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Stravinsky És a Hegedű – Három Megközelítés

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Stravinsky És a Hegedű – Három Megközelítés Liszt Ferenc Zeneművészeti Egyetem 28-as számú művészet- és művelődéstörténeti besorolású doktori iskola STRAVINSKY ÉS A HEGEDŰ – HÁROM MEGKÖZELÍTÉS KRUPPA BÁLINT TÉMAVEZETŐ: DR. KOVÁCS SÁNDOR DLA DOKTORI ÉRTEKEZÉS 2020 i ii Köszönetnyilvánítás .................................................................................................. v Rövidítések ................................................................................................................ vi Bevezetés ................................................................................................................... vii Első rész: Történet – hegedű az életműben.............................................................. 1 1. In medias res ................................................................................................... 1 2. Prise de contact (Ismerkedés) ......................................................................... 2 3. Kisebb együttesek ........................................................................................... 8 4. Két lépés távolság ......................................................................................... 11 5. Petit Concertino ............................................................................................ 16 6. Denaturáció ................................................................................................... 19 7. Cigánybanda és Luther ................................................................................. 25 8. Maszkabál ..................................................................................................... 28 9. Mindent vissza .............................................................................................. 31 10. Grand Concertino........................................................................................ 34 11. A kollaboránsok .......................................................................................... 40 12. Kreisleriana ................................................................................................. 46 13. Posztneoklasszicizmus ................................................................................ 48 14. Reneszánsz .................................................................................................. 52 15. Integráció és dezintegráció ......................................................................... 56 16. Epilógus ...................................................................................................... 61 Második rész: Elmélet – interpretációs megfontolások ........................................ 62 1. Egy szó: interpretáció ................................................................................... 62 2. Hitelesség és kontextus ................................................................................. 71 3. A zene mint nyelv ......................................................................................... 75 4. A Stravinsky-interpretáció idiómáinak nyomában ....................................... 80 4.1. „A szokatlanság öröme és a természetesség öröme” ....................... 80 4.2. A tempó ............................................................................................ 82 4.3. Rubato .............................................................................................. 87 4.4. Artikuláció ........................................................................................ 90 4.5. Ütemvonalak .................................................................................... 93 4.6. Ujjrendek és játékmódok .................................................................. 96 4.7. Protohistorizmus............................................................................. 100 4.8. Technikai utasítások és megvalósításaik ........................................ 102 5. Betekintés a kéziratok, hangfelvételek és interjúk közti állóháborúba....... 105 iii Harmadik rész: Gyakorlat – Az Olasz szvit textusa és kontextusa .................... 116 1. Bevezetés .................................................................................................... 116 1.1. Az átdolgozás fogalma ................................................................... 116 1.2. Az Olasz szvit mint átdolgozás ....................................................... 118 2. Az Olasz szvit keletkezéstörténeti fázisainak textuális nyomai .................. 119 2.1. Az eredeti darabok kottái ............................................................... 119 2.2. A zongorakivonat ........................................................................... 122 2.3. A Pulcinella-szvit ........................................................................... 