Studia Musicologica最新文献_第5页

Performance and Reception of Bartók’s Violin Music during His First Concert Tour of the United States (1927–1928) Bartók首次美国巡回演唱会期间小提琴音乐的演奏与接受(1927-1928)

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-12-20 DOI: 10.1556/6.2021.00007

{"title":"Performance and Reception of Bartók’s Violin Music during His First Concert Tour of the United States (1927–1928)","authors":"","doi":"10.1556/6.2021.00007","DOIUrl":"https://doi.org/10.1556/6.2021.00007","url":null,"abstract":"\u0000 During his first concert tour of the United States (1927–1928) Bartók played primarily his own music in lecture-recitals, orchestra performances, and chamber music concerts in fifteen American cities. Over the course of the tour, he collaborated with violinists Jelly d’Arányi and Joseph Szigeti to present a few of his works for violin and piano to members of musical clubs in New York City and Philadelphia, and before dignitaries at the Hungarian Embassy in Washington, D.C. – namely his Sonata for Violin and Piano no. 2 (1922), Hungarian Folk Tunes, for violin and piano (arranged by Joseph Szigeti, 1926), and Romanian Folk Dances for Violin and Piano (arranged by Zoltán Székely, 1925). In Boston and New York, Bartók played on recitals that also included performances of his String Quartets nos. 1 and 2. In this article I document the American reception of Bartók’s violin music during his U.S. recitals of early 1928. Music criticism in American newspapers and music journals, as well as detailed program notes from the string quartet performances, have been taken into account to reveal the assessment of Bartók’s violin music and string quartets and the characterization of the composer in the American press and concert halls. The reviews have also been considered in comparison to later recordings of the violin and piano works made by Bartók and Szigeti.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48457250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Appearance of the “Ideal” and Other Topoi in Bartók’s Two Sonatas for Violin and Piano nos. 1–2 Bartók两首小提琴钢琴奏鸣曲(1-2)中“理想”及其他主题的出现

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-12-20 DOI: 10.1556/6.2021.00005

Virág Büky

{"title":"The Appearance of the “Ideal” and Other Topoi in Bartók’s Two Sonatas for Violin and Piano nos. 1–2","authors":"Virág Büky","doi":"10.1556/6.2021.00005","DOIUrl":"https://doi.org/10.1556/6.2021.00005","url":null,"abstract":"\u0000 The early Violin Concerto (1907–1908) dedicated to the young violinist, Stefi Geyer, is regarded as one of the most personal compositions by Béla Bartók. The transparent structure, and the ethereal, unearthly tone of the first movement, probably inspired by Stefi Geyer’s playing, belongs to the warmest and most intimate tone used by the composer. Presumably, its re-emergence in certain passages of the two Violin-Piano Sonatas (1921 and 1922) was not by chance. It might have been the composer’s reaction to Jelly d’Arányi’s violin playing that evoked the memory of the early concerto and its source of inspiration. However, despite their similarities the “ideal” tone of the Sonatas is not the same as that in the Violin Concerto. It is still recognisable, but it has a different, perhaps more mature character and, furthermore, within the material surrounding it, we can detect the kernel of those Bartókian types which gain their definite form only in his 1926 emblematic piano pieces, for instance some elements of his “night music” type, his mourning song type, and some characteristic traits of his “chase” music. In the present article, besides following the process of transformation of the “ideal,” I make an attempt to identify the newly developed musical types, and to find an explanation of all these changes.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45040879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Bartók’s Sonatas for Violin and Piano nos. 1–2: The Compositional Process Bartók的小提琴和钢琴奏鸣曲1–2：作曲过程

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-12-20 DOI: 10.1556/6.2021.00003

L. Somfai

{"title":"Bartók’s Sonatas for Violin and Piano nos. 1–2: The Compositional Process","authors":"L. Somfai","doi":"10.1556/6.2021.00003","DOIUrl":"https://doi.org/10.1556/6.2021.00003","url":null,"abstract":"\u0000 In the focus of this paper a survey of the draft score will disclose major corrections of the concept and discuss deleted and rewritten sections in both Sonatas for Violin and Piano no. 1 (1921) and no. 2 (1922). A close study of the unusual-type preliminary sketches of the First Sonata in his so-called Black Pocket-Book (facsimile edition: 1987) already gave insight into Bartók’s atypical composition when he had to work without a piano at hand for shaping and refining a new major work (see Somfai, “‘Written between the Desk and the Piano’: Dating Béla Bartók’s Sketches,” in A Handbook to Twentieth-Century Musical Sketches, ed. by Patricia Hall and Friedemann Sallis, Cambridge: Cambridge University Press, 2004). The two draft scores (no. 1 = 34 pages, no. 2 = 21 pages, including discarded and rewritten sections) open new vistas in understanding the concept of the individual compositions. The next stage of manuscripts provides a significant source: the score and violin part used at the first performances, the latter with fingering and bowing contributed by the hand of Jelly Arányi and Imre Waldbauer in the First Sonata, Waldbauer, Ede Zathureczky, Zoltán Székely, and Jelly Arányi in the Second. A study of the revision of metronome numbers will conclude the investigation.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41850828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Bartók and the Violin Music of Maramureș Bartók和马拉穆鲁斯的小提琴音乐

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-12-20 DOI: 10.1556/6.2021.00006

