The basic style of East-European Jewish (East-Ashkenazic) prayer chant (davenen), even when it might seem to be simple on paper, in transcription, has a complex and unique system of micro-structure. This micro-structure, which is evident in subtleties of rhythm and melody, voice quality, form, techniques of variation and ornamentation, is inventive and daring, and creates a compelling aesthetic and spiritual effect in the auditory experience. The present article discusses the question of how this creative compositional practice might have evolved. The article claims that the uniqueness of davenen results from the fact that children begin learning this “art” at a very early age, before they are able to speak and conceptualize the phenomena of the surrounding world. With davenen, a spontaneously felt language before language is learnt: a language in which words and melodies, rhythms and musical gestures and effects, emotions and fantasies and associations are merged into one whole. As a result, in the realization of prayer chant, even in the case of professional prayer leaders, originality and tradition, copying and fantasy occur together in a continual fusion of memory and forgetfulness. This article discusses Eastern European Jewish prayer chant and its learning process on the basis of its author’s decades of fieldwork and of literature and memoirs from before WWII.
{"title":"Gestures of the Soul The Prayer Chant of the East-European Jews","authors":"Judit Frigyesi","doi":"10.1556/6.2019.00016","DOIUrl":"https://doi.org/10.1556/6.2019.00016","url":null,"abstract":"The basic style of East-European Jewish (East-Ashkenazic) prayer chant (davenen), even when it might seem to be simple on paper, in transcription, has a complex and unique system of micro-structure. This micro-structure, which is evident in subtleties of rhythm and melody, voice quality, form, techniques of variation and ornamentation, is inventive and daring, and creates a compelling aesthetic and spiritual effect in the auditory experience. The present article discusses the question of how this creative compositional practice might have evolved. The article claims that the uniqueness of davenen results from the fact that children begin learning this “art” at a very early age, before they are able to speak and conceptualize the phenomena of the surrounding world. With davenen, a spontaneously felt language before language is learnt: a language in which words and melodies, rhythms and musical gestures and effects, emotions and fantasies and associations are merged into one whole. As a result, in the realization of prayer chant, even in the case of professional prayer leaders, originality and tradition, copying and fantasy occur together in a continual fusion of memory and forgetfulness. This article discusses Eastern European Jewish prayer chant and its learning process on the basis of its author’s decades of fieldwork and of literature and memoirs from before WWII.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"327-347"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67003812","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}
Although the period of Liszt’s residency in Rome is marked by pivotal events, many aspects concerning his networks, activities, and relevance in the city’s musical life still await musicological scrutiny. The present paper examines which of Liszt’s compositions could have been heard in Rome by a broader audience during the time the composer had his permanent residence there, and which pieces received attention from the Italian press. Although the performances of the Dante Symphony in 1866 and Christus in 1867 are to be understood as key events in the Roman perception of Liszt as a composer of symphonic music, performances in this genre remained a rarity throughout the 1860s. By then, it was primarily Liszt’s piano music which was heard both in private and more public settings, mainly popularized by Liszt’s student Giovanni Sgambati. Together with the violinist Ettore Pinelli, Sgambati was also key to staging Liszt’s symphonic music with full orchestra during the 1870s and 1880s. Focusing on these decades, this paper eventually elaborates the consolidation and canonization of Liszt’s music and the lasting implications of the Liszt–Sgambati–Pinelli circle on Rome’s concert repertoire after the Italian unifcation.