127 2.4. A Kochanski-szvit ........................................................................... 128 2.4.1. A keletkezés és a bemutatás körülményei ......................... 128 2.4.2. Hangszerelés, hangszerszerűség a Kochanski-szvitben ..... 131 2.4.3. A Kochanski-szvitben szereplő tételek rövid ismertetése és elhelyezése a Pulcinella cselekményében ............................ 133 2.4.4. Az átdolgozás módjának nyomai ....................................... 137 2.4.5. A két hangszer viszonya .................................................... 141 2.4.6. Artikuláció, ujjrendek, dinamika ....................................... 144 2.4.7. Egyéb érdekességek a Kochanski-szvitben ........................ 146 2.5. A Piatigorsky-szvit ......................................................................... 148 2.6. A Dushkin-szvit .............................................................................. 150 2.6.1. Keletkezés, formai újdonságok .......................................... 150 2.6.2. Egyszerűsödés .................................................................... 153 3. Interpretációs vonatkozások ....................................................................... 157 3.1. A felvételek áttekintése .................................................................. 157 3.2. Tempókezelés, ritmus, metronóm .................................................. 159 3.3. A korhű előadásmód ....................................................................... 162 3.4. Az iróniáról ..................................................................................... 165 Összefoglalás ........................................................................................................... 171 Függelék A .............................................................................................................. 174 Függelék B ............................................................................................................... 176 Függelék C .............................................................................................................. 184 Bibliográfia ............................................................................................................. 198 iv Köszönetnyilvánítás Hálával tartozom az összes intézménynek, amelyek kutatásomat lehetővé tették és bármilyen módon segítették: elsősorban a budapesti Zeneakadémia Doktori Iskolájának, különösen Kőrösi Mártának és Füstös Katának, akik nélkül egy határidőt sem tudtam volna betartani; továbbá a bázeli Paul Sacher Stiftungnak, különösen Heidy Zimmermannak, aki lehetővé tette számomra a kéziratok kutatását; végül Szoliva Gábrielnek a lektorálásért valamint szemináriumvezetőmnek, Dalos Annának és konzulenseimnek, Kovács Sándornak és Perényi Eszternek, akik nélkülözhetetlen szakmai tanácsokkal láttak el. v Rövidítések ChrI–II Igor Strawinsky: Chroniques de ma vie, I–II. Párizs: Denoël et Steele, 1935. Életem Igor Sztravinszkij: Életem. Ford. F. Csanak Dóra. Budapest: Gondolat, 1969. PM Igor Strawinsky: Poétique musicale sous form de six leçons. Édition établie, présentée et annotée par Myriam Soumagnac. Párizs: Flammarion, 1997. Confid Igor Stravinski: Confidences sur la musique. Propos recueillis (1912–1939). Arles: Actes Sud, 2013. Conv Igor Stravinsky és Robert Craft: Conversations with Igor Stravinsky. New York: Doubleday, 1959. M&C Igor Stravinsky és Robert Craft: Memories and Commentaries. New York: Doubleday, 1960. E&D Igor Stravinsky és Robert Craft: Expositions and Developments. New York: Doubleday, 1962. D&D Igor Stravinsky és Robert Craft: Dialogues and a Diary. New York: Doubleday, 1963. T&E Igor Stravinsky és Robert Craft: Themes and Episodes. New York: A. A. Knopf, 1966. R&C Igor Stravinsky és Robert Craft: Retrospectives and Conclusions. New York: A. A. Knopf, 1969. Besz Igor Stravinsky és Robert Craft: Beszélgetések. Válogatás. Ford. Pándi Marianne. Budapest: Gondolat, 1987. SelCorrI–III Stravinsky, Igor: Selected Correspondence. Edited and with Commentaires by Robert Craft, Volume I–III. New York: Alfred A. Knopf, 1982–1985. White Eric Walter White: Stravinsky – A zeneszerző és művei. Ford. Révész Dorrit. Budapest: Zeneműkiadó, 1976. Dush Samuel Dushkin: Dolgozni Stravinskyval (saját fordítás) lásd jelen értekezés, Függelék B. vi Bevezetés Értekezésem három interpretációs jellegű irányból közelít Stravinsky életművéhez: mindhármat a hegedű, a hegedűs szemszögéből. Hasznosnak tartom ezért elsőként megvilágítani írásom motivációját egy rövid vallomással, amely Stravinsky zenéjével és személyiségével történő megismerkedésemet foglalja össze. Stravinskyt ugyanis jó ideig (körülbelül húszéves koromig) csak a Bartókkal való összehasonlítás- versenyeztetés felől közelítettem meg: csak azt tudtam értékelni, ami kapcsolatban állt a népies vonallal.
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