In this erudite and elegantly composed argument, Karol Berger uses the works of Monteverdi, Bach, Mozart, and Beethoven to support two groundbreaking claims: first, that it was only in the later ...eighteenth century that music began to take the flow of time from the past to the future seriously; second, that this change in the structure of musical time was an aspect of a larger transformation in the way educated Europeans began to imagine and think about time with the onset of modernity, a part of a shift from the premodern Christian outlook to the modern post-Christian worldview. Until this historical moment, as Berger illustrates in his analysis of Bach's St. Matthew Passion, music was simply "in time." Its successive events unfolded one after another, but the distinction between past and future, earlier and later, was not central to the way the music was experienced and understood. But after the shift, as he finds in looking at Mozart's Don Giovanni, the experience of linear time is transformed into music's essential subject matter; the cycle of time unbends and becomes an arrow. Berger complements these musical case studies with a rich survey of the philosophical, theological, and literary trends influencing artists during this period.
The AI composer Spinney, Laura
Nature (London),
09/2017, Letnik:
549, Številka:
7671
Journal Article
Recenzirano
Computer scientist Luc Steels uses artificial intelligence to explore the origins and evolution of language. He is best known for his 1999-2001 Talking Heads Experiment, in which robots had to ...construct a language from scratch to communicate with each other. Now Steels, who works at the Free University of Brussels (VUB), has composed an opera based on the legend of Faust, with a twenty-first-century twist. He talks about Mozart as a nascent computer programmer, how music maps onto language, and the blurred boundaries of a digitized world.
ABSTRACT
The article discusses aspects of the dialectics of genius cults in the nineteenth century, using examples of Mozart's reception: the unveiling of the Salzburg memorial statue in 1842, Franz ...Grillparzer's texts on Wolfgang Amadeus Mozart and his son Franz Xaver, as well as the artist's novella Der arme Spielmann. The consolidation and popularisation of genius discourse in the genius cults of post‐Romanticism exerted unprecedented if latent pressure on producers of art in the period: the cults around prominent figures make great art into an unattainable exception. The article investigates how Franz Xaver Mozart and Grillparzer reacted to this dilemma.
Resumen
Der Beitrag diskutiert Aspekte der Dialektik des Geniekults im neunzehnten Jahrhundert am Beispiel der Mozartrezeption: der Enthüllung des Salzburger Mozart‐Denkmals von 1842, Franz Grillparzers Texten zu Wolfgang Amadeus Mozart und dessen Sohn Franz Xaver sowie an der Künstlernovelle Der arme Spielmann. Die Durchsetzung und Popularisierung des Geniediskurses zum Geniekult in der Nachromantik führt zu einer latenten Überforderung der Kunstproduzierenden: Der Kult um die Ausnahmekünstler macht die große Kunstleistung zur unerreichbaren Ausnahme. Der Beitrag untersucht, wie Franz Xaver Mozart und Grillparzer mit diesem Dilemma umgehen.
In 1829 Goethe famously described the string quartet as 'a conversation among four intelligent people'. Inspired by this metaphor, Edward Klorman's study draws on a wide variety of documentary and ...iconographic sources to explore Mozart's chamber works as 'the music of friends'. Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer's sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse - characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble.
A bold, restorative vision of Mozart's works, and Western art music generally, as manifestations of an idealism rooted in the sociable nature of humans. For over a generation now, many leading ...performers, critics, and scholars of Mozart's music have taken a rejection of transcendence as axiomatic. This essentially modernist, antiromantic orientation attempts to neutralize the sorts of aesthetic experiences that presuppose an enchantment with Mozart's art, an engagement traditionally articulated by such terms as intention, mimesis, author, and genius. And what is true of much recent Mozart interpretation isoften manifest in the interpretation of Western art music more generally. Edmund Goehring's Coming to Terms with Our Musical Past explores what gets lost when the vocabulary of enchantment is abandoned. The bookthen proceeds to offer an alternative vision of Mozart's works and of the wider canon of Western art music. A modernized poetics, Goehring argues, reduces art to mechanism or process. It sees less because it excludes a necessaryand enlarging human presence: the generative, and receiving, "I." This fascinating new book-length essay is addressed to any reader interested in the performing arts, visual arts, and literature and their relationship to the broader culture. Goehring draws on seminal thinkers in art criticism and philosophy to propose that such works as Mozart's radiate an idealism that has human sociability both as its source and its object. This book is available as an Open Access eBook under the Creative Commons license: CC BY-NC.
