“他揭开了铁幕”——对詹·希克尔文学创作及其接受的思考

IF 0.1 3区 艺术学 Q4 Arts and Humanities
Vladimír Zvara
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引用次数: 0

摘要

在20世纪60年代,斯洛伐克作曲家Ján Cikker的歌剧作品是欧洲最常演出的当代歌剧之一,特别是在德国的两个州。这种成功的原因和20世纪70年代出现衰退的原因一样有趣。在这两种情况下,出版商Bärenreiter的支持和营销力度都发挥了重要作用,观众品味的变化也起到了重要作用,这种变化导致理查德·施特劳斯(Richard Strauss)传统的战后文学作家的受欢迎程度普遍下降,这种音乐是适度现代的,并没有满足(因为它不是为了满足)新音乐的要求。Cikker作品的接受程度、美学背景、音乐和戏剧解决方案都体现在他的主要作品中,歌剧《复活》(复活,1962年),根据托尔斯泰的小说改编,在戏剧上高度一致,这要归功于弗里茨·奥泽,剧本的沉默合著者。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“He Has Lifted the Iron Curtain”: Reflections on Ján Cikker's Literaturopern and Their Reception
During the 1960s, the operatic works of Slovak composer Ján Cikker were among the most often performed contemporary operas in Europe, especially in the two German states. The reasons of this success are as interesting as the reasons of the decline that occurred during the 1970s. In both cases, the intensity of the publisher Bärenreiter's support and marketing played an important role, as did the change of the audience's taste which brought a general decrease in the popularity of the post-war Literaturoper in the tradition of Richard Strauss, the music of which was moderately modern and did not fulfill (as it was not meant to fulfill) the requirements of New Music. The reception of Cikker's work, its aesthetic background, and its musical and dramatic solutions are exemplified within his chef d'oeuvre, the opera Vzkriesenie (Resurrection, 1962), based on Tolstoy's novel, which is highly consistent in its dramaturgy thanks to Fritz Oeser, the libretto's silent co-author.
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来源期刊
Studia Musicologica
Studia Musicologica Arts and Humanities-Music
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