Description
Book SynopsisThis collection features 34 essays written in honor of Hungarian Haydn and BartÃk specialist, LÃszlà Somfai. The essays discuss the interpretation of various musical sources, both analytically and in performance, regarding the music of many composers and periods, with an emphasis on the music of BartÃk.
Trade ReviewVikárius (Budapest Bartók Archives and history of Western music, Liszt U. of Music, Hungary) and Lampert (librarian, Brandeis U.) compile 34 essays celebrating Hungarian musicologist László Somfai (b.1934), who was head of the Budapest Bartók Archives and a scholar of the music of Haydn and Bartók. Music scholars from around the world discuss topics relating to his research and methodology in all musical periods, performance practice, editing, and interpretation of music, the Classical style, nationalism, and composers of the twentieth century. The bibliography lists Somfai's writings by genre. * Reference and Research Book News *
Table of ContentsPart 1 Preface by the Editors Part 2 László Somfai: An Appraisal Part 3 A Reverse Interview Part 4 Part I: Theoretical Issues: Performance Practice, Editing, and Interpreting Music Chapter 5 1. The Unbearable Lightness of Ethnomusicological Complete Editions: The Style of the ba'al tefillah (Prayer Leader) in the East European Jewish Service Chapter 6 2. Ordinary Melodies in the Context of the "Old Romant Chant" Question Chapter 7 3. In the Workshop of the musicus Chapter 8 4. Performing Medieval Music in the Late-1960s: Michael Morrow and Thomas Binkley Chapter 9 5. 19th-Century Paths to Palestrina's Music: Italian, German, and French Editions of the Missa Papae Marcelli Chapter 10 6. Watermarks are Singles, Too: A Miscellany of Research Notes Chapter 11 7. Toward a Performance History of Bach's Sonatas and Partitas for Solo Violin: Preliminary Investigations Chapter 12 8. "Returning to the Skin": On Theodor W. Adorno's Theory of Musical Interpretation Part 13 Part II: Classical Style: From Gluck through Beethoven Chapter 14 9. Siciliana-Tempi and Haydn's Sicilianos Chapter 15 10. Haydn's Op. 9: A Critique of the Ideology of the "Classical" String Quartet Chapter 16 11. The Voice of God in Haydn's Creation Chapter 17 12. Gluck's Serenata Tetide (1760) and Mozart: A Supplement to the Preface to the First Edition in the Gluck-Gesamtausgabe Chapter 18 13. Did Mozart "Pedal," and If So, How Much and Where? Chapter 19 14. Mozart's Chamber Music with Keyboard: A Musical Panorama of Europe, 1762-1788 Chapter 20 15. Mozart's Mannheim Sonatas for Violin and Piano Chapter 21 16. Mozart's Modular Minuet Machine Chapter 22 17. Praise of Wine from Ofen, Ugliness, and Fiendship: Three Occasional Compositions by Franz Xavier Süßmayr Chapter 23 18. Recycling Old Ideas in Beethoven's String Quartet Op. 132 Part 24 Part III: Nineteenth Century: Questions of a National Style Chapter 25 19. A Suggestive Detail in Weber's Freischütz Chapter 26 20. Franz Liszt's First Hungarian Symphonic Attempt: The National-ungarische Symphonie Chapter 27 21. Umerenno or Andantino molto: On Musorgsky's Tempo Markings Part 28 Part IV: Twentieth Century: Schoenberg, Bartók, Kodály, and Beyond Chapter 29 22. Anxiety, Abstraction, and Schoenberg's Gestures of Fear Chapter 30 23. Wagnerian Details in Webern's Op. 5, No. 2 Chapter 31 24. Zoltán Kodály's Art of Fugue: About the Neo-Classicism of the Concerto for Orchestra Chapter 32 25. Bartók Analysis in America Chapter 33 26. Bartók and His Song Texts Chapter 34 27. The Making of a Cycle of Folksong Arrangements: The Sources of Bartók's Eight Hungarian Folksongs Chapter 35 28. A Stray Leaf from Bartók's Black Pocket-Book Chapter 36 29. Background of Bartók's "Bitonal" Bagatelle Chapter 37 30. Analytical Notes to Bartók's Improvisations, Op. 20 and the Ordering of the Series Chapter 38 31. Narrative Analysis in the Comparative Approach to Performances: The Adagio of Bartók's Music for Strings, Percussion, and Celesta Chapter 39 32. Some Impressions on the Performance Tradition of the Bartók Violin Concerto Chapter 40 33. "Hommage à Sacher via Bartók": Bartók Quotations in Henri Dutilleux's Trois strophes sur le nom de Sacher and Heinz Holliger's Atembogen Chapter 41 34. Luciano Berio's Sonata per pianoforte solo or The Disclosures of a Sketch Page Part 42 A Somfai Bibliography Part 43 Index of Proper Names Part 44 About the Contributors
