KUGscholar (University of Music and Performing Arts Graz)
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Aufnahme-Portfolio_Essen_Schwarzenbacher
No full text1. Jukka Tiensuu: Fantango
2. J.S. Bach aus WTK 2: Präludium und Fuge in c-Moll (BWV 871)
3. Mauricio Kagel aus "Rrrrrr...": 1. Rosalie; 2. Rondeña
4. Antonio Bibalo: Sonata (quasi una fantasia
"Ein Kaleidoskop im klassischen Rahmen" : Zum Zyklusproblem in György Kurtágs Kafka-Fragmenten
No full textThe cyclic arrangement of György Kurtág’s Kafka Fragments op. 24 as it appears in its printed form is not a direct product of the compositional process but is based on a layout suggested by musicologist András Wilheim. This circumstance enables an analysis of the work both as a collection of fragments, disregarding any concept of concatenation, as well as a cycle featuring a strictly calculated juxtaposition of its contrasting individual parts. Following the results of a previous detailed examination of each fragment’s architectonic form, this paper investigates how different formal categories derived from analysis can act as a unifying factor for both concepts. Furthermore, this essay aims to examine how the positioning and interconnection of the individual fragments within the cycle can potentially be justified by their architectonic form as well as their framing tones
Shaping Form: Performances as Analyses of Cyclic Macroform in Arnold Schoenberg’s <i>Sechs kleine Klavierstücke</i>, op. 19 (1911), in the Recordings of Eduard Steuermann and Other Pianists
No full textArnold Schoenberg’s Sechs kleine Klavierstücke (Six Little Piano Pieces), op. 19 (1911), offer a fruitful case study to examine and categorize performers’ strategies in regard to their form-shaping characteristics. A thorough quantitative and qualitative analysis of 46 recordings from 41 pianists (recorded between 1925 to 2018), including six recordings from Eduard Steuermann, the leading pianist of the Second Viennese School, scrutinizes the interdependency between macro- and microformal pianistic approaches to this cycle. In thus tracing varying conceptions of a performance-shaped cyclic form and their historical contexts, the continuous unfurling of the potential of Schoenberg’s musical ideas in both “structuralist” and “rhetorical” performance styles is systematically explored, offering a fresh approach to the controversial discussion on how analysis and performance might relate to one another