{"title":"Heaven and Hell Performances of Liszt’s Works and their Reception in Rome, 1861–1886","authors":"Elisabeth Reisinger","doi":"10.1556/6.2019.00009","DOIUrl":"https://doi.org/10.1556/6.2019.00009","url":null,"abstract":"Although the period of Liszt’s residency in Rome is marked by pivotal events, many aspects concerning his networks, activities, and relevance in the city’s musical life still await musicological scrutiny. The present paper examines which of Liszt’s compositions could have been heard in Rome by a broader audience during the time the composer had his permanent residence there, and which pieces received attention from the Italian press. Although the performances of the Dante Symphony in 1866 and Christus in 1867 are to be understood as key events in the Roman perception of Liszt as a composer of symphonic music, performances in this genre remained a rarity throughout the 1860s. By then, it was primarily Liszt’s piano music which was heard both in private and more public settings, mainly popularized by Liszt’s student Giovanni Sgambati. Together with the violinist Ettore Pinelli, Sgambati was also key to staging Liszt’s symphonic music with full orchestra during the 1870s and 1880s. Focusing on these decades, this paper eventually elaborates the consolidation and canonization of Liszt’s music and the lasting implications of the Liszt–Sgambati–Pinelli circle on Rome’s concert repertoire after the Italian unifcation.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"169-185"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47001911","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}
György Ligeti and his wife fled Hungary in December 1956, travelling through the night of the 11 and 12, and finally reaching Vienna the following day. The existing materials dating from Ligeti’s early emigration demonstrate particularly dynamic correspondence with three Hungarian expatriates: composers Sándor Veress and Mátyás Seiber, as well as the critic John S. Weissmann. 33 letters and postcards and a further 11 replies, held in the Paul Sacher Foundation in Basel, comprise a body of Ligeti’s correspondence with these colleagues dating between the final month of 1956 and the end of 1958. Although evidently incomplete, this unique collection offers novel perspectives surrounding the beginnings of Ligeti’s Western career. Reflecting expectations and future aspirations, these documents trace the excitements as well as challenges of “wiping the slate clean.” Encapsulating Ligeti’s evolving compositional interests and recounting the processes through which he forged new professional relationships, this correspondence reveals insights relating to the composer’s newly- emerging public image. Emigration brought many trials, yet upheaval simultaneously presented an opportunity to radically break with the past. Ligeti could redefine his professional identity as a composer. Although Ligeti felt uneasy in Cologne, it quickly became apparent that engaging in an official capacity with the Electronic Music Studio of the West German Radio (WDR) provided an extraordinary opportunity to establish himself in avant-garde musical circles. Initially shocked by these musical experiments, it was clear to Ligeti that his own creative path lay separate from the avant-garde scene with which he became acquainted in Cologne. Ligeti’s correspondence dating from these encounters indicates that he left Hungary with preconceived musical concepts and aspirations. His experiences with contemporary music rather provided the technical tools through which he could construct and articulate his own concepts, in a manner appearing current in the context of the Cologne-Darmstadt avant-garde.
{"title":"“Zero point” The Beginnings of György Ligeti’s Western Career","authors":"Márton Kerékfy","doi":"10.1556/6.2019.00005","DOIUrl":"https://doi.org/10.1556/6.2019.00005","url":null,"abstract":"György Ligeti and his wife fled Hungary in December 1956, travelling through the night of the 11 and 12, and finally reaching Vienna the following day. The existing materials dating from Ligeti’s early emigration demonstrate particularly dynamic correspondence with three Hungarian expatriates: composers Sándor Veress and Mátyás Seiber, as well as the critic John S. Weissmann. 33 letters and postcards and a further 11 replies, held in the Paul Sacher Foundation in Basel, comprise a body of Ligeti’s correspondence with these colleagues dating between the final month of 1956 and the end of 1958. Although evidently incomplete, this unique collection offers novel perspectives surrounding the beginnings of Ligeti’s Western career. Reflecting expectations and future aspirations, these documents trace the excitements as well as challenges of “wiping the slate clean.” Encapsulating Ligeti’s evolving compositional interests and recounting the processes through which he forged new professional relationships, this correspondence reveals insights relating to the composer’s newly- emerging public image. Emigration brought many trials, yet upheaval simultaneously presented an opportunity to radically break with the past. Ligeti could redefine his professional identity as a composer. Although Ligeti felt uneasy in Cologne, it quickly became apparent that engaging in an official capacity with the Electronic Music Studio of the West German Radio (WDR) provided an extraordinary opportunity to establish himself in avant-garde musical circles. Initially shocked by these musical experiments, it was clear to Ligeti that his own creative path lay separate from the avant-garde scene with which he became acquainted in Cologne. Ligeti’s correspondence dating from these encounters indicates that he left Hungary with preconceived musical concepts and aspirations. His experiences with contemporary music rather provided the technical tools through which he could construct and articulate his own concepts, in a manner appearing current in the context of the Cologne-Darmstadt avant-garde.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"103-114"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46233016","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}
When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song harmonizations in the works of Kodály, whose related theoretical statements are also considered. This study offers an in-depth analysis of six fragments from Kodály’s major folk-song arrangements to highlight the features of Kodály’s folk song harmonizations.
