Alio modo: sulle trascrizioni bachiane di György Kurtág

Marilena Laterza
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Abstract

The use of pre-existing music in new works is a widespread practice in Gyorgy Kurtag’s output, considering the number of ‘recompositions’ that he has been writing since the Seventies. Among these, works such as the Officium breve in memoriam Andreae Szervanszky op. 28 and the Hommage a R.Sch. op. 15d have repeatedly been a subject of interest for musicologists, due to their complex construction and to the richness of their implications, whereas Kurtag’s more traditional piano transcriptions from Machaut to Bach have been neglected so far. Nonetheless, these transcriptions deserve our attention not only for their relatively large extent, but also for their intentional seeming naivety in a late postmodernist climate; moreover, Gyorgy and Marta Kurtag never miss the chance to play a selection of them in their concerts. This article, therefore, examines Kurtag’s transcriptions focusing particularly on the Bachian corpus mainly composed in the winter of 1985 after some choral preludes. Thanks to a close investigation of the rewriting techniques employed, Kurtag’s transcribing process proves to be constantly driven by an analytical insight, and thus aimed to an enhancement of the Bach’s fabric. Furthermore, these transcriptions show a subtle closeness between Kurtag’s and Bach’s approaches to the creative practice, which both of them conceive as a creatio alio modo, rather than ex nihilo.
主办:戈瑞öbachiane文本的库尔特·rgyág
在新作品中使用已有的音乐是杰尔吉·库尔塔格作品的普遍做法,考虑到他自70年代以来一直在创作的“重新创作”的数量。在这些作品中,有纪念安德烈·舍万斯基(Andreae Szervanszky,作品28)的《简短的正式仪式》(Officium breve in memorial)和《致敬r.s ich》(homage a r.s ich)。op. 15d由于其复杂的结构和丰富的含义,一再成为音乐学家感兴趣的主题,而库尔塔格从马肖到巴赫的更传统的钢琴转录迄今为止一直被忽视。尽管如此,这些抄本值得我们关注,不仅因为它们的范围相对较大,而且还因为它们在后现代主义后期的氛围中故意显得天真;此外,乔尔吉和玛尔塔·库尔塔格从不错过在他们的音乐会上演奏精选曲目的机会。因此,本文考察了库尔塔格的转录,特别关注于1985年冬天在一些合唱前奏曲之后创作的巴赫语料库。由于对所使用的重写技术的仔细研究,库尔塔格的转录过程被证明是由分析洞察力不断驱动的,因此旨在增强巴赫的结构。此外,这些转录显示了库尔塔格和巴赫对创造性实践的方法之间微妙的接近,他们都认为这是一种创造性的模式,而不是虚无。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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