{"title":"匈牙利内战时期的三个贝多芬形象","authors":"Péter Bozó","doi":"10.1556/6.2020.00008","DOIUrl":null,"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":0.1000,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Beethoven “in drei Charakterbildern:” Three Beethoven Images from the Interwar Hungary\",\"authors\":\"Péter Bozó\",\"doi\":\"10.1556/6.2020.00008\",\"DOIUrl\":null,\"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\":0.1000,\"publicationDate\":\"2021-04-13\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studia Musicologica\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1556/6.2020.00008\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studia Musicologica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1556/6.2020.00008","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
摘要
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。
Beethoven “in drei Charakterbildern:” Three Beethoven Images from the Interwar Hungary
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.