{"title":"乔治·克拉姆《夏夜音乐》演奏中的时间性与织体","authors":"P. Lalitte","doi":"10.1080/07494467.2022.2033573","DOIUrl":null,"url":null,"abstract":"Music for a Summer Evening (Makrokosmos III, 1974) for two amplified pianos and percussion by George Crumb is one of the first works written after 1945 to use the same ensemble inaugurated by Béla Bartók in his Sonata for Two Pianos and Percussion. The aim of this article is to examine the relationship between temporality and texture in the performance of Music for a Summer Evening. The highly diversified textures in terms of colour and density, as well as the tempo palette offer performers a high degree of freedom in their interpretation. Seven recorded performances of the work, covering a period of more than forty years (1975–2017) are compared according to the methods I developed during previous studies (Lalitte, Philippe. 2015. Analyser l’interprétation de la musique du XXe siècle. Une analyse d’interprétations enregistrées des Dix pièces pour quintette à vent de György Ligeti. Paris: Hermann; Lalitte, Philippe. 2018. “L’interprétation de Sopiana pour flûte, piano et bande de François-Bernard Mâche.” In François-Bernard Mâche: Le poète et le savant face à l’univers sonore, edited by Geneviève Mathon and Marta Grabocz, 299–318. Paris: Hermann; Lalitte, Philippe, and Vincent Grepel. 2017. “Prêt-à-porter ou coupe sur mesure? Liberté et contraintes dans l’interprétation de la Sequenza III de Berio.” Filigrane 22.). The article sheds light on issues such as the fidelity to the score, the singularity of some interpretations, the impact of texture on the temporality of performance, and the potential effect of the number of musicians in the ensemble.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Temporality and Texture in the Performance of George Crumb’s Music for a Summer Evening\",\"authors\":\"P. Lalitte\",\"doi\":\"10.1080/07494467.2022.2033573\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Music for a Summer Evening (Makrokosmos III, 1974) for two amplified pianos and percussion by George Crumb is one of the first works written after 1945 to use the same ensemble inaugurated by Béla Bartók in his Sonata for Two Pianos and Percussion. The aim of this article is to examine the relationship between temporality and texture in the performance of Music for a Summer Evening. The highly diversified textures in terms of colour and density, as well as the tempo palette offer performers a high degree of freedom in their interpretation. Seven recorded performances of the work, covering a period of more than forty years (1975–2017) are compared according to the methods I developed during previous studies (Lalitte, Philippe. 2015. Analyser l’interprétation de la musique du XXe siècle. Une analyse d’interprétations enregistrées des Dix pièces pour quintette à vent de György Ligeti. Paris: Hermann; Lalitte, Philippe. 2018. “L’interprétation de Sopiana pour flûte, piano et bande de François-Bernard Mâche.” In François-Bernard Mâche: Le poète et le savant face à l’univers sonore, edited by Geneviève Mathon and Marta Grabocz, 299–318. Paris: Hermann; Lalitte, Philippe, and Vincent Grepel. 2017. “Prêt-à-porter ou coupe sur mesure? Liberté et contraintes dans l’interprétation de la Sequenza III de Berio.” Filigrane 22.). The article sheds light on issues such as the fidelity to the score, the singularity of some interpretations, the impact of texture on the temporality of performance, and the potential effect of the number of musicians in the ensemble.\",\"PeriodicalId\":44746,\"journal\":{\"name\":\"Contemporary Music Review\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-01-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Contemporary Music Review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/07494467.2022.2033573\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Contemporary Music Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/07494467.2022.2033573","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
摘要
乔治·克鲁姆的《夏日夜晚的音乐》(Makrokosmos III,1974)是1945年后创作的第一部作品,使用了贝拉·巴托克在他的《双钢琴和打击乐奏鸣曲》中开创的同一合奏团。本文旨在探讨《夏日夜晚的音乐》表演中时间性与质感的关系。色彩和密度方面的高度多样化的纹理,以及节奏调色板,为表演者提供了高度的诠释自由度。根据我在之前的研究中开发的方法,对这项工作的七项记录表演进行了比较,这些表演涵盖了40多年(1975年至2017年)(Lalitte,Philippe,2015)。二十世纪音乐解释分析。联合国对Dix pièces的注册解释进行了分析,以了解György Ligeti的五大事件。巴黎:赫尔曼;拉利特,菲利普。2018年,“Sopiana pour flûte,钢琴和乐队de François Bernard Mâche。”在《François BernardMâche:Le poète et Le savant faceàL’univers sonore》中,由Geneviève Mathon和Marta Grabocz编辑,299–318。巴黎:赫尔曼;拉利特、菲利普和文森特·格雷佩尔。2017年。“Prêtà-porter ou coupe sur mesure?Libertéet contractes dans l’interpreétation de la Sequenceza III de Berio。”Filigrane 22.)。这篇文章揭示了一些问题,如对乐谱的保真度、一些诠释的独特性、质感对表演时间性的影响,以及合奏团中音乐家数量的潜在影响。
Temporality and Texture in the Performance of George Crumb’s Music for a Summer Evening
Music for a Summer Evening (Makrokosmos III, 1974) for two amplified pianos and percussion by George Crumb is one of the first works written after 1945 to use the same ensemble inaugurated by Béla Bartók in his Sonata for Two Pianos and Percussion. The aim of this article is to examine the relationship between temporality and texture in the performance of Music for a Summer Evening. The highly diversified textures in terms of colour and density, as well as the tempo palette offer performers a high degree of freedom in their interpretation. Seven recorded performances of the work, covering a period of more than forty years (1975–2017) are compared according to the methods I developed during previous studies (Lalitte, Philippe. 2015. Analyser l’interprétation de la musique du XXe siècle. Une analyse d’interprétations enregistrées des Dix pièces pour quintette à vent de György Ligeti. Paris: Hermann; Lalitte, Philippe. 2018. “L’interprétation de Sopiana pour flûte, piano et bande de François-Bernard Mâche.” In François-Bernard Mâche: Le poète et le savant face à l’univers sonore, edited by Geneviève Mathon and Marta Grabocz, 299–318. Paris: Hermann; Lalitte, Philippe, and Vincent Grepel. 2017. “Prêt-à-porter ou coupe sur mesure? Liberté et contraintes dans l’interprétation de la Sequenza III de Berio.” Filigrane 22.). The article sheds light on issues such as the fidelity to the score, the singularity of some interpretations, the impact of texture on the temporality of performance, and the potential effect of the number of musicians in the ensemble.
期刊介绍:
Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.