Fazekas Gergely

(7 találat)
# Cím Abstract Folyóirat Oldalszám
A varici mint formai reflexi : a Goldberg-varicik s a zenei forma abs.
Variation as a Reflection on Form
Question of form in the Goldberg Variations
Gergely Fazekas

"Musical form" is applied in the literature of music theory to two fundamentally different concepts: form as a totality of features that individual works have in common, and form as a constituent that makes a single work unique. Since this differentiation is a theoretical construction of the early 19th century, it can only be applied to the music of Johann Sebastian Bach with reservations. The present essay, however, argues that this dichotomy was already present in the musical thought of the first half of the 18th century and it can be used as an effective tool in the analysis of the Goldberg Variations. The analysis focuses on the formal design of the individual variations and the way they reflect the inherent formal relations of the fundamental bass, the so-called "theme" of the work. It is shown that contrary to the 18th century tradition of the "aria+variations" genre, where the theme appears through the variations in different guises but fundamentally unchanged, the Goldberg Variations - as examined from the viewpoint of musical form - seem to demonstrate the old Aristotelian distinction of actuality and potentiality: the different formal designs that appear as actual in the individual variations were potentially already there in the theme.
2008., 46. évf. 4. szám 353. - 366.o
Beteges s csnya muzsika vagy magasabb rendű művszet fel mutat irnytű? : Debussy fogadtatsa Magyarorszgon (1900-1918) abs.
Ailing and Ugly Music or a Compass Pointing Towards a Purer Art of Superior Quality?
The early reception of Debussy in Hungary (1900-1918)
Gergely Fazekas

It is sufficiently documented how Kodly and Bartk discovered the music of Claude Debussy in 1907, albeit Debussy's music had not been unknown in Hungary at least since the first performance of his String Quartet in the autumn of 1905. The present essay gives a survey of Debussy's early critical reception in the Hungarian press from the first Budapest performances of his works until the obituaries of 1918; Debussy's visit to Budapest at the beginning of December 1910 is discussed in detail. Though the majority of the press was not really open to Debussy's new music, there were some supporters and knowledgeable enthusiasts of his art right from the beginning; moreover, the Royal Hungarian Opera. House was to premiere Pellas et Mlisande as early as the 1908-1909 season but for unknown reasons this was postponed until 1926. By the end of the first decade of the 20th century, Debussy was acclaimed in Hungary as one of the most important composers of the new music, though the lasting value of his art was then open to doubt. But his aesthetics was considered a model by the representatives of new Hungarian music and their devotees; as Kodly put it in 1918, "his compass points towards a purer art of superior quality".

2008., 46. évf. 2. szám 139. - 154.o
Egy arabeszkfogalom s zenei konzekvencii : dallamformls s polifnia Debussy zenjben abs.
A Concept of the Arabesque and its Musical Consequences: Melodic Construction and Polyphony in Debussy’s Music
Gergely Fazekas

Although Debussy was not particularly keen on systematic aesthetical thinking, he developed a concept borrowed from the contemporary Art Nouveau movement in the fine arts and used it consistently throughout his lifetime. The notion of the arabesque appears in his letters as early as the 1880s and it can be found even in his last writings from the year 1913. The present essay gives a survey of the appearance of this notion in Debussy’s correspondence, writings and interviews to demonstrate how important a role it played in Debussy’s aesthetics. An attempt is made to define Debussy’s notion of the arabesque and to show that it can help us understand what he thought about absolute music and programme-music, how he received the music of Palestrina, Bach, and the Javanese gamelan, and, most important, it provides an insight to the way he conceived his own music. In the second, analytical part of the essay it is demonstrated on music examples how Debussy’s different concepts of polyphony and melodic construction are rooted in his concept of the arabesque. Through the study of Debussy’s melodic construction it is revealed that his instrumental music has a specific vocal quality and attention is draw to the “Wagnerian” endlessness of his melodic style. Concerning Debussy’s peculiar polyphony, the analysis aims to display its polyrhythmic nature and its resemblance to the tissue-like fabric of the arabesque in the fine arts.
2007., 45. évf. 2. szám 143. - 181.o
Euritmia, azaz "Wohlgereimheit" : szimmetrikus struktrk Johann Sebastian Bachnl - 2010., 48. évf. 4. szám 381. - 395.o
Improvizatv s tervezett zenei forma : szablyok s stratgik Vivaldi s J. S. Bach concertiban abs.
“Extemporized” and planned musical form
Rules and strategies in concertos by Vivaldi and J.S. Bach
Gergely Fazekas

According to Leonard B. Meyer, “rules constitute the highest, most encompassing level of stylistic constraints” and “strategies are compositional choices made within the possibilities stablished by the rules of the style”. Focusing on several 18th century theoretical writings by Quantz, Scheibe, Mattheson, Riepel and others, the present essay attempts at a historically adequate definition of the rules of the so-called ritornello form. The opening movements of two E-major violin concertos – Vivaldi's RV 265 (op. 3, no. 12) and J.S. Bach's BWV 1042 – are analyzed in detail to demonstrate how the same rules can generate two completely different compositional strategies: Vivaldi’s dynamic, linear concerto form is contrasted with the more static, planned form of Bach’s.
2009., 47. évf. 3. szám 223. - 238.o
Inventio vs. dispositio : a bachi fga s a zenei forma abs.
Inventio vs. Dispositio
Bach’s fugues and the problem of musical form
Gergely Fazekas

Since the beginning of the 19th century several attempts have been made at defining an ideal basic form of the fugue, which, as Adolph Bernhard Marx admitted in 1834, „has possibly never quite been comletely realized in any one fugue thus far composed”. After the age of Formenlehre, in the 20th century, the fugue was increasingly considered as a genre, a texture or simply a technique as opposed to a form. It is shown in the present essay that two of the most important theoriticians of the 18th century, Johann Mattheson and Bach-disciple Wilhelm Friedrich Marpurg consider the fugue primarily as a complex of contrapuntal techniques, such as diminution, augmentation, inversion, stretto. Form is not an issue for them; or, in the words of Mattheson borrowed from rhetoric: it is the inventio of a fugue that matters, and not its dispositio. Still, relying upon Ulrich Siegele’s „discovery”, that in both volumes of the Well-tempered Clavier exactly half of the fugues lack any of the polyphonic devices mentioned above, the present essay demonstrates through the analysis of two fugues (Eb major, BWV 852; F# major, BWV 882) that even in the compositional process of some of the fugues the dispositio (i.e. the pre-planned form) plays a role equal to that of the inventio.
2009., 47. évf. 2. szám 147. - 161.o
J. S. Bach s a zenem? fogalma - 2012., 50. évf. 4. szám 378. - 401.o