In my study, I show how three different figures of the interwar Hungary saw Beethoven. The first of them, Dénes Bartha (1908–1993), was a musicologist and became an international specialist of Viennese Classicism. In the context of contemporary Hungarian literature, his first Beethoven monograph (1939) represents an emphatically anti-Romantic attitude. In the second part, I examine the popular image of the composer, on the basis of the planned operetta Beethoven (1929–1931) by Zsolt Harsányi, an author of popular biographical novels, and Mihály Nádor (1882–1944), a successful operetta composer. This piece follows the example of Das Dreimäderlhaus, and its music was compiled from Beethoven’s melodies by Nádor. In the third part I examine an essay about Beethoven by an important musician of the period, Ernst von Dohnányi (1877–1960), who was, according to Bartók, a leading Beethoven performer of his age. Although the text of his “Romanticism in Beethoven’s Piano Sonatas” was written during his émigré years (draft: 1948, revision: 1955), it summarizes well what the leading figure of the interwar Budapest musical life might have thought about Beethoven’s music.
在我的研究中，我展示了两次世界大战之间匈牙利的三个不同人物是如何看待贝多芬的。他们中的第一个人是dassanes Bartha(1908-1993)，他是一位音乐学家，后来成为维也纳古典主义的国际专家。在当代匈牙利文学的背景下，他的第一部贝多芬专著(1939年)代表了一种强烈的反浪漫主义态度。在第二部分，我考察了作曲家的流行形象，在计划的轻歌剧贝多芬(1929-1931)的基础上，由Zsolt Harsányi，一个流行的传记小说的作者，Mihály Nádor(1882-1944)，一个成功的轻歌剧作曲家。这首曲子以《Das Dreimäderlhaus》为例，以Nádor收录的贝多芬的旋律为素材。在第三部分，我研究了一篇关于贝多芬的文章，作者是当时一位重要的音乐家，Ernst von Dohnányi(1877-1960)，根据Bartók的说法，他是他那个时代贝多芬的主要演奏家。虽然他的“贝多芬钢琴奏鸣曲中的浪漫主义”的文本是在他的职业生涯中写的(草稿:1948年，修订:1955年)，但它很好地总结了两次世界大战之间布达佩斯音乐生活的主要人物可能对贝多芬音乐的看法。
{"title":"Beethoven “in drei Charakterbildern:” Three Beethoven Images from the Interwar Hungary","authors":"Péter Bozó","doi":"10.1556/6.2020.00008","DOIUrl":"https://doi.org/10.1556/6.2020.00008","url":null,"abstract":"In my study, I show how three different figures of the interwar Hungary saw Beethoven. The first of them, Dénes Bartha (1908–1993), was a musicologist and became an international specialist of Viennese Classicism. In the context of contemporary Hungarian literature, his first Beethoven monograph (1939) represents an emphatically anti-Romantic attitude. In the second part, I examine the popular image of the composer, on the basis of the planned operetta Beethoven (1929–1931) by Zsolt Harsányi, an author of popular biographical novels, and Mihály Nádor (1882–1944), a successful operetta composer. This piece follows the example of Das Dreimäderlhaus, and its music was compiled from Beethoven’s melodies by Nádor. In the third part I examine an essay about Beethoven by an important musician of the period, Ernst von Dohnányi (1877–1960), who was, according to Bartók, a leading Beethoven performer of his age. Although the text of his “Romanticism in Beethoven’s Piano Sonatas” was written during his émigré years (draft: 1948, revision: 1955), it summarizes well what the leading figure of the interwar Budapest musical life might have thought about Beethoven’s music.","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":"43656164","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 2013, the International Skopje Summer Festival (founded in 1980) was traditionally opened on June 21, the World Day of Music, with Beethoven’s Symphony No. 9. The opening ceremony had a symbolic message: the performance of the symphony marked the 50th anniversary of the devastating earthquake in Skopje in 1963. This musical event was the starting-point of the research which is aimed at presenting a contemporary redefinition of Beethoven’s musical legacy and to analyze the meaning of the composition in the context of memory about a particular urban environment. At the same time the primary topic for analysis was expanded with the recent cultural-political project titled “Skopje 2014,” realized in the last decade, with purpose to obtain a more dynamical level of discussion that marks the relationship between music and memory in the urban history of Skopje.
