{"title":"Siglind Bruhn i pieśniowe symfonie o przemijaniu","authors":"Marcin Trzęsiok","doi":"10.14746/rfn.2021.22.13","DOIUrl":null,"url":null,"abstract":"This article discusses Siglin Bruhn’s book “Dunkel ist das Leben”. Liedsinfonien zur Vergänglichkeit von Mahler bis Penderecki (2020). It summarises the main theses of the book, i.e., the content of the selected symphonies about transience (Mahler, Zemlinsky, Shostakovich, Penderecki) and the methodological decision to base analyses primarily on the vocal line shown in a particular typographic arrangement that reflects the formal structure of poetry. The review focuses specifically on the analyses of two late vocal symphonies by Krzysztof Penderecki (Sixths and Eighth), which Siglind Bruhn’s book subjects for the first time to such complex scholarly interpretation.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"4 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Res Facta Nova. Teksty o muzyce współczesnej","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.14746/rfn.2021.22.13","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
本文讨论了Siglin Bruhn的书《Dunkel ist das Leben》。马勒与潘德列茨基(2020)。它总结了本书的主要论点,即关于短暂性的选定交响曲的内容(马勒,泽姆林斯基,肖斯塔科维奇,潘德列茨基)和方法论决定,主要基于在反映诗歌正式结构的特定排版安排中显示的声乐线进行分析。这篇评论特别侧重于分析克日什托夫·潘德列茨基(krzysztofpenderecki)的两首晚期声乐交响曲(第六交响曲和第八交响曲),这是西格林德·布鲁恩的书首次对这两首交响曲进行如此复杂的学术解释。
This article discusses Siglin Bruhn’s book “Dunkel ist das Leben”. Liedsinfonien zur Vergänglichkeit von Mahler bis Penderecki (2020). It summarises the main theses of the book, i.e., the content of the selected symphonies about transience (Mahler, Zemlinsky, Shostakovich, Penderecki) and the methodological decision to base analyses primarily on the vocal line shown in a particular typographic arrangement that reflects the formal structure of poetry. The review focuses specifically on the analyses of two late vocal symphonies by Krzysztof Penderecki (Sixths and Eighth), which Siglind Bruhn’s book subjects for the first time to such complex scholarly interpretation.