this 1916 and Strauss’s later recordings of Don Juan will not only proof Szell’s participation, but aim at determining the respective interpretational concepts in their differing performance choices. Finally, further comparison between Szell’s later Don Juan recordings (1943, 1957, 1969) and selected performances by contemporary conductors intends to help situate Szell within the Austro-German Espressivo tradition, whereby the detailed analysis of tempo-dramaturgical strategies in these recordings will itself contribute to a differentiation of the frequently simplified notion of “Espressivo.”
{"title":"„And that is how my first records appeared under the name of Dr Richard Strauss“","authors":"","doi":"10.1556/6.2020.00018","DOIUrl":"https://doi.org/10.1556/6.2020.00018","url":null,"abstract":"\u0000 The paper deals with the first recording of Richard Strauss’s tone poem Don Juan, of which the first half (i.e. the first two of a total four sides of this 1916 78-rpm recording) has repeatedly been said to be conducted not by Richard Strauss, but by George Szell who served as Strauss’s assistant at the Berlin court opera at that time. By a close examination of written accounts, I wish to clarify the background of this narrative which Peter Morse, somehow misleadingly, has called an “old story” as early as in 1977, though it seems that it was not given currency prior to the late 1960s when Szell himself mentioned the recording en passant during an interview. In a second step, comparative analyses of certain sections from both this 1916 and Strauss’s later recordings of Don Juan will not only proof Szell’s participation, but aim at determining the respective interpretational concepts in their differing performance choices. Finally, further comparison between Szell’s later Don Juan recordings (1943, 1957, 1969) and selected performances by contemporary conductors intends to help situate Szell within the Austro-German Espressivo tradition, whereby the detailed analysis of tempo-dramaturgical strategies in these recordings will itself contribute to a differentiation of the frequently simplified notion of “Espressivo.”","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":"43160030","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 first two decades of the twentieth century were a very vivid period in the musical life of Kristiania. Except for symphonic concerts given by the orchestras of Musikforeningen and the Nationaltheatret audiences had an opportunity to attend many solo and chamber music performances. The organizers of these were first of all concert bureaus existing in the city. Each of them served a group of its own artists – both Norwegian and foreign. The aim of this text is to show what musical life in Kristiania looked like behind the concert stages. The press reviews also revealed a connection between the impresarios' and the music publishers' business. Besides, a comparison between the Norwegian and European impresarios revealed that the period under scrutiny was the moment of transition in the profile of this profession in Norway.
{"title":"Behind Musical Stages •","authors":"Dagmara Łopatowska-Romsvik","doi":"10.1556/6.2020.00016","DOIUrl":"https://doi.org/10.1556/6.2020.00016","url":null,"abstract":"\u0000 The first two decades of the twentieth century were a very vivid period in the musical life of Kristiania. Except for symphonic concerts given by the orchestras of Musikforeningen and the Nationaltheatret audiences had an opportunity to attend many solo and chamber music performances. The organizers of these were first of all concert bureaus existing in the city. Each of them served a group of its own artists – both Norwegian and foreign. The aim of this text is to show what musical life in Kristiania looked like behind the concert stages. The press reviews also revealed a connection between the impresarios' and the music publishers' business. Besides, a comparison between the Norwegian and European impresarios revealed that the period under scrutiny was the moment of transition in the profile of this profession in Norway.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42347976","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 recent creation of a national committee dedicated to the study of musical bands and linked to the Spanish Musicological Society (Sociedad Española de Musicología, SEdeM), as well as recent publications by authors like Alberto Veintimilla Bonet and Vicente Pastor García, work in harmony with this book to fill this surprising gap in the musical history of the country. Unfortunately, although there are some excellent previous publications on this subject, they have tended to focus on describing how the bands were organized, rather than exploring other features which would lead to a better understanding of these groups and the social and musical effects they had. Here the author's deep analysis introduces the reader to the personality of this brilliant clarinetist, composer, teacher, and band master born in Alcalá del Valle.2 His training and the beginning of his career, where he was part of groups such as the Orquesta de la Sociedad de Conciertos, Spain's first professional orchestra, are described in detail.
最近成立了一个专门研究乐队的国家委员会，该委员会与西班牙音乐学会（Sociedad Española de Musicalología，SEdeM）有联系，以及Alberto Veitimila Bonet和Vicente Pastor García等作家最近出版的出版物，与本书协调一致，填补了该国音乐史上这一令人惊讶的空白。不幸的是，尽管之前有一些关于这一主题的优秀出版物，但它们往往侧重于描述乐队的组织方式，而不是探索其他特征，从而更好地了解这些团体及其社会和音乐影响。在这里，作者的深入分析向读者介绍了这位出生于Alcaládel Valle的杰出单簧管演奏家、作曲家、教师和乐队大师的个性。
{"title":"Gloria A. Rodríguez-Lorenzo, The Clarinet in Spain: Miguel Yuste Moreno (1870-1947)","authors":"Fernando Barrera-Ramírez","doi":"10.1556/6.2020.00014","DOIUrl":"https://doi.org/10.1556/6.2020.00014","url":null,"abstract":"The recent creation of a national committee dedicated to the study of musical bands and linked to the Spanish Musicological Society (Sociedad Española de Musicología, SEdeM), as well as recent publications by authors like Alberto Veintimilla Bonet and Vicente Pastor García, work in harmony with this book to fill this surprising gap in the musical history of the country. Unfortunately, although there are some excellent previous publications on this subject, they have tended to focus on describing how the bands were organized, rather than exploring other features which would lead to a better understanding of these groups and the social and musical effects they had. Here the author's deep analysis introduces the reader to the personality of this brilliant clarinetist, composer, teacher, and band master born in Alcalá del Valle.2 His training and the beginning of his career, where he was part of groups such as the Orquesta de la Sociedad de Conciertos, Spain's first professional orchestra, are described in detail.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46735314","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 focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to demonstrate how Beethoven’s compositions became part of the concert programming. The rapid but simultaneously abrupt growth of the cultural scene in the twentieth century, was interweaved with what kind of compositions and what composers could be included in concert programs, taking into consideration the restrictions that governed large performances such as performers’ numbers and the diversity of instrumental players, who would support the staging of certain works. The reception of Beethoven’s works is studied in the changing local political, historical, social and cultural context.
{"title":"The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene","authors":"Georgia Petroudi","doi":"10.1556/6.2020.00011","DOIUrl":"https://doi.org/10.1556/6.2020.00011","url":null,"abstract":"The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to demonstrate how Beethoven’s compositions became part of the concert programming. The rapid but simultaneously abrupt growth of the cultural scene in the twentieth century, was interweaved with what kind of compositions and what composers could be included in concert programs, taking into consideration the restrictions that governed large performances such as performers’ numbers and the diversity of instrumental players, who would support the staging of certain works. The reception of Beethoven’s works is studied in the changing local political, historical, social and cultural context.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"61 1","pages":"149-159"},"PeriodicalIF":0.1,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45334419","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：