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J. S. Bach Lantműveinek Interpretációs Problematikája Gitáron

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J. S. Bach Lantműveinek Interpretációs Problematikája Gitáron Liszt Ferenc Zeneművészeti Egyetem Doktori iskola (7.6 Zeneművészet) J. S. BACH LANTMŰVEINEK INTERPRETÁCIÓS PROBLEMATIKÁJA GITÁRON TOKOS ZOLTÁN DOKTORI ÉRTEKEZÉS 2003 Tartalom J. S. BACH LANTMŰVEINEK INTERPRETÁCIÓS PROBLEMATIKÁJA GITÁRON ................................... 1 A dolgozat ismertetése ............................................................................................................................ 8 A Description of the Thesis .................................................................................................................... 12 I. A hangzás, amit J. S. Bach kereshetett ............................................................................................... 20 A kor, amibe születünk ...................................................................................................................... 20 A lant, a lantok családja ..................................................................................................................... 29 A lant, amelyet Bach ismerhetett ...................................................................................................... 49 II. J. S. Bach kapcsolata a lanttal, lantosokkal ........................................................................................ 51 Milyen következtetéseket vonhatunk le J. S. Bachnak a lanttal, lantosokkal való kapcsolatából .... 51 A lantcsembalóról .............................................................................................................................. 64 III. J. S. Bach lantművei .......................................................................................................................... 74 Általános tudnivalók .......................................................................................................................... 74 A lantművek és a gitáron való interpretációs sajátosságaik ............................................................. 83 Konklúzió ......................................................................................................................................... 119 Függelékek ........................................................................................................................................... 126 1. sz. függelék: Zongoraművek Részlet K. Geiringer: Johann Sebastian Bach c. művéből 198-199. oldal ................................................................................................................................................. 127 2. sz. függelék Gitármuzsika (Fittler Katalin lemezkritikája; Parlando 1994) ................................. 129 3. sz. függelék Lantirodalom (Bokor Ilona hangverseny-ismertetője; Igazság, 1972) .................... 131 4. sz. függelék Tokos Zoltán a kolozsvári Ars Antiqua együttessel (fénykép) ................................ 133 5. sz. függelék Kompozíció gitárra (Terényi Ede írása; Utunk, 1977) .............................................. 134 6. sz. függelék Barokk gitár, modern gitár (Karasszon Dezső írása; Debreceni Napló, 1989) ........ 136 7. sz. függelék Meghívó az MTA Tudósklubjában rendezett hangversenyemre (1991) ................. 139 8. sz. függelék Tokos Z. Dr. Újfalusy József professzorral, a Zeneakadémia akkori rektorával; MTA Tudósklub, 1991 (fénykép) .............................................................................................................. 140 9. sz. függelék A Bach-lantművek problémái (részlet Malina János lemezismertetőjéből)............ 141 10. sz. függelék John Williams-szel a mesterkurzusán, 1984 (fénykép) ........................................ 143 11. sz. függelék John Williams bevezetője a “The Guitar: A Guide for Students and Teachers” c. könyvéhez (fordítás spanyol nyelvről) ............................................................................................ 144 12. sz. függelék Reneszánszkori lantok a Hangszerek Enciklopédiájából (ábrák) ........................... 146 13. sz. függelék Vihuela a XVI. és XVII. századból (fénykép) ........................................................... 148 14. sz. függelék Barokk lantok a Hangszerek Enciklopédiájából (ábrák) ........................................ 149 15. sz. függelék Ramón Andrés: Pindarostól J. S. Bachig c. hangszerszótárból (fordítás spanyol nyelvről) ........................................................................................................................................... 151 16. sz. függelék K. Geiringer: Johann Sebastian Bach c. művéből a lantkompozíciókról ................ 153 17. sz. függelék Hans-Joachim Schulze bevezetője a lipcsei tabulatúrák facsimile kiadásához (fordítás német nyelvről) ................................................................................................................. 155 18. sz. függelék A Sárközy-féle lantcsembaló (részlet Malina János lemezismertetőjéből) ........... 161 19. sz. függelék A korabeli lantcsembaló (Részlet Malina János ismertetőjéből) .......................... 163 20. sz. függelék Lantcsembaló – részlet Sárközy Gergely lemezborítójáról (fénykép) .................. 166 21. sz. függelék Andrés Segovia (Tóth Aladár zenekritikája, 1937) ................................................ 