Domokos Zsuzsa

(12 találat)
# Cím Abstract Folyóirat Oldalszám
A Capella Sistina Miserere-tradcijnak hatsa Liszt mveire abs.
The “Miserere” Tradition of the Cappella Sistina, Mirrored in Liszt’s Oeuvre
Zsuzsa Domokos

The Miserere, Psalm 50, had a particular place in the liturgy of the Officium Tenebrarum in the week before Easter. For those present at the ceremonies of the Cappella Sistina its performance remained a lasting experience not only for its particular qualities, but especially for the entire artistic and liturgical effect, evoked by the dramaturgy of the events. This Miserere-experience in the Cappella Sistina led Liszt to find a special musical interpretation of death, whose characteristics would be its funeral character, a theme based on repetition in the low register and a dramatic, restrained, concise musical expression in such works as À la Chapelle Sixtine, Miserere d’après Palestrina, Il Penseroso, Pense des Morts. This special musical expression of the tragedy of death was built on an already known and used technique of chant-setting, namely the falsobordone.
2000., 38. évf. 1. szám 27. - 40.o
A Capella Sistina tradcijnak hatsa Liszt egyhzzenei mveire abs.
The Musical Traditions of the Cappella Sistina Reflected in Liszt’s Church Music
Zsuzsanna Domokos

This study deals with the influence of Palestrina’s music on the repertory performed at the Cappella Sistina during the nineteenth century, and especially its relationship to individual Liszt compositions. Several of the letters Liszt wrote in the 1860s show how deeply he was impressed by performances at the Sistina most probably with the hope to become its director. According to Liszt’s plan the Missa choralis ought to have been performed in the Cappella or in St. Peter Basilica, and have borne a dedication to the Pope. The compositions performed in Liszt’s time at the Cappella were brief, more (rather than less) homophonic, more easily performed and more easily understood by listeners. Liszt’s Missa choralis and his motets must have been composed with these criteria in mind. The study analyses and makes comparisons between the compositions of the Cappella’s 19th century composers and that of Liszt in respect to the most characteristic features of the Cappella’s compositional methods. The comparisons suggest that much of the church music Liszt wrote during the 1860s correspond in certain significant ways to the compositional ideals and practices of the Sistina’s composers, without remaining subject to their control.
2001., 39. évf. 4. szám 355. - 374.o
Az epika szerepe Borogyin Igor herceg cm operjban - 1990., 31. évf. 3. szám 323. - 336.o
Beethoven-szimfnik zongoratiratai : Liszt interpretcija az eldk stlusrksgnek tkrben - 1995., 35. évf. 3. szám 227. - 318.o
Czerny hatsa Lisztre: a fantzils mvszete - 1992., 33. évf. 1. szám 70. - 96.o
Liszt 1839-es rmai Palestrina-lmnye : Fortunato Santini knyvtra abs.
Liszt’s Roman Experience of Palestrina in 1839
The importance of Fortunato Santini’s library
Zsuzsanna Domokos

This study focuses on Liszt’s first Roman period in the first part of the year 1839 and his first experiences of the Palestrina-interpretation in the Cappella Sistina, as well as his acquaintance with Fortunato Santini, which so far has not been researched in the Liszt-literature. Fortunato Santini’s rich and very valuable library of autographs, first editions of Palestrina’s works, and many manuscript copies prepared in the most important Roman archives by Santini himself, plus the evening concerts held in his home, served as a starting point for Italian and foreign musicians of the time to research 16th century music. Among the visitors we find Liszt, Cramer, Ftis, Mendelssohn, Otto Nicolai and Vadimir Stasov. This study gives a brief description of the Santini-collection and summarizes all the information obtained from various sources which give a more precise insight into the personal relationship between Liszt and Santini and into the repertoire which Liszt might have studied during his first Roman sojourn.
2003., 41. évf. 2. szám 141. - 154.o
Liszt kt levele Jacopo Tomadinihez : egy feledsbe merlt egyhzzenei kapcsolat - 1994., 35. évf. 2. szám 173. - 177.o
Miserere d’après Palestrina : egy zenei idzet sorsa a Capella Sistintl Liszt zongoramvig abs.
Miserere d’après Palestrina
A Music Citation from the Cappella Sistina to Liszt’s Piano Work
Domokos Zsuzsanna

