Komls Katalin

(14 találat)
# Cím Abstract Folyóirat Oldalszám
„Vernderte Reprise” : egy koncepci tbb megvilgtsban - 1990., 31. évf. 2. szám 140. - 146.o
C. P. E. Bach "C-F-E-B-A-C-H" fughettja abs.
“C-F-E-B-A-C-H” Fughetta by C. P. E. Bach
Katalin Komls

There is an unpublished manuscript in the Brussels Conservatory, called Miscellanea Musica (B Bc 5895), which contains various compositional sketches, contrapuntal studies, thoroughbass exercises, and modulation and chord-progression schemes by Carl Philipp Emanuel Bach. In this material we find a short five-part fughetta, written on a theme made from the initials of the “initialized” name [Filippo] of the composer. The analysis of this special little piece is the subject of the essay.
2010., 48. évf. 1. szám 65. - 68.o
Grdonyi tanr r - 2006., 44. évf. 3. szám 250.o
Hangszerkezels s textra W. A. Mozart rettkori zongoratriiban - 1988., 29. évf. 3. szám 272. - 282.o
Haydn-Gellert: "Betrachtung des Todes": tradci s jts tallkozsa abs.
Haydn-Gellert: »Betrachtung des Todes«
A Meeting of Tradition and Innovation
Katalin Komls

This paper investigates Haydn's Betrachtung des Todes, a late little masterpiece which represents the simultaneity of the old and the new. The text is the second verse of Gellert's fourteen-verse poem "Wie sicher lebt der Mensch, der Staub!", No. 50 in the volume Geistliche Oden and Lieder, 1757. In the short catalogue at the end of the volume Gellert names the hymn "Herr Jesu Christ, meines Lebens Licht!", as the appropriate melody for the poem. Haydn's vocal trio with basso continuo is perhaps the most extraordinary setting in the series of the Mehrstimmige Gesnge (Hob. XXVb:3). Its harmonies and key changes uncannily foreshadow the language of Schubert and Mendelssohn. The musical representation of the poetic lines, on the other hand, is full of rhetorical devices. Most startling is the presence of figured bass, as an anachronistic code for the keyboard accompaniment.
Co-existence of Baroque and Romantic, or "First Viennese Modernism" (James Webster): the roots of the composer's professional education preserved in a highly innovative setting of an old Protestant poem, in the very last years of the eighteenth century.
2009., 47. évf. 4. szám 387. - 383.o
Kodly Laudes organi cm mvnek keletkezstrtnete abs.
The Genesis of Kodly’s Laudes organi
Katalin Komls

The text of Laudes organi, the 12th-century sequence “Audi chorum organicum”, survives in several manuscript sources. Kodly had probably used the Leipzig version (14th-century Gradual from the Augustinian monastery) as it appears in the 1929 transcription by Peter Wagner (Zeitschrift fr Musikwissenschaft, 12/2).
The autograph sketches (Kodly Archives, Budapest) provide valuable information about the compositional process: the gradual transformation of the melodic borrowings from “Audi chorum”; the development of the tonal structure; the painstaking work on the long solo sections of the organ.
The article closes with a suggestion for the overall form, and tonal plan of the composition.
2008., 46. évf. 3. szám 251. - 260.o
Mozart s az orgona abs.
Mozart and the Organ
Katalin Komls

The short study discusses Mozart’s relationship to, and experiences with the organ, also the influence of the instrument on his musicianship. Of the surviving descriptions of Mozart’s improvisations, one report of an ear-witness is of particular example. The order of modulations in this organ extemporazation of Mozart can be reconstructed, and illustrated with a musical example.
Indirectly connected to the subject is the fact, that during the 1780s Mozart had a pedal keyboard built to his Walter fortepiano.
2005., 43. évf. 1. szám 23. - 27.o
Mozart, az elõadmûvsz abs.
Mozart the Performer
Katalin Komls

Mozart was an exceptionally versatile performer: in addition to being a virtuoso keyboardist, he played the violin and the viola, sang, and conducted as well. As a celebrated fortepianist, he ran a highly successful concert career in Vienna in the 1780s. He appeared in public and private concerts, and gave subscription series for his own benefit.
The article briefly describes Mozart’s artistic personality as well as his maxims regarding musical performance.
2006., 44. évf. 2. szám 123. - 130.o
Tonus primus Haydn hangszeres zenjben - 2014., 52. évf. 4. szám 395. - 405.o
j Beethoven-rtelmezs fel - 1999., 37. évf. 4. szám 331. - 338.o
Zenei utalsok Goethe Wertherjben - 1996., 36. évf. 2. szám 102. - 106.o
Rec. Carl Philipp Emanuel Bach: "Kenner und Liebhaber" Collections I-II : C. P. E. Bach: The Complete Works, Series I, Volumes 4.1-2 - 2014., 52. évf. 2. szám 224. - 227.o
Rec. Egy zenei figura trtneti etimolgija : Peter Williams: The Chromatic Fourth During Four Centuries of Music - 1999., 37. évf. 2. szám 197. - 207.o
Rec. j Bach-irodalom : Peter Williams: The Organ Music of J. S. Bach - Peter Williams: The Life of Bach - 2004., 42. évf. 2. szám 211. - 216.o