Papp Márta

(11 találat)
# Cím Abstract Folyóirat Oldalszám
"СЛЫШАТСЯ ДУМЫ" : Muszorgszkij hangzó gondolatai abs.
The sounding thoughts of Musorgsky
Márta Papp

János Kárpáti said during a bygone Opera history class that for him the most clear and most powerful musical expression of a verbally unarticulated thought appeared in Boris Godunov: the sudden thought occurring to Grigori regarding the opportunity of seizing the Tsar's power when Pimen says in the Cell Scene: "He would have been the same age as you and have ruled". The theme of this thought expressed in music will become the Leitmotiv of the opera. The Leitmotiv-like reoccurrence of the theme of the Prelude in Khovanshchina near the end of Act II., when Marfa says "Thank God, Peter's soldiers had arrived in time and captured [the assassin]" sounds like a similarly powerful musical allusion. But what does it mean? What interpretations and misinterpretations has it evoked during the career of the opera so far?
2008., 46. évf. 2. szám 155. - 165.o
„Umerenno” avagy „Andantino molto” : Muszorgszkij tempojelzéseirõl abs.
”Umerenno” or “Andantino molto”
On Musorgsky’s tempo markings
Márta Papp

Until the end of 1872, Modest Musorgsky gave his works Russian language tempo and performing instructions, which was a departure from generally accepted tradition. Before the stage premiere of Boris Godunov and the publication of the piano score, he exchanged the Russian markings for the traditional Italian, and from then on, exclusively used Italian in his manuscripts. This is an external change but it represents something more: it is a sign of metamorphosis of his musical style. The majority of passages in the first version of Boris, marked “Umerenno” [“Moderately”] is music which the composer intended as “recited” music with a flexibly changing tempo. The score of the definitive version was furnished with far more detailed and differentiated tempo markings, making us suppose more closed, or at least, music units that are more clearly differentiated from each other. This latter characterises Khovanshchina and Sorosintsi Fair, and other Musorgsky works from the 1870s, while in works written at the time of Boris and in earlier songs, we encounter versions of the “Umerenno style”.
2004., 42. évf. 3-4. szám 353. - 366.o
A Borisz Godunov õsbemutatójának sajtóvisszhangja : szellemi-zenei irányzatok az 1870-es évek Oroszországában - 1990., 31. évf. 1. szám 66. - 75.o
Bartók hegedûrapszódiái és a román népi hegedûs játékmód hatása Bartók mûveire - 1973., 14. évf. 3. szám 299. - 308.o
Moszkvai archívumok Liszt-dokumentumai - 1986., 27. évf. 1. szám 29. - 38.o
Muszorgszkij elfeledett dalai - 2013., 51. évf. 1. szám 25. - 36.o
Muszorgszkij és a Kelet : egzotikum és modalitás abs.
Musorgsky and the East
Exoticism and Modality
Márta Papp

The use of modal scales and harmonies is an essential characteristic of Modest Musorgsky’s first opera Salambo with its exotic subject as well as in his other Oriental compositions (above all Yevreyskaya Pesnya, 1867). The modal variability of these works is unique among the exotic compositions of 19th century Russian music. The paper refers to the modal-polymodal characteristics of Salambo and Yevreyskaya Pesnya, and tries to answer the question of where the musical vein for modality comes from in Musorgsky and what was to become of it after the composer has ceased writing such exotic pieces.
2003., 41. évf. 2. szám 127. - 139.o
Orosz kerékvágás... : Glinka Scherzójától Borogyin Közép-Ázsiájáig - 1999., 37. évf. 2. szám 143. - 151.o
Orosz népdal – dal – románc abs.
Russian Folksong – Song – Romance
Márta Papp

How can the specific style, tone, and atomosphere-felt to be so typically Russian in music-be apprehended by listening to Glinka or Stravinsky, Musorgsky or Tschaikovsky, Rakhmaninov or Shostakovich-such different composing individuals? The author of this paper tries to investigate this intriguing question after having studied a number of Russian music anthologies, song publications, folk music collections and numerous studies and essays in Russia-Soviet musicology and ethnomusicology. The looked for answer probably lies int he multiple and centuries old there-and-back effects of original peasant songs, specifically Russian city folklore and composed music.
2006., 44. évf. 1. szám 5. - 30.o
Saul a négyzeten : Muszorgszkij saját átdolgozásairól - egy korai dal ürügyén abs.
Saul Squared
On Musorgsky Own Revisions – in Relation to an Early Song
Márta Papp

Modest Musorgsky had a predilection for revising earlier works. King Saul, a remarkable song from his Youthful Years collection, is a case in point. The revisions Saul underwent mirrors those, on a much larger scale of course, of Boris Godunov. Indeed, the ominous intuitions of Byron’s King and Pushkin’s Boris also demonstrate similarities. Saul is the first of his compositions where Musorgsky recreates the peeling of bells, and among the first to use the characteristic “Musorgsky chord”: this time is an unusual form. In the first version of the song, it appears in the postlude only. In the second revised version, it provides the basic material.
2002., 40. évf. 2. szám 163. - 173.o
Levél a szerkesztőhöz - 2013., 51. évf. 1. szám 90. - 92.o