{"title":"The Harmonization of Folk Songs in Kodály’s Workshop","authors":"P. Richter","doi":"10.1556/6.2019.00013","DOIUrl":"https://doi.org/10.1556/6.2019.00013","url":null,"abstract":"When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song harmonizations in the works of Kodály, whose related theoretical statements are also considered. This study offers an in-depth analysis of six fragments from Kodály’s major folk-song arrangements to highlight the features of Kodály’s folk song harmonizations.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42485959","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 article highlights the contradiction between theories of form in musicology (originating in the mechanistic and organicist definitions of the eighteenth and nineteenth centuries), and new forms created by contemporary composers since circa 1970. The initial discussion introduces various “traditional” definitions of form in aesthetics, semiotics and musicology. Following this, a critique of the mechanistic approach, drawing on the work of André Souris, is presented. The third part discusses some recent scientific theories which composers have drawn from. The remainder of the article provides examples of the manifestation of new musical forms based on scientific theories such as the spiral, morphogenesis, fractal geometry, psychological-literary analysis, and L-systems.
{"title":"The Influence of Scientific Theories on Musical Form in Contemporary Instrumental and Electroacoustic Works","authors":"Márta Grabócz","doi":"10.1556/6.2019.00007","DOIUrl":"https://doi.org/10.1556/6.2019.00007","url":null,"abstract":"This article highlights the contradiction between theories of form in musicology (originating in the mechanistic and organicist definitions of the eighteenth and nineteenth centuries), and new forms created by contemporary composers since circa 1970. The initial discussion introduces various “traditional” definitions of form in aesthetics, semiotics and musicology. Following this, a critique of the mechanistic approach, drawing on the work of André Souris, is presented. The third part discusses some recent scientific theories which composers have drawn from. The remainder of the article provides examples of the manifestation of new musical forms based on scientific theories such as the spiral, morphogenesis, fractal geometry, psychological-literary analysis, and L-systems.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"129-146"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42821660","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 study focuses on the use of the parlando rubato style of Hungarian folk music in György Kurtág’s compositions. Kurtág applies the terms parlando, rubato,and molto rubato several times, and these designations always refer to a clearly defined meaning in his compositions, connected to “Hungarianness” and sexuality. This study aims to reveal these meanings, aided by Kurtág’s compositional sketches and notes preserved in the Paul Sacher Foundation in Basel, as well as through analysis of vocal works such as the Four Songs (op. 11), S. K. –Remembrance Noise (op. 12), Attila József Fragments (op. 20), Seven Songs (op. 22), Eight Choruses (op. 23), Kafka Fragments (op. 24), and Three Old Inscriptions (op. 25).
{"title":"Parlando Rubato György Kurtág and Hungarian Folk Music","authors":"Anna Dalos","doi":"10.1556/6.2019.00006","DOIUrl":"https://doi.org/10.1556/6.2019.00006","url":null,"abstract":"This study focuses on the use of the parlando rubato style of Hungarian folk music in György Kurtág’s compositions. Kurtág applies the terms parlando, rubato,and molto rubato several times, and these designations always refer to a clearly defined meaning in his compositions, connected to “Hungarianness” and sexuality. This study aims to reveal these meanings, aided by Kurtág’s compositional sketches and notes preserved in the Paul Sacher Foundation in Basel, as well as through analysis of vocal works such as the Four Songs (op. 11), S. K. –Remembrance Noise (op. 12), Attila József Fragments (op. 20), Seven Songs (op. 22), Eight Choruses (op. 23), Kafka Fragments (op. 24), and Three Old Inscriptions (op. 25).","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48231203","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 appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.
