{"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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 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":null,"pages":null},"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}
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":null,"pages":null},"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}
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":null,"pages":null},"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":null,"pages":null},"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}
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