Kaczmarczyk Adrienne

(13 találat)
# Cím Abstract Folyóirat Oldalszám
A „Funrailles” genezise : Liszt Forradalmi szimfnijnak s Harmonies potiques et religieuses-ciklusnak sszefggseirl - 1993., 34. évf. 3. szám 274. - 298.o
A parafrzistl az operig s vissza - Liszt: Sardanapale abs.
From the Paraphrase to the Opera and Back: Liszt’s Sardanapale
Adrienne Kaczmarczyk

Liszt’s plan, „Sardanapale, an Italian opera in three acts” is investigated by means of its sources of inspiration and the documents of its genesis between c. 1845-1851. In addition, the draft of a scene from the second act is analyzed, i.e. its only musical source which survives in one of Liszt’s sketchbooks (Goethe- und Schiller-Archiv, Weimar). Liszt’s attempt to write an opera is a characteristic momentum of his experimental phase in composition in the second half of the 1840s, which formed the style and genres of his so-called Weimar period. The examination sheds more light on the development of the Weimar style as well as on Liszt’s problem with the dramatic genre.
2001., 39. évf. 3. szám 287. - 299.o
Az elfelejtett szimfnia abs.
Die vergessene Symphonie
Adrienne Kaczmarczyk

Die Studie beschftigt sich mit den kompositorischen Fragen der Revolutionssymphonie und mit den Grnden des Aufgebens des Plans von ungefhr zwei Jahrzehnten (1830-1853). Die Untersuchung ihrer drei verschiedenen Konzeptionen beweist, da es Beethoven’s 9. Symphonie war, die fr Liszt als Vorbild diente, und da er dabei Auflsung jener Probleme suchte, wie die Gattung der sogenannten Ode-Symphonie fortgesetzt werden kann. Obwohl er beim Komponieren der Revolutionssymphonie keine gengende Auflsung gefunden hat, kann die Entstehungsgeschichte der Symphonie zum besseren Verstndnis des Ursprungs der Programmsymphonie-Konzeption von Liszt ebenso wie seines Weimarer symphonischen Stils in allgemeinen verhelfen.
2000., 38. évf. 2. szám 193. - 204.o
Az Harmonies potiques et religieuses-től (1835) a Pense des morts-ig : Liszt Ferenc zeneszerzői indulsa - 1996., 36. évf. 2. szám 171. - 208.o
Az Harmonies potiques et religieuses-tl (1835) a Pense des morts-ig : Liszt Ferenc zeneszerzi indulsa II. - 1996., 36. évf. 3-4. szám 211. - 233.o
Liszt Ferenc els magyar-szimfonikus ksrlete : Magyar Nemzeti Szimfnia abs.
Franz Liszt’s Fist Hungarian-Symphonic Attempt: The National-Ungarische Symphonie
Adrienne Kaczmarczyk

The idea of combining the Hungarian national style in music with the style of the Western European symphonic music occupied Liszt’s mind from 1840 on. His first attempt at solving the problem was the National-ungarische Symphonie, a composition he planned to write in the 1840s but appears neither in Liszt’s own catalogues nor the modern catalogues of Liszt’s works. The present study examines the nature of this symphonic scheme taking into consideration the surviving manuscripts and the musical relationships of the planned work. The National-ungarische Symphonie had close ties both with the piano cycle Ungarische Nationalmelodien (1839-46) and the unfinished plans of Symphonie rvolutionnaire dating from about 1840 and 1850, respectively. On the other hand, the plan of the Hungarian national symphony influenced indirectly the concept of Hungaria (1854) and Hunnenschlacht (1857), that is the symphonic poems in which Liszt first solved with success the problem of joining the Hungarian national style to the Western European symphonic one.
2004., 42. évf. 3-4. szám 337. - 351.o
Liszt: Marie, poème : egy tervezett zongoraciklus - 1994., 35. évf. 2. szám 161. - 172.o
Magyar hromkirlyok : Liszt: Krisztus-oratrium, I. 5 abs.
The Three Holy Kings as Hungarians
Liszt: Christus Oratorio I,5
Adrienne Kaczmarczyk

The only Hungarian-related movement of the oratorio Christus is the March of the Three Holy Kings based partly on 19th-century Hungarian verbunkos music. The present study tries to give an explanation for this “Three Holy Kings-Hungarians”-association by presenting and interpreting Liszt’s changing concept of Hungarians. This change implied that after the mid-1850s Liszt gave up transcribing folk and national melodies in the nature of Hungarian Rhapsodies he had been occupied with since 1839-1840, turned to Christian subjects and was looking for meeting points between Hungarian and European art music. The earliest evidence of this tendency is the verbunkos-based “Tristis est anima mea” movement of the concept dating from between c.1848 and 1853 of the Revolutionary Symphony which, although it remained unfinished, served as a starting point for the identically titled movement in the oratorio Christus as well as for the symphonic poem entitled the Battle of the Huns. The date is indicative of the fact that for Liszt the Hungarian War of Independence in 1848-1849 gave the decisive impetus for such a reinterpretation, so to say moral refinement of the concept of Hungarians. The March of the Three Holy Kings composed in the early 1860s is a memento of this two decades long transformation process.
2006., 44. évf. 4. szám 387. - 415.o
Rec. A hiteles Erkel-kp fel : Erkel Ferenc: Btori Mria (kzr. Dolinszky Mikls s Szacsvai-Kim Katalin) - 2003., 41. évf. 1. szám 113. - 119.o
Rec. Itinerarium Lisztianum : Slyom Gyrgy: Krdsek s vlaszok Liszt Ferenc plyjnak utols szakaszban - 2000., 38. évf. 4. szám 405. - 408.o
Rec. Liszt 2000 : egy levlgyjtemny s egy tanulmnyktet Hamburger Klra szerkesztsben - 2001., 39. évf. 1. szám 103. - 107.o
Rec. Vezetkkel a Bnk bn-Labirintusban : Erkel Ferenc: Bnk bn. Opera hrom felvonsban Kzreadta s bevezette: Dolinszky Mikls. (Erkel Ferenc Operi 3.) - 2010., 48. évf. 3. szám 369. - 375.o
Rec. Zenrl Nyugattl Keletig : Szabolcsi Bence vlogatott rsai - 2005., 43. évf. 1. szám 89. - 93.o