GETTING OUT OF THE LABYRINTH: GERALD BARRY'S WIENER BLUT AND THE PATH TO PETRA VON KANT

IF 0.5 4区艺术学 0 MUSIC

Tempo Pub Date : 2024-08-28 DOI:10.1017/s0040298224000056

Mark Fitzgerald

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引用次数: 0

Abstract

Gerald Barry's approach to composition has undergone a number of changes. Frequently these developments coincide with the composition of a large-scale opera. One of these points of transition in his output occurs in the period before he commenced work on The Bitter Tears of Petra von Kant. Between 1999 and 2000 Barry composed three works – 1998, The Eternal Recurrence and Wiener Blut – in which he attempted to find a new compositional direction after a period in which canonic proliferation dominated his musical material. This article examines some of the main traits of these works, and Wiener Blut in particular, since it contains a greater variety of approaches than the other two compositions. The article also considers how Barry's shift in approach may have been linked to his decision to set Rainer Werner Fassbinder's play. Its quite plain, realistic prose was a contrast to the sort of text Barry had previously chosen to set, requiring a different musical response, and the article draws out some possible connections between Barry's three ‘pointillistic’ compositions and the opera.

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走出迷宫：杰拉尔德-巴里的香肠和通往佩特拉-冯-康德之路

杰拉尔德-巴里的作曲方法经历了多次变化。这些变化往往与大型歌剧的创作同时发生。在他开始创作《佩特拉-冯-康德的苦泪》之前的时期，就是他作品中的一个转变点。在 1999 年至 2000 年期间，巴里创作了三部作品--《1998》、《永恒的重现》和《维纳的污垢》--在这三部作品中，他试图在音乐素材充斥着歌剧作品的时期之后找到新的创作方向。本文探讨了这些作品的一些主要特征，尤其是《维纳河畔》，因为与其他两部作品相比，它包含了更多不同的创作手法。文章还探讨了巴里创作手法的转变与他决定为莱纳-维尔纳-法斯宾德的剧本配乐之间的关系。该剧的散文相当朴实、写实，与巴里之前选择的文本形成鲜明对比，需要不同的音乐回应，文章总结了巴里的三部 "点彩 "作品与歌剧之间的一些可能联系。

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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来源期刊

Tempo MUSIC-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

19 weeks

期刊介绍： Tempo is the premier English-language journal devoted to twentieth-century and contemporary concert music. Literate and scholarly articles, often illustrated with music examples, explore many aspects of the work of composers throughout the world. Written in an accessible style, approaches range from the narrative to the strictly analytical. Tempo frequently ventures outside the acknowledged canon to reflect the diversity of the modern music scene. Issues feature interviews with leading composers, a tabulated news section, and lively and wide-ranging reviews of recent recordings, books and first performances around the world. Selected issues also contain specially-commissioned music supplements.