Bozó Péter

(10 találat)
# Cím Abstract Folyóirat Oldalszám
"Die Tiroler sind lustig" - Offenbach és a tyrolienne - 2012., 50. évf. 2. szám 169. - 187.o
"Mehr Malerei als Ausdruck der Empfindung" : széljegyzetek Liszt Beethoven-recepciójához abs.
“More Painting in Sounds Rather than Expression of Feeling”
Some Remarks on Liszt’s Beethoven Reception
Péter Bozó

The paper aims to contribute to a more complex understanding of Liszt's reception of Beethoven. The initial historiographical essay explores Franz Brendel's concept of a New German School, as presented in his speech in Leipzig in 1859 („Zur Anbahnung einer Verständigung"), and examines the role Beethoven played in Brendel's interpretation of the history of music. The second part of the paper analyses the first published version of Liszt's Schiller Lieder as an instance of the composer's reception of Beethoven and his use of Swiss local colour in his music. It shows how the 1848 version of Liszt's attacca song cycle follows Beethovenian models and seeks to explain why Liszt used in it a minor variant of a rani des vaches melody. The paper also points out how Liszt sought to correct weaknesses in his composition when revising it.
2009., 47. évf. 3. szám 261. - 282.o
„Was ist des Deutschen Vaterland?” : Liszt német Zarándokévének terve abs.
”Was ist des deutschen Vaterland?“
Liszt Proposed German Volume to the Cycle Années de pèlerinage
Péter Bozó

According to the evidence of an entry in the so-called Lichnowsky sketchbook, at the beginning of the 1840s, Franz Liszt proposed – in addition to the Swiss and Italian books – also a German volume to his cycle Années de pèlerinage. The study deals with this compositional plan, identifying and analysing the pieces referred to in the sketchbook. Interestingly, the plan consists rather of vocal works than piano pieces including the titles of nationalistic male choruses and romantic Rhein-lieder inspired by German poets such as Ernst Moritz Arndt, Theodor Körner, Heinrich Heine and Felix Lichnowsky. The study also examines the autobiographical and political background of the proposed volume, which seems to be in close connection partly with Liszt’s German concert tours, partly with the contemporary French-German conflict concerning the national identity of the Rheinland.
2005., 43. évf. 3. szám 281. - 300.o
A tematikus metamorfózis mint revíziós módszer : Néhány megjegyzés Liszt variációs technikájához - 2011., 49. évf. 2. szám 143. - 162.o
Az egyházzenész operettje : Sztojanovics Jenő: Peking rózsája - 2013., 51. évf. 3. szám 297. - 315.o
Choufleuri úr szalonjában, avagy A Théâtre-Italien görbe tükre abs.
In M. Choufleuri’s Salon
or The Crooked Mirror of the Théâtre-Italien

Péter Bozó

Jacques Offenbach’s operettas are mostly interpreted as social and political satires. Although there are some authors who analyse these pieces as examples of musical humor and parody, this aspect received much less scholarly attention. This fact is hardly surprising, because a great part of the Offenbach literature is written not by musicians, but by men of letters, sociologists and historians such as Karl Kraus, Siegfried Kracauer, Volker Klotz and Jean-Claude Yon. But what can be revealed about Offenbach by a musicologist? How can the music of his operettas be analyzed? This paper is an attempt to give an example of musicological study of Offenbach’s music, by analyzing one of the ensemble numbers of the one-acter Monsieur Choufleuri restera chez lui le… (1861), telling also the plot of this sparkling piece, and describing the operetta-like circumstances of its genesis and first performance.
2007., 45. évf. 2. szám 183. - 199.o
Liszt mint Bach-közreadó? abs.
Liszt as Bach-Editor?
Péter Bozó

It is a little known that Liszt published his piano transcriptions of Bach’s six preludes and fugues for organ as an urtext-like edition. But after what editorial and artistic principles did Liszt edit Bach’s pieces in general? Are all the Bach-editions published under his nema truly his works? What sources did he know? How and why did his editorial principles change? The study attempts to answer these questions on the basis of the autograph and printed musical sources and Liszt’s correspondence.
2002., 40. évf. 1. szám 27. - 38.o
Piszkos partitúrák, szennyes szólamok avagy Az eleven ördög és a magyar operett nem teljesen szeplőtelen fogantatása - 2014., 52. évf. 3. szám 318. - 333.o
Supplèment a Zarándokévek második kötetéhez abs.
The Supplément to the Second Book of the Années de pèlerinage
Péter Bozó

The composition of the second book of Années de pèlerinage occupied Liszt for almost two decades, and over these decades the book underwent significant changes in relation to how it was first conceived. The present study traces the development of the cycle’s organization based on primary sources (album pages, inscriptions in sketch books, drafts, printed scores, letters, diary entries and contemporary press reports). Special attention is given to the compositions in the book based on borrowed material. The plan for an Italia set of pieces found in the Ce qu’on ented sketch book is discussed in detail, suggesting a reading at variance with the one published by Rena Charnin Mueller, pointing out that at the end of the 1840s Liszt may have intended to include a piano version of his symphonic poem Tasso in the Italian Année. The source material for the early version of the Dante Sonata is also interpreted differently from Mueller – since from the documents it appears that Liszt at first conceived the work in two movements, and only added it to the end of the cycle around 1849.
2006., 44. évf. 2. szám 177. - 214.o
Rec. Az operett "csillagos órái" : Heltai Gyöngyi: Az operett metamorfózisai, 1945-1956 : A "kapitalista giccs"-től a haladó "mimusjáték"-ig - 2013., 51. évf. 4. szám 463. - 470.o