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The gestation period of György Kurtág's Hommage à R. Sch. op. 15d covers a period of approximately fifteen years (1975-1990).  Using sketches and drafts conserved in the Kurtág Collection of the Paul Sacher Foundation, this paper seeks to examine how compositional style and technique change over time and how these changes effected the composer's work concept.  Over the past thirty years, sketch studies have opened up new avenues of research, promising wider knowledge of compositional processes and providing insights into the genesis of specific works.  Nonetheless, they also render problematic our ability to circumscribe work identity.  Rather than focusing on the finite nature of the completed composition as it appears in the published score, the study of sketch material sets the work in a compositional process, revealing not only sources but also half-realised possibilities and unrealised potential.  For all the problems it brings to the study of music, such an approach seems particularly apt for a better understanding of Hommage à R. Sch., which appears to emerge out of a network of both complementary and contradictory tendencies.

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The musical sources and the contemporary press reports do not confirm the statement that Bánk bán , the par excellence Hungarian national opera composed by Ferenc Erkel and first performed in 1861, was finished already in 1852 — a date that became current in the international musicological literature. The instrumentation workshop around Erkel which can be traced as a pendant of the Weimar workshop of Liszt, represents less the artistic weakness of the composer, rather a take-off point for the compositional invention. The method of the division between composition and instrumentation was disqualified from art music only at the time when the conception of the organic musical work and compositional process was widely established. From 1940 on, the original version of the work was substituted by a rewriting made in order to create a vernacular historicopolitical music drama modelled on the late Verdi, Mussorgsky or Borodin, a missing link in the Hungarian music history, retrospectively. The first edition of the authentic score of Bánk bán being before publication and made by the author is based of a revised text from 1866 which is probably derived from Erkel and that was unknown till now.

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Several newly-discovered manuscripts of unpublished works by Ernő Dohnányi (1877–1960) and other documents in the University Library of Bratislava and the Slovak National Museum — Music Museum Bratislava refute the misconception that this city, the composer’s birthplace, is lacking in sources about him. These manuscripts from the estates of two dedicatees, the Archduchess Isabella and Mártha Rigele, offer fresh insights into Dohnányi’s compositional process, and particularly into the multiple revisions of his String Sextet, originally composed in 1893. Versions 1 and 2 of this Sextet, with geographically divergent manuscript locations in the British Library and at Florida State University, are compared here inasmuch as Dohnányi’s development into a mature composer is clearly demonstrable. The two manuscripts from the estate of the Archduchess Isabella, a set of parts reflecting all known revisions and an autograph transcription provide evidence to support this writer’s hypothesis that the score with title page dated 1896 is probably the final version. The Sonata stands as confirmation that by 1899 the composition had reached its final form in the mind of the composer. Excerpts from Dohnányi’s family letters cited here offer further insights into this period.

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bifolios during the compositional process, it was Bartók’s habit to cover discarded versions by paste-ups – sometimes even half- or three-quarter-page-sized paste-ups. Such inserts in the manuscripts which Bartók left in Budapest were opened and studied

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painstaking compositional process in order to offer a convincing outcome in pianistic terms” (p. 42). Take the instrumental cues peppered throughout Liszt's piano scores. Kim understands them to be essential for the pianist, since they encode specific

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the poem Das Glasperlenspiel by Hermann Hesse, which served as the basis for the composition. Bischoff's aim is to reconstruct the compositional process in different phases of the creative work. The relevant musical drafts can be found in the

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spray drying: effect of wall materials composition, process conditions, and emulsification method . Food and Bioprocess Technology , 8 ( 2 ): 301 – 318 . https://doi.org/10.1007/s11947-014-1404-9 . Koris , A. , Piacentini , E. , Vatai , G

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Editio Musica Budapest Kurtág must have decided to create a chromatic version from the original diatonic melody at a later phase of the compositional process. He simultaneously sought to preserve the folk song character, in a later sketch adding to

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analysis, and so better than his written text –, while the mechanical boxed measure numbers 5, 10, 15, etc. merely assist the performer at rehearsal. – As an addition to the study of the compositional process, the crossings, replacements, and insertions of

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’s Violin and Piano Sonatas nos 1–2: Compositional Process,” unpublished keynote address, “Bartók and the Violin” Musicological Symposium, Bartók World Competition and Festival 2017, 15 September 2017, Institute for Musicology, Research Centre for the

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