zarzuela在匈牙利的出现在音乐学上是完全未知的。在本研究中，我讨论了鲁珀托Chapí(1851-1909)的zarzuela El rey que rabió(1891年首次在西班牙演出)目前未知的接受情况，他是一位西班牙作曲家，创作了一百多部舞台剧和四部弦乐四重奏。七年后的1898年，在布达佩斯以Az unatkozó király的身份首演，Chapí的zarzuela在匈牙利媒体上获得了巨大的成功，这种热情一直延续到二十世纪的头几十年。Emil Szalai和Sándor Hevesi熟练的匈牙利语翻译，加上Izsó Barna的适当调整和重新编曲，相应地迎合了布达佩斯观众的作品。通过分析Az unatkozó király的手写表演材料(保存在国家szacimacimnyi图书馆)，以及对匈牙利人接受情况的详细研究，揭示了世纪之交匈牙利戏剧公众对西班牙音乐的浓厚兴趣，特别是与音乐剧有关的兴趣。本文探讨Az unatkozó király如何在匈牙利取得成功。
{"title":"The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí","authors":"G. A. Rodriguez-Lorenzo","doi":"10.1556/6.2019.00012","DOIUrl":"https://doi.org/10.1556/6.2019.00012","url":null,"abstract":"The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"243-262"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44015574","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}
Surprisingly little work has been dedicated to Mozart and the march genre. The literature has explored only the 17 marches which feature as introductory movements in his cassations and serenades (Neue Mozart-Ausgabe, Günter Hauswald, Wolfgang Plath). However, marches have important functions in Mozart’s operas – in his seria works as celebratory and greeting intermezzos, and at expressly key instances in his Da Ponte operas (“Non più andrai,” “Ecco la marcia, andiamo,” “È aperto a tutti quanti, viva la libertà!”, and “Bella vita militar”). The same applies to Idomeneo and The Magic Flute, where the priestly rituals are accompanied by marches, albeit of a slow variety, as is Tamino and Pamina’s trial by fire and water. Studying the marches reveals a formulaic recurring rhythmic model (a succession of eighth notes in the following pattern: 4:3:1:2:2) that acts as a thematic introduction to many works which do not conspicuously belong to the march genre – notably his piano concertos and symphonies. This model appears already in his juvenile pieces, reoccurring throughout his œuvre as a means of expressing the beginning of a purposeful action.
令人惊讶的是，很少有作品专门用于莫扎特和进行曲流派。文献中只探讨了他的袈裟和小夜曲中的17个进行曲（Neue Mozart Ausgabe、Günter Hauswald、Wolfgang Plath）。然而，进行曲在莫扎特的歌剧中有着重要的作用——在他的seria作品中，作为庆祝和问候intermezzos，在他的大蓬歌剧中也有明确的关键例子（“Non piúandrai”、“Ecco la marcia，andiamo”、“Éaperto a tutti quanti，viva la libertà！”和“Bella vita militar”）。这同样适用于《Idomeneo》和《魔笛》，在这两部作品中，牧师仪式伴随着进行曲，尽管进行曲的节奏很慢，塔米诺和帕米娜的试炼也是如此。对进行曲的研究揭示了一种公式化的反复出现的节奏模式（以下模式的一系列八分音符：4:3:1:2:2），它作为许多不明显属于进行曲流派的作品的主题介绍，尤其是他的钢琴协奏曲和交响乐。这种模式已经出现在他的青少年作品中，在他的整个作品中反复出现，作为一种表达有目的行动开始的手段。
{"title":"“Ecco la marcia, andiamo...” Mozart and the March","authors":"J. Kárpáti","doi":"10.1556/6.2019.00008","DOIUrl":"https://doi.org/10.1556/6.2019.00008","url":null,"abstract":"Surprisingly little work has been dedicated to Mozart and the march genre. The literature has explored only the 17 marches which feature as introductory movements in his cassations and serenades (Neue Mozart-Ausgabe, Günter Hauswald, Wolfgang Plath). However, marches have important functions in Mozart’s operas – in his seria works as celebratory and greeting intermezzos, and at expressly key instances in his Da Ponte operas (“Non più andrai,” “Ecco la marcia, andiamo,” “È aperto a tutti quanti, viva la libertà!”, and “Bella vita militar”). The same applies to Idomeneo and The Magic Flute, where the priestly rituals are accompanied by marches, albeit of a slow variety, as is Tamino and Pamina’s trial by fire and water. Studying the marches reveals a formulaic recurring rhythmic model (a succession of eighth notes in the following pattern: 4:3:1:2:2) that acts as a thematic introduction to many works which do not conspicuously belong to the march genre – notably his piano concertos and symphonies. This model appears already in his juvenile pieces, reoccurring throughout his œuvre as a means of expressing the beginning of a purposeful action.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"149-167"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41337326","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}
Writings on the socio-cultural complexities of Mahler’s identity and his music in context vary in relation to four basic motifs: his Jewishness; his Germanness; the partly Slav environment of his early years; and his relationship to the Austro-Hungar-ian Dual Monarchy. Studies combine these elements, or privilege one above another. It may help to rethink this subject if we consider that his self-awareness formed amid a changing social environment; if his personal identity will be studied in the context of the identity history of his family; and through scrutinizing the decisive socializing role of the localities in which he lived. These conclusions can reveal the unparalleled mobility of his career in a rapidly-transforming context. Late nineteenth-century Central European societies drew at once on the “past” (post-feudal, pre-modern attitudes and practices), “present” (constitutionalism based on equal civilian rights, and nationalism), and “future” (populist and racist ideologies questioning the enlightened, liberal consensus). All three impacted not only Mahler’s identity, but his image: how the surrounding society perceived him. These approaches also facilitate critical readings of the contemporaneous attempts to embed Mahler’s music in national, regional, and ethno-cultural contexts. This paper examines the reception of the third movement of Symphony No. 1 as a case study, exploring how Mahler’s construed images were reflected in different interpretations of this music.
