Kerékfy Márton

(5 találat)
# Cím Abstract Folyóirat Oldalszám
A pályakezdõ Ligeti György Bartók-recepciója abs.
György Ligeti’s Reception of Bartók in His Early Carreer
Márton Kerékfy

Bartók’s music played a uniquely important role in György Ligeti’s musical world from the beginning. Even during his years of study at the Academy of Music in Bu¬dapest, Ligeti’s most important artistic model and idol was Bartók. As he put it in an interview conducted by Péter Várnai in 1979, it had been in the early 1950s that he had begun to feel that he had had to go beyond Bartók. “What I felt I had to abandon were traditional forms, a musical language of the traditional kind, the sonata form. [ ... ] I wanted to get away from all ready-made forms [ ... ]” Still, Ligeti’s most important compositions of this period, Musica ricercata and String Quartet No. 1, show that his reception of Bartók remained central in his striving for a non-traditional and wholly individual musical style. While both works already foreshadow many features of the “Ligeti style” of the 1960s, they also witness that Ligeti’s new compositional ideas came from his conscious and creative assimilation of the constitutive elements of Bartók’s style.
2008., 46. évf. 3. szám 301. - 311.o
Egy elvetett népzenei kollázs : Ligeti György: Hegedűverseny, első változat, első tétel (1990) - 2013., 51. évf. 1. szám 68. - 78.o
Kontrasztok (?) : Gyakorlati és esztétikai megfontolások Bartók zeneszerzői munkájában - 2012., 50. évf. 4. szám 445. - 456.o
Muszorgszkij »Napfény nélkül« címû dalciklusának harmóniai nyelve abs.
The Harmonic Language of Mussorgsky’s Sunless Cycle
Márton Kerékfy

Mussorgsky’s Sunless cycle has many times been the focus of controversy. It has been criticized for both ideological and musical reasons. The most unusual musical features of the cycle are its strange harmonic world and texture. The remarkable expressiveness of these songs is produced basically by Mussorgsky’s constructive harmonic language. Moreover, the harmony is of primary importance in the building of form, both in each song and it the cycle as a whole. The harmonic progressions can be characterized by the following procedures: (a) making extended sections with pedal notes; (b) using chromatic steps in different directions in two or more voices; (c) using parallel motion of three or more voices.
2005., 43. évf. 4. szám 435. - 446.o
Rec. Bepillantás egy kivételes elme rapszodikus és csapongó gondolataiba : György Ligeti: Gesammelte Schriften, hrsg. von Monika Lichtenfeld - 2010., 48. évf. 1. szám 104. - 108.o