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# Cím Abstract Folyóirat Oldalszám
Egy npzenei kzjtk jelentsei Haydn mveiben abs.
In several Haydn works there is a musical topos which can be linked with instrumental folk music interludes. In instrumental Hungarian folk music there is a method of connecting melodies and augmenting forms by iteration of a motif. Similar interludes notated in a more schematic form can be found in written dance music sources from the 18th century. In terms of folk music and historical sources, interludes of this type were also present in the age of Haydn in the music of the other nations living near Eszterhza, such as Austrians, Croatians, Slovakians and Bohemians. Haydn used this type not to represent any particular nation but as a generalized topos which could play several roles in his works. He worked out this type in several styles and gave it various structural functions according to the character and musical content of the whole work. In the most interesting cases Haydn used this type of interlude and its transformations inspired by folk music traditions to embody special formal concepts. In the fourth movement of the theatre symphony No.60 (finished before 1774) this interlude theme appears as a separate dance-episode which illustrates a phase of the dramatic action. The same theme is first given a Turkish flavour in the Hungarian context of the Rondo all' ongharese finale of the D major piano concerto, then it becomes Hungarian according to Haydn's formal concept. A similar transformation of the theme is promoted to become the structural and narrative basis of a whole movement in the finale of Symphony No.82 (,,The Bear"). The interlude-theme plays a less important role in Symphony No.92 (the Oxford" symphony): it emerges as a contradanse-like motif closing the first group of themes. Finally, in the op.74 (C major) and op.76 (D minor) quartets of the 1790s Haydn again emphasized the Hungarian, gipsy character of this interlude theme. Moreover, in the D minor quartet he used a later variation of the instrumental practice of his time, presenting the minor movement in a major key, a concept which is a peculiarity of the whole work.
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