Viola Biró

{"title":"Bartók and the Violin Music of Maramureș","authors":"Viola Biró","doi":"10.1556/6.2021.00006","DOIUrl":"https://doi.org/10.1556/6.2021.00006","url":null,"abstract":"\u0000 The Second Rhapsody, one of Bartók’s technically most demanding concert pieces for violin, arranges archaic-improvisatory bagpipe imitations for concert performance. The arrangement itself shows a well-designed, coherent structure: the succession of dances, tonally and motivically related between each other, outline a kind of evolutionary progression from free motive-structure to strophic form. Bagpipe-music had a long-term influence on Bartók’s violin music, figuring as episodes in original works like the two Violin Sonatas or the Violin Concerto; but none exploits the genre to such an extent as the Second Rhapsody. The violin pieces with motive-structure of fascinatingly wild and virtuoso character were among Bartók’s major discoveries of the collecting trips to the Maramureş region. For the Rhapsody Bartók chose melodies from the one-time Ugocsa county, whose music, closely related to that of Maramureş county, was considered by him “the most interesting in our country [i.e., Hungary of the time], due exactly to its primitive character.” In Maramureş these melodies are less eccentric; instead, the violinists have a broader and more varied repertoire of dance music. In my article I discuss the different types of violin music of this region, focusing on structural, melodic, or interpretational elements that were of special interest for the composer. For this investigation I have made use of the primary sources of the respective collections: phonogram recordings, field notations, later transcriptions.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43029619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

János Kárpáti (1932–2021)

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-12-20 DOI: 10.1556/6.2021.00013

引用次数: 0

Dohnányi's Orchestrations of Schubert's Fantasy in F Minor and the Moments musicaux Piano Cycle Dohnányi舒伯特F小调幻想曲编曲和瞬间音乐钢琴循环

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-11-29 DOI: 10.1556/6.2020.00019

Anna Laskai

引用次数: 0

A Reconstruction of Late Renaissance Music in Nono's Prometeo 诺诺的《普罗米特奥》对文艺复兴晚期音乐的重构

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-11-29 DOI: 10.1556/6.2020.00017

引用次数: 0

Alexander Albrecht’s Musical Output in the Milieu of Interwar Bratislava 亚历山大·阿尔布雷希特在两次世界大战之间的布拉迪斯拉发环境中的音乐输出

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-11-29 DOI: 10.1556/6.2020.00020

{"title":"Alexander Albrecht’s Musical Output in the Milieu of Interwar Bratislava","authors":"","doi":"10.1556/6.2020.00020","DOIUrl":"https://doi.org/10.1556/6.2020.00020","url":null,"abstract":"\u0000 The subject of this contribution is Alexander/Sándor Albrecht’s musical output from the 1920s in the context of the development of the composer’s musical style, his life and the social and political changes in Bratislava after 1918. Albrecht returned to Pressburg/Pozsony in 1908 after his studies in Budapest and devoted his organisational and artistic activity to the city; in 1921 he became the conductor at the Kirchenmusikverein (until 1952), a traditional music institution of the city. In 1920s Albrecht also achieved the creation of his own musical style. Coming out from a base of late Romanticism, Albrecht applied in that time the modernistic principles to his œuvre. In 1924 he wrote his mature Piano Suite, and in 1926 his Sonatina for 11 Instruments, an interesting piece of well-balanced formal and harmonic innovations, and one of the first pieces for chamber ensemble (after Schoenberg’s Kammersinfonie) in the Central European context. In 1929 Albrecht’s oratorio-like Marienleben: Three Poems after R. M. Rilke for soprano, mixed chorus and orchestra was successfully premiered. The present study contains detailed analyses of these three pieces, which are the most outstanding and distinctive works by the composer.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45484796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Géza Csáth's Musicographical Work and His Fundamental Aesthetic Viewpoints 格萨伊Csáth的音乐作品及其基本美学观点

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-11-29 DOI: 10.1556/6.2020.00021

{"title":"Géza Csáth's Musicographical Work and His Fundamental Aesthetic Viewpoints","authors":"","doi":"10.1556/6.2020.00021","DOIUrl":"https://doi.org/10.1556/6.2020.00021","url":null,"abstract":"\u0000 In this paper the musicographic significance of the essays on music and the musical criticism of Hungarian novelist Géza Csáth is discussed on the basis of lexicographic entries and the few scholarly papers in which some of his views are present. The picture of this music critic is completed by a brief account of the problems of a stylistic determination of his literary œuvre, as well as of the importance of psychoanalysis for his artistic creativity and activity. There are three main problems in Csáth's writings on music: support of modernism in music, advocacy of national style in artistic music, and emphasis on the importance of artistic individualism; while the first two problems are mentioned in several scholarly works, the third – Csáth's insistence on artistic individualism – has not been the subject of musicological consideration. Likewise, Géza Csáth's aesthetic views on music have not even been identified, though he was a highly educated critic who was among the first to recognize the importance of Béla Bartók and to support impressionism, expressionism and tendencies towards atonal music. Csáth's aesthetic attitudes were clearly influenced by Darwinism and the positivism of the late nineteenth century; yet, in his essays on music, we find much more than an organicistic and psychologistic interpretation, and that is a deeper understanding of the connection between artistic music, the cultural climate, and the changing needs of audiences at the turn of the nineteenth and twentieth centuries.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45577625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Franz Liszt's Cantico del Sol: A Source Study 李斯特的《太阳大合唱》来源研究

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2021-11-29 DOI: 10.1556/6.2020.00023

引用次数: 0