{"title":"The Memory About Skopje and Beethoven’s Symphony No. 9","authors":"J. Papazova","doi":"10.1556/6.2020.00005","DOIUrl":"https://doi.org/10.1556/6.2020.00005","url":null,"abstract":"In 2013, the International Skopje Summer Festival (founded in 1980) was traditionally opened on June 21, the World Day of Music, with Beethoven’s Symphony No. 9. The opening ceremony had a symbolic message: the performance of the symphony marked the 50th anniversary of the devastating earthquake in Skopje in 1963. This musical event was the starting-point of the research which is aimed at presenting a contemporary redefinition of Beethoven’s musical legacy and to analyze the meaning of the composition in the context of memory about a particular urban environment. At the same time the primary topic for analysis was expanded with the recent cultural-political project titled “Skopje 2014,” realized in the last decade, with purpose to obtain a more dynamical level of discussion that marks the relationship between music and memory in the urban history of Skopje.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"61 1","pages":"59-71"},"PeriodicalIF":0.1,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41797080","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 premiere of Beethoven’s Symphony No. 9 in Belgrade, capital of Serbia, was in 1910. The situation in Belgrade, around 1910 in the field of musical culture, and culture in general, was not so good as in other parts of Europe. In a society with not so many professional musicians, where amateurs were the main carriers of musical life, the young composer and conductor Stanislav Binički, who had come back from his studies in Munich decided to organize with a group of enthusiasts the premiere of Beethoven’s Ninth Symphony. In this article I will represent the musical situation in the capital around 1910 and show what this premiere brought to audiences and musicians in Belgrade.
{"title":"The Premiere of Beethoven’s Symphony No. 9 in Belgrade","authors":"Marijana Dujović","doi":"10.1556/6.2020.00004","DOIUrl":"https://doi.org/10.1556/6.2020.00004","url":null,"abstract":"The premiere of Beethoven’s Symphony No. 9 in Belgrade, capital of Serbia, was in 1910. The situation in Belgrade, around 1910 in the field of musical culture, and culture in general, was not so good as in other parts of Europe. In a society with not so many professional musicians, where amateurs were the main carriers of musical life, the young composer and conductor Stanislav Binički, who had come back from his studies in Munich decided to organize with a group of enthusiasts the premiere of Beethoven’s Ninth Symphony. In this article I will represent the musical situation in the capital around 1910 and show what this premiere brought to audiences and musicians in Belgrade.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"61 1","pages":"51-57"},"PeriodicalIF":0.1,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49485600","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 is well known that Beethoven’s Ninth was followed by a temporary crisis in the genre of the symphony: the next generation found it difficult to get away from the shadow of this monumental piece. The Ninth was first performed in Hungary in 1865, more than 40 years after the world-premiere. We should add, however, that during the first half of the nineteenth century, no professional symphonic orchestra and choir existed in Pest-Buda that would have coped with the task. Although the Hungarian public was able to hear some of Beethoven’s symphonies already by the 1830s – mainly thanks to the Musical Association of Pest-Buda – in many cases only fragments of symphonies were performed. The Orchestra of the Philharmonic Society, founded in 1853, was meant to compensate for the lack of symphonic concerts. This paper is about the performances of Beethoven’s symphonies in Pest-Buda in the nineteenth century, and it especially it focuses on the reception of Symphony No. 9 in the Hungarian press, which cannot be understood without taking into consideration the influence of the Neudeutsche Schule (New German School).
{"title":"Untying the “Musical Sphinx:” Beethoven’s Symphony No. 9 in Nineteenth-Century Pest-Buda","authors":"P. Horváth","doi":"10.1556/6.2020.00003","DOIUrl":"https://doi.org/10.1556/6.2020.00003","url":null,"abstract":"It is well known that Beethoven’s Ninth was followed by a temporary crisis in the genre of the symphony: the next generation found it difficult to get away from the shadow of this monumental piece. The Ninth was first performed in Hungary in 1865, more than 40 years after the world-premiere. We should add, however, that during the first half of the nineteenth century, no professional symphonic orchestra and choir existed in Pest-Buda that would have coped with the task. Although the Hungarian public was able to hear some of Beethoven’s symphonies already by the 1830s – mainly thanks to the Musical Association of Pest-Buda – in many cases only fragments of symphonies were performed. The Orchestra of the Philharmonic Society, founded in 1853, was meant to compensate for the lack of symphonic concerts. This paper is about the performances of Beethoven’s symphonies in Pest-Buda in the nineteenth century, and it especially it focuses on the reception of Symphony No. 9 in the Hungarian press, which cannot be understood without taking into consideration the influence of the Neudeutsche Schule (New German School).","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"61 1","pages":"33-50"},"PeriodicalIF":0.1,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44173552","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 1927, Europe marked the centennial of the death of one of its greatest composers, Ludwig van Beet ho ven. At the same time, Bosnia and Herzegovina within the Kingdom of Serbs, Croats and Slovenes (later the Kingdom of Yugoslavia) was building the foundations of its musical institutions and trying to follow up with the more advanced cultural centers of the new state, Zagreb, Ljubljana, and Belgrade. The main feature of Bosnian musical life of the time (1918–1941) pertains to the establishment of the new musical institutions such as the National Theater (Narodno pozorište) and the Sarajevo Philharmonic Orchestra (Sarajevska filharmonija), the fundamental institutions of musical culture in Bosnia and Herzegovina even today. This paper aims at providing an insight into the presence of Beethoven’s works in concert repertoires in Sarajevo (1918–1941), especially of the Sarajevo Philharmonic Orchestra but also to point out the special occasion of Beethoven’s anniversary in 1927. The Sarajevo Philharmonic Orchestra was the only musical institution of this kind, and the most important musical society for the development of musical culture of the time; consequently, the research is based on the analysis of the society’s concert repertoire and reviews from the daily newspapers.