The paper Lending an Ear to Mozart's Operas. Stanisław Baranczak's Poetic Translation Experiments examines the issues of intermediality, in particular the relationships between music and literature ...in mixed creative genres fusing disparate media of expression. The brief study discusses the connections and inter-dependencies between the music by Wolfgang Amadeus Mozart, Italian libretti by Lorenzo Da Ponte, their translation by Stanisław Barańczak and his unique quasi-translation ('fonety'). The article presents interdisciplinary interpretations of selected vocal translations (excerpts from the libretti of 'Don Giovanni' and 'The Marriage of Figaro') and 'fonety' - Barańczak's own genre created at the boundary where linguistic witticisms and vocal translation meet. The Italian text by Da Ponte is often treated as quasi una musica - as a sound material free from the referential ballast of language (semantics). Barańczak offers the music lover a new means of aural reception in the buffo style, illuminating a path to discovering anew the artistic potential of musical masterpieces.
The article explores the early opera by Salvatore Sciarrino, based on Henry James’s novelette The Aspern Papers. Sciarrino’s Aspern has aroused considerable interest both in the aspect of the ...transposition of James’s prose into the musical sphere, and in terms of the formation of the poetics of musical theater and the principles of the composer’s dramatic thinking. The experimental character of the singspiel (in the author’s definition) was stipulated by the idea of representation as an act of composition. Rejecting the traditional format, Sciarrino and his co-author of the libretto Giorgio Marini created an intertextual connection between the novelette and the opera, having turned the reading of the text into an element of dramaturgy, along with other components — the singing, the music and the stage decorations. The protagonists of the story (the Narrator, Giuliana, Titta) dissolved in the recitations of various actors. The arias based on the texts of Lorenzo da Ponte from Le Nozze de Figaro, performed by one single singing protagonist, the Female Singer, offstage, created an ironic estrangement on the scenic (between the dramatic performance in spoken dialogues and the music) and the stylistic levels (between da Ponte’s text and Sciarrino’s music). The special optics of artistic imagination established this way, making it possible to view the one through the other, helped the “ghost” of Mozart, the musical equivalent of the “divine Aspern,” appear. Mozart’s “disturbing presence” also explains the unexpected genre-related definition given by the composer to his work. The singspiel becomes an object of anamorphosis, in which elements of the genre projected from the past acquire a strange oneiric form in the present. Reflecting on Sciarrino’s invitation to search for “music in the music and drama in the drama” in Aspern, the author of the article reveals the connections between the Italian maestro’s opera and Piotr Tchaikovsky’s The Queen of Spades, set up by the palimpsest effect hidden in James’ original text. An important connecting link between the two operas is the figure of Mozart as the ideal of “the Composer”, who had managed to absorb and transform the traditions of different eras and national schools of composition. In this light, Sciarrino’s Aspern becomes a musical metaphor of the search for and the finding of oneself in the “traces” of others.
I begin by showing that two Beethoven sketches, a well-known 1790 entry in the so-called “Kafka” miscellany and an entry in “Landsberg 10” (part of a group of sketches, 1805, for the Allegro theme of ...the overture known as Leonore No. 2), point to the overture of Mozart’s Die Entführung aus dem Serail . I then consider additional connections between Beethoven’s opera and Mozart’s, in general, and specifically regarding certain corresponding components. I conclude by considering the implications of these findings within the larger context of the Mozart legacy that Beethoven, for better but also for worse, inherited.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
