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08-04 Brahms 60 N°4 / Avril 2008 Revue Musicale Suisse SSM Zentralpräsidentin: PD Dr. ThereseBruggisser-Lanker,InstitutfürMusikwissenschaft,Hallerstr. 5,3012 Bern Sektionen Basel: PD Dr. Martin Kirnbauer, Musikwiss. Institut, Petersgraben 27, 4051 Basel Bern: Prof. Dr. Klaus Pietschmann, Institut für Musikwissenschaft, Hallerstr. 5, 3012 Bern Luzern: Dr. Rudolf Bossard, Adligenswilerstr. 47, 6006 Luzern St.Gallen/Ostschweiz: Lic. phil. Claudia Heine, Apfelbaumstrasse 49, 8050 Zürich Suisse romande: Lic. phil. Adriano Giardina, rue des Moulins 11, 2000 Neuchâtel Svizzera Italiana: Carlo Piccardi, 6914 Carona Zürich: Prof. Dr. Dominik Sackmann, Hochschule Musik und Theater Zürich, Florhofgasse 6, 8001 Zürich Redaktion Schweizer Jahrbuch für Musikwissenschaft: Prof. Dr. Joseph Willimann, Musikwissen - schaft liches Institut, Petersgraben 27, 4051 Basel, [email protected] Redaktion Verbandsseite, Veranstaltungen: Edith Keller, Institut für Musikwissenschaft, Hallerstr. 5, 3012 Bern, [email protected] Webseite: www.smg-ssm.ch Schicksalslied jede Hoffnung ge - mischten Chor – 1881 in Zürich und Schicksalslied(er) schwunden: Es stürzen «die leiden- 1882 in Basel uraufgeführt. Die Ent- den Menschen […] ins Ungewisse stehung der Nänie stand in unmittel- Sechs Werke für Chor und Orchester hinab». Einzig das auf die instrumen- barem Zusammenhang mit dem Tod von Johannes Brahms tale Einleitung zurückgreifende Dur- des Brahms freundschaftlich verbun- Nachspiel versucht noch eine – wenn denen Malers Anselm Feuerbach. Am 8. Mai 2008, einen Tag nach dem 175. Geburtstag des Komponisten, auch widerstrebende – Aufhellung. Obschon die Verknüpfung nicht rest- findet am Institut de Musicologie der Universität Fribourg eine Veranstaltung Das Triumphlied, dessen Entste- los zu klären ist, hätte die Textvorlage statt, in deren Zentrum Brahms’ sinfonische Chorwerke und die zu diesem hungszeit teilweise parallel zum kaum treffender sein können: «Auch Thema soeben neu erschienene Publikation von Victor Ravizza stehen. Schicksalslied verlief, könnte gegen- das Schöne muss sterben!» sätzlicher nicht sein. Dem deutschen Von Vergänglichkeit ist auch im die Rinaldo op. 50 (1863–68), Alt-Rhapso- Gedicht «Harzreise im Winter» – und Kaiser Wilhelm I. gewidmet, steht es Werkgruppe abschliessenden Gesang die op. 53 (1869), Schicksalslied op. 54 begann mit der bangen Frage «Aber in engem Zusammenhang mit dem der Parzen die Rede, wenn die Götter (1868–71), Triumphlied op. 55 (1870/ abseits wer ist’s?». Abseits gängiger gewonnenen Deutsch-Französischen einmal mehr ihre Herrschaft über 71), Nänie op. 82 (1880/81), Gesang Pfade bewegte sich der Komponist Krieg und wird heute nur mehr sel- die Menschen und deren Schicksal der Parzen op. 89 (1882) – insgesamt unter anderem mit der Wahl des ten gespielt. Trotz Bibeltext ganz ausüben «wie’s ihnen gefällt». sechs weltliche Werke für Chor und für ein Chorwerk unüblichen Titels jubelnde Festmusik irritiert die Ver- sinfonisches Orchester hat Johannes «Rhapsodie». tonung für Doppelchor und Bariton- Buchpräsentation Brahms zwischen 1863 und 1882 solo durch barocke Rückorientierung Im Mittelpunkt der anlässlich des komponiert. Alle greifen sie auf Triumph über das Schicksal? und den offensichtlichen, für Brahms Erscheinens von Victor Ravizzas Pu b - gewichtige, mehrheitlich mytholo- Beschränkte sich Brahms in Rinaldo untypischen politischen Bezug. likation (Brahms. Spätzeitmusik. Die gisch geprägte Textvorlagen zurück: und der Alt-Rhapsodie noch auf Nach einem Unterbruch von sinfonischen Chorwerke) vom Institut von Goethe (Rinaldo, Alt-Rhapsodie, einen mit den Solostimmen inter - knapp zehn Jahren – in der Zwischen- de Musicologie de Fribourg in Verbin- Gesang der Parzen) über Schiller agierenden bzw. begleitenden Män- zeit kam unter anderem die erste dung mit der Berner Sektion der (Nänie) und Hölderlin (Schicksals- nerchor, so verwendete er beim Sinfonie in c-Moll zum Abschluss – Schweizerischen Musikforschenden lied) bis hin zu Worten aus der Offen- Schicksalslied nun erstmals den vier- wandte sich Brahms erneut der Kom- Gesellschaft organisierten Veranstal- barung (Triumphlied). stimmigen gemischten Chor. position von sinfonischen Chorwer- tung steht für einmal also Brahms Im Gegensatz zum Versprechen ken zu. In kurzem Abstand schuf er weniger bekannte Chormusik. Soli und Männerchor göttlicher Erlösung in der Schluss- die Nänie und den Gesang der Parzen Gesprächspartner von Victor Rinaldo – eine «Kantate» für Tenor strophe der Alt-Rhapsodie, ist im für vier- bzw. sechsstimmigen ge - Ravizza ist neben Gastgeber Luca und Männerchor und Brahms’ erste Zoppelli der italienische Musikwis- intensivere Beschäftigung mit gros- senschaftler Giorgio Pestelli, Autor ser, orchesterbegleiteter Chormusik – VERANSTALTUNGEN • CONFÉRENCES • CONFERENZE des Buches Canti del destino. Wäh- entstand im Zusammenhang mit rend Ravizza allen sechs erwähnten 15 avril, 17 h 15, Fribourg, Institut de Musicologie, Miséricorde (salle 2033): Paolo einem Preisausschreiben der Aache- Cecchi: «Musical Styles and Liturgical Context in Monteverdi’s Mass and Vespers Werken je ein Kapitel widmet, rückt ner Liedertafel. Der Annahme, die (Venice, 1610)» Pestelli in seinem 2000 bei Einaudi Komposition sei ausschliesslich durch erschienenen Band die vier durch das 28. April, 20 Uhr, Zürich, Hirschengraben 20 (Sitzungszimmer): Dr. Peter Reide- äussere Gründe motiviert gewesen, meister: «Mozart und die ‹Singenden Personen›. Gesangs-Interpretation heute zwi- Thema «Schicksal» verknüpften Kom- widerspricht die Tatsache, dass schen ‹Klassik› und ‹Alter Musik›» positionen Alt-Rhapsodie, Schicksals- Brahms den Einsendetermin vom 28. April, 18.15 Uhr, Basel, Musikwissenschaftliches Institut, Petersgraben 27 lied, Nänie und Gesang der Parzen 1. Oktober 1863 und damit die Teil- (Hörsaal): Prof. Dr. Gianmario Borio: «Über die Funktionen von Klang und Musik ins Zentrum. Edith Keller nahme am Wettbewerb verpasste. So im audiovisuellen Text» widerspiegelt Rinaldo denn auch 6 maggio, alle ore 18.00, Lugano-Besso, Fonoteca Nazionale Svizzera, Via Soldino Donnerstag, 8. Mai, 15.15–17.00 Uhr Brahms’ erste, vorsichtige Erprobung 9 (Aula 418): Roberto Favaro: «Musica e architettura» Université de Fribourg, Institut de Musicologie (Miséricorde, salle 2033) der Gattung Oper – eine Auseinan- 6. Mai, 18 Uhr, Bern, Institut für Musikwissenschaft, Hallerstrasse 5 (Seminar- dersetzung, die sich zwischen den raum 104): 86. Hauptversammlung der SMG-Sektion Bern, im Anschluss um Buchpräsentation Jahren 1868 und 1888 intensivieren 19 Uhr, Hallerstr. 12 (Hörsaal 002): PD Dr. Ulrike Kienzle: «Versteckte Spuren der Menschheit in Steinen und Klängen: Giuseppe Sinopoli und die Archäologie» Victor Ravizza, Brahms. Spätzeitmusik. sollte, jedoch nie zum eigentlichen Die sinfonischen Chorwerke, Abschluss kam. 7. Mai, 20 Uhr, Zürich, Hirschengraben 20 (Sitzungszimmer): Dr. Olivier Senn und Schliengen: Argus 2008 Die Alt-Rhapsodie steht Rinaldo lic. phil. Lorenz Kilchenmann: «‹Interplay› in der Rhythmusgruppe des Miles- Davis-Quintetts, Zürich 1960» (im Anschluss Round Table «Chancen und Grenzen Der Autor im Gespräch mit Luca Zoppelli und besetzungsmässig nahe: Auch hier der Interpretationsforschung») Giorgio Pestelli, Autor des Buches Canti del griff Brahms auf Solostimme und destino. Studi su Brahms, Turin: Einaudi 2000, 8. Mai, 18.15 Uhr, Basel, Musikwissenschaftliches Institut, Petersgraben 27 (Hör- 2007. Männerchor zurück. Als Textgrund- saal): Prof. Héctor Urbón: «Tango, das Lied von Buenos Aires – Ein Spaziergang lage verwendete er erneut Verse durch seine Geschichte von der Guardia Vieja bis zur Avantgarde» Die Veranstaltung ist zweisprachig Goethes – drei Strophen aus dessen (Deutsch/Französisch)..
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