{"title":"Beethoven’s Anniversary in Sarajevo in 1927","authors":"Fatima Hadžić","doi":"10.1556/6.2020.00010","DOIUrl":"https://doi.org/10.1556/6.2020.00010","url":null,"abstract":"In 1927, Europe marked the centennial of the death of one of its greatest composers, Ludwig van Beet ho ven. At the same time, Bosnia and Herzegovina within the Kingdom of Serbs, Croats and Slovenes (later the Kingdom of Yugoslavia) was building the foundations of its musical institutions and trying to follow up with the more advanced cultural centers of the new state, Zagreb, Ljubljana, and Belgrade. The main feature of Bosnian musical life of the time (1918–1941) pertains to the establishment of the new musical institutions such as the National Theater (Narodno pozorište) and the Sarajevo Philharmonic Orchestra (Sarajevska filharmonija), the fundamental institutions of musical culture in Bosnia and Herzegovina even today. This paper aims at providing an insight into the presence of Beethoven’s works in concert repertoires in Sarajevo (1918–1941), especially of the Sarajevo Philharmonic Orchestra but also to point out the special occasion of Beethoven’s anniversary in 1927. The Sarajevo Philharmonic Orchestra was the only musical institution of this kind, and the most important musical society for the development of musical culture of the time; consequently, the research is based on the analysis of the society’s concert repertoire and reviews from the daily newspapers.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"61 1","pages":"129-147"},"PeriodicalIF":0.1,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42702201","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}
Beethoven’s music has set the tone during different and diverse events in human history. It has been used in order to pinpoint major historical events, but it has been also used in order to represent ideas such as friendship of nations, freedom, and many others. There are two events though when the music of Beet ho ven has meant more than a fine and glorious tune for the Athenian public. These two events occurred under totally different circumstances, with the first being an incident involving a Fidelio performance during World War II in occupied Athens, and the second having to do with the death of the legendary conductor Dimitri Mitropoulos and his urn containing his ashes arriving in Athens. Although the two incidents are historically unconnected, they are very much underlined by the Beethovenian values rep resented within the actual score. In this study, I will present the historical framework of both events but also taking a step further will dare to connect these with values that have been attributed to Beethoven’s music in terms of fundamental representation.
{"title":"Heroism, Resistance, and Sentiment: Two Events Full of Beethovenian Drama","authors":"Alexandros Charkiolakis","doi":"10.1556/6.2020.00006","DOIUrl":"https://doi.org/10.1556/6.2020.00006","url":null,"abstract":"Beethoven’s music has set the tone during different and diverse events in human history. It has been used in order to pinpoint major historical events, but it has been also used in order to represent ideas such as friendship of nations, freedom, and many others. There are two events though when the music of Beet ho ven has meant more than a fine and glorious tune for the Athenian public. These two events occurred under totally different circumstances, with the first being an incident involving a Fidelio performance during World War II in occupied Athens, and the second having to do with the death of the legendary conductor Dimitri Mitropoulos and his urn containing his ashes arriving in Athens. Although the two incidents are historically unconnected, they are very much underlined by the Beethovenian values rep resented within the actual score. In this study, I will present the historical framework of both events but also taking a step further will dare to connect these with values that have been attributed to Beethoven’s music in terms of fundamental representation.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"61 1","pages":"73-80"},"PeriodicalIF":0.1,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42841189","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 mainly investigates the way Beethoven’s image was turned, during the totalitarian political regimes of twentieth-century Romania, into a tool of propaganda. Two such ideological annexations are striking: one took place in the period when Romania, as Germany’s ally during World War II and led by Marshall Ion Antonescu, who was loyal to Adolf Hitler, to a certain extent copied the Nazi model (1940–1944); the other, much longer, began when Communists took power in 1947 and lasted until 1989, with some inevitable continuations. The beginnings of contemporary Romanian capitalism in the 1990s brought, in addition to an attempt to depoliticize Beethoven by means of professional, responsible musicological enquiries, no longer grounded in Fascist or Communist ideologies, another type of approach: sensationalist, related to the “identification” of some of Beethoven’s love interests who reportedly lived on the territory of present-day Romania.