The study tries to find the real author of the theme of the work Miserere d’après Palestrina, the 8th piece in the piano cycle by Liszt Harmonies Potiques et Religieuses after the tradition of the Cappella Sistina. This Miserere theme is of importance for the Liszt researches not only due to its origin, but it is related to another fauxbourdon themes in the Liszt-ouvre, as well. Examining the elaboration of the theme from wider approaches we gain new aspects to the construction of the whole cycle and at the end we get at a special musical expression of Liszt used for the religioso character in his works from that time onwards.
2007., 45. évf. 1. szám 37. - 52.o
Monolg vagy ria - Igor herceg rijnak korbbi vltozata Borogyin operjban - 1993., 34. évf. 3. szám 299. - 332.o
Palestrina Stabat matere : Richard Wagner kzreadsban abs.
Palestrina’s Stabat Mater
In Richard Wagner’s Edition
Domokos Zsuzsanna

Wagner’s edition of the Stabat mater by Palestrina takes a special place among the 19th century practice editions of the composer’s works, since Liszt declared it to be a masterpiece to be followed by others throughout his life, albeit he knew and appreciated editions with historical aspect, too.
Wagner prepared his version of Palestrina’s composition in 1848 for his historical concert in Dresden, and it was published on the recommendation of Liszt in 1878 by C. F. Kahnt.
The study summarizes the present documents of the genesis of Wagner’s work with the background of Palestrina’s Stabat mater-editions before 1878, and tries to preveal Wagner’s concept and musical decisions in the light of the performing practice of the Cappella Sistina of the time, as well as following the the main aspects in the review by F. X. Witt published in 1878.
2005., 43. évf. 3. szám 301. - 312.o
Utak Palestrina zenjhez a 19. szzadban : a Missa Papae Marcelli olasz, francia s nmet kiadsainak szemlletbeli klnbsgei abs.
19th-Century Paths to Palestrina’s Music: Differences in Approach of the Italian, German, and French Editions of the Missa Papae Marcelli
Zsuzsanna Domokos

For the 19th-century interpretation of Palestrina’s works, the publications serve as important sources since the publishers preparing their editions had to make decisions also in musical matters. The first editions published during Palestrina’s lifetime represent the original sources. These are choir books, containing only the most necessary musical information, as the way of performing was evident, thanks to the living tradition. However, the tradition was broken, except in the Cappella Sistina and even there it went through continuous changes. Thus, at the beginning of the 19th century, when the reform movements in church music began to promote the revival of 16th-century a cappella music, especially that of Palestrina, the authentic publication and performance of the representative compositions of the style to be followed raised serious problems. Because of the discontinuity of the traditional way of interpretation and the fundamental changes in musical thinking, the 19th-century publications of Palestrina’s works differ greatly from each other. After all, there were no important, complete editions of documentary value produced since the 16th and early 17th-century publications.
The study musically analyses some Italian, German and French publications of the Missa Papae Marcelli between the 1840s and the 1880s with the aim to find the conceptional similarities and differences among the different schools underlined by aesthetical writings of the time.
The whole analysis is based on the account for the original sources serving as bases for these editions and also gives some musical examples of the performance practice of the Cappella Sistina, the traditions with which every publisher was familiar with.
2004., 42. évf. 3-4. szám 285. - 310.o
A zenei jelents hetedik nemzetkzi kongresszusa : Imatra (Finnorszg), 2001. jnius 7-10. - 2001., 39. évf. 3. szám 345. - 351.o