{"title":"Mahler: Music, Reception, Identity","authors":"L. Péteri","doi":"10.1556/6.2019.00011","DOIUrl":"https://doi.org/10.1556/6.2019.00011","url":null,"abstract":"Writings on the socio-cultural complexities of Mahler’s identity and his music in context vary in relation to four basic motifs: his Jewishness; his Germanness; the partly Slav environment of his early years; and his relationship to the Austro-Hungar-ian Dual Monarchy. Studies combine these elements, or privilege one above another. It may help to rethink this subject if we consider that his self-awareness formed amid a changing social environment; if his personal identity will be studied in the context of the identity history of his family; and through scrutinizing the decisive socializing role of the localities in which he lived. These conclusions can reveal the unparalleled mobility of his career in a rapidly-transforming context. Late nineteenth-century Central European societies drew at once on the “past” (post-feudal, pre-modern attitudes and practices), “present” (constitutionalism based on equal civilian rights, and nationalism), and “future” (populist and racist ideologies questioning the enlightened, liberal consensus). All three impacted not only Mahler’s identity, but his image: how the surrounding society perceived him. These approaches also facilitate critical readings of the contemporaneous attempts to embed Mahler’s music in national, regional, and ethno-cultural contexts. This paper examines the reception of the third movement of Symphony No. 1 as a case study, exploring how Mahler’s construed images were reflected in different interpretations of this music.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"219-242"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49352709","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 1996, Copenhagen was awarded the title European Capital of Culture. Amongst its most publicized events was the Danish and Scandinavian première of the complete version of Alban Berg’s opera Lulu. In this study, an oral history methodology is applied to draw conclusions regarding the significance, reception, and legacy of Lulu in Copenhagen from the perspectives of four Danish administrative leaders involved in this production, who, through interviews, reflected on this project within the context of Copenhagen’s cultural landscape. Their testimonies depict a narrative of how this production established a new perspective of opera in Copenhagen, as well as the innovation of performing opera at unique venues not usually associated with this genre. This phenomenon contributed to attracting a wider audience demographic, who would be less receptive to more traditional methods of opera staging. Furthermore, it was established by the Lulu project instigators that the production depicted Danish cultural identity, while simultaneously promoting an international cooperation and an international standard of artistic execution.
{"title":"The Danish Première of Alban Berg’s Three-Act Lulu A Contextualized Oral History of a European Capital of Culture Event in 1996","authors":"Vanja Ljubibratić","doi":"10.1556/6.2019.00004","DOIUrl":"https://doi.org/10.1556/6.2019.00004","url":null,"abstract":"In 1996, Copenhagen was awarded the title European Capital of Culture. Amongst its most publicized events was the Danish and Scandinavian première of the complete version of Alban Berg’s opera Lulu. In this study, an oral history methodology is applied to draw conclusions regarding the significance, reception, and legacy of Lulu in Copenhagen from the perspectives of four Danish administrative leaders involved in this production, who, through interviews, reflected on this project within the context of Copenhagen’s cultural landscape. Their testimonies depict a narrative of how this production established a new perspective of opera in Copenhagen, as well as the innovation of performing opera at unique venues not usually associated with this genre. This phenomenon contributed to attracting a wider audience demographic, who would be less receptive to more traditional methods of opera staging. Furthermore, it was established by the Lulu project instigators that the production depicted Danish cultural identity, while simultaneously promoting an international cooperation and an international standard of artistic execution.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"60 1","pages":"69-101"},"PeriodicalIF":0.1,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49166893","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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