{"title":"From Propagandistic Exploitation to Post-Communist Sensationalism: Beethoven Reception in Twentieth- and Twenty-First-Century Romania","authors":"Florinela Popa","doi":"10.1556/6.2020.00009","DOIUrl":"https://doi.org/10.1556/6.2020.00009","url":null,"abstract":"This paper mainly investigates the way Beethoven’s image was turned, during the totalitarian political regimes of twentieth-century Romania, into a tool of propaganda. Two such ideological annexations are striking: one took place in the period when Romania, as Germany’s ally during World War II and led by Marshall Ion Antonescu, who was loyal to Adolf Hitler, to a certain extent copied the Nazi model (1940–1944); the other, much longer, began when Communists took power in 1947 and lasted until 1989, with some inevitable continuations. The beginnings of contemporary Romanian capitalism in the 1990s brought, in addition to an attempt to depoliticize Beethoven by means of professional, responsible musicological enquiries, no longer grounded in Fascist or Communist ideologies, another type of approach: sensationalist, related to the “identification” of some of Beethoven’s love interests who reportedly lived on the territory of present-day Romania.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"61 1","pages":"113-128"},"PeriodicalIF":0.1,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48624201","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}
Staging Beethoven’s Fidelio in the second half of the nineteenth century in Pressburg drew on a long- standing Beethoven tradition prevalent in the town. Also, it stood at the center of protests against the growing influence of Hungarian theater in the newly constructed theater building since Fidelio was performed always at a time when the renewal of an agreement with a German-speaking director was being decided on (1889, 1892, 1895). The opera was staged with the participation of the choral societies and musical associations of the town. Its performances were held close to the annual festive masses of the most well-known association of Pressburg, the Church Music Association of St. Martin’s Cathedral (Germ. Kirchenmusikverein bei der Dom-, Kollegiats- und Stadtpfarrkirche zu St. Martin, Hung. Szent Márton Pozsonyi Egyházi Zeneegylet), where Beethoven’s Missa solemnis was performed. This enhanced the efforts of the supporters of the German theater to call Beethoven’s œuvre a carrier of “true art” and humanism and use it as a symbol of cultural identity in the discussions led about preserving the German season in the Municipal Theater (Germ. Stadttheater, Hung. Városi Színház).
19世纪下半叶在普雷斯堡上演贝多芬的《Fidelio》，借鉴了镇上流传已久的贝多芬传统。此外，它也是抗议匈牙利剧院在新建剧院大楼中日益增长的影响力的中心，因为《费德里奥》的演出总是在决定与德语导演续签协议的时候进行（1889年、1892年、1895年）。歌剧在镇上的合唱协会和音乐协会的参与下上演。它的演出是在普雷斯堡最著名的协会圣马丁大教堂音乐协会（Germ.Kirchenmusikverein bei der Dom-，Kollegiats-und Stadtpfarrkirche zu St.Martin，Hung.Szent Márton Pozsonyi Egyházi Zeneegylet）的年度节日弥撒附近举行的，贝多芬的《圣母玛利亚》在那里举行。这加强了德国剧院支持者的努力，称贝多芬的作品是“真正艺术”和人文主义的载体，并在市政剧院（Germ.Stadttheater，Hung.Városi Színház）关于保存德国季的讨论中将其作为文化身份的象征。
{"title":"Sacrosanctity or Duty? The Reception of Beethoven’s Fidelio in the Context of the Cultural-Political Situation in the Second Half of the Nineteenth Century in Pressburg","authors":"Jana Laslavíková","doi":"10.1556/6.2020.00007","DOIUrl":"https://doi.org/10.1556/6.2020.00007","url":null,"abstract":"Staging Beethoven’s Fidelio in the second half of the nineteenth century in Pressburg drew on a long- standing Beethoven tradition prevalent in the town. Also, it stood at the center of protests against the growing influence of Hungarian theater in the newly constructed theater building since Fidelio was performed always at a time when the renewal of an agreement with a German-speaking director was being decided on (1889, 1892, 1895). The opera was staged with the participation of the choral societies and musical associations of the town. Its performances were held close to the annual festive masses of the most well-known association of Pressburg, the Church Music Association of St. Martin’s Cathedral (Germ. Kirchenmusikverein bei der Dom-, Kollegiats- und Stadtpfarrkirche zu St. Martin, Hung. Szent Márton Pozsonyi Egyházi Zeneegylet), where Beethoven’s Missa solemnis was performed. This enhanced the efforts of the supporters of the German theater to call Beethoven’s œuvre a carrier of “true art” and humanism and use it as a symbol of cultural identity in the discussions led about preserving the German season in the Municipal Theater (Germ. Stadttheater, Hung. Városi Színház).","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"61 1","pages":"81-97"},"PeriodicalIF":0.1,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45963857","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：