167 22. sz. függelék BACH: COMPLETE LUTE MUSIC JOHN WILLIAMS, Guitar (James Burnett lemez- ismertetője; fordítás angol nyelvről) ............................................................................................... 170 23. sz. függelék Tokos Z. Szendrey-Karper Lászlóval és Costas Cotsiolis-szal, 1977 (fénykép) ...... 175 24. sz. függelék Paul Galbraith gitárja és orpharion (fényképek) .................................................. 176 25. sz. függelék Lautensuite in G-moll nach J. S. Bachs Autograph (facsimile) .............................. 177 26. sz. függelék BWV 995-ös g-moll lantszvitből a Prelude – tabulatúra (facsimile) ..................... 178 27. sz. függelék Díszítéstáblázat a Klavierbüchlein für W. F. Bach c. kottából (facsimile) ............. 180 28. sz. függelék BWV 999-es c-moll prelúdium, J. P. Kellner másolata (facsimile) ......................... 181 29. sz. függelék BWV 1000-es g-moll fúga – Weyrauch tabulatúrája (facsimile) ........................... 183 30. sz. függelék BWV 1006a, E-dúr prelude (facsimile) .................................................................. 186 31. sz. függelék Theorba és barokk gitár – lemezborító (fénykép) ................................................. 187 32. sz. függelék Lantművek (W. Kolneder Bach lexikonjából) ........................................................ 188 33. sz. függelék (Grove Monográfiák: A Bach-család kötetének Csembaló- és lantzene címszavában) ................................................................................................................................... 190 Bibliográfia ........................................................................................................................................... 191 * * * Kottamellékletek: 1. Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke, Serie V, Band 10. “Lautenwerke”, hrsg. von Thomas Kohlhase, Bärenreiter Verlag, Kassel 1976. 2. Sárközy Gergely: J. S. Bach lantművek, Z 8309 3. J. S. Bach: Lantszvit BWV 997 – Tokos Zoltán, Z 13184 4. Johann Sebastian Bach, Fuga BWV 1000 (“Fuga del Signore Bach) Edizione critica e adattamento per chitarra (in La minore) di Alfonso Borghese, dall’originale in Sol minore per liuto. (Edizione Suvini-Zerboni, Milano, S 7718 Z, 1975.) * * * CD mellékletek: (* jelzett felvételek kizárólag a www.parlando olvasói részére) (** megegyezik a disszertáció cd mellékletével) 1. sz. példa: John Dowland (1563-1626): Lachrimae antiquae 5:47* Julian Bream – lant (RCA, RD 89977) Dowland: Lute Music - England - Lachrimae Antiquae Pavan Dowland: Lute Music - England - Lachrimae Antiquae Pavan Julian Bream Julian Bream Plays Dowland And Bach ℗ 1956 Deutsche Grammophon GmbH, Berlin 2. sz. példa: Alonso Mudarra (kb.1508-1580): Fantasía que 2:28 contrahaze la harpa en la manera de LudovicoJuan Carlos Rivera – vihuela (Junta de Andalucia DS 0113) 3. sz. példa: Robert de Visée (kb.1650-kb.1732): 3:10 Allemande 4. sz. példa: Robert de Visée (kb.1650-kb.1732): Courante 1:40 5. sz. példa: Robert de Visée (kb.1650-kb.1732): Menuet 0:50 6. sz. példa Robert de Visée (kb.1650-kb.1732): Gigue 1:22 7. sz. példa Robert de Visée (kb.1650-kb.1732): Chaconne 8:33 José Miguel Moreno – theorba (Pièces de Theorbe /en re/ – Glossa, GCD 921004) Julian Bream - Robert de Visée / Suite D Minor 11:40* Julian Bream- Baroque Guitar Robert de Visée Suite D Minor Prelude; Allemande; Courante; Sarabande; Gavotte; Menuets I & II Bourree; Gigue 8. sz. példa: Sylvius Leopold Weiss (1686-1750): Passagaille 7:32 9. sz. példa: Fantasie 2:27 José Miguel Moreno – barokk lant (Ars Melancholiae – Glossa, GCD 920102) Sylvius Leopold Weiss (1686-1750): "Passacaglia" 5:07 Keith Shaffer-gitár (2011) Silvius Leopold Weiss (1686-1750): Fantasie d-Moll 2:25 Silvius Leopold Weiss (1686-1750): Fantasie d-Moll (Original key: c- Moll) transcribed from the lute tabulature and arranged for guitar by Karl Scheit played by Huy Liem Nguyen guitar: Hanika Natural Doubletop Strings: Hannabach Goldin Score: universal edition, UE 14429 10. sz. példa: J. S. Bach (1685-1750): Prelude (BWV 995) 5:31 Konrad Junghänel – barokk lant (J.S.Bach – Obras para laúd I. Edición 250 aniversario BMG Classics, deutsche harmonia mundi,RBA, DL.: M- 32805-00) Jason Vieaux: Bach BWV 995 Prelude 5:55* Jason Vieaux performs the Prelude from Bach's Lute Suite, BWV 995. Recorded live in
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  • Download Program
    Byron Schenkman Friends season five 2017-2018 2017-2018 season Welcome to the fifth season ofByron Schenkman & Friends! 2017 has been a challenging year for many of us. I am very grateful for the power of music to bring us together in community, for healing and for joy. This season our repertoire ranges from early 17th- century canzonas by Girolamo Frescobaldi and Claudia Francesca Rusca to masterpieces of 19th-century Romanticism by Robert and Clara Schumann, with Corelli, Vivaldi, Handel, Mozart, Beethoven, Schubert, and more in between. May this wonderful music nourish our minds, hearts, and souls, giving us the strength to continue moving joyfully forward! byron schenkman, artistic director page 3 Byron Schenkman & Friends announces a new CD R The Art of the Harpsichord Byron Schenkman on eight historical harpsichords in the National Music Museum Available at www.byronschenkman.com Photo: Tony Jones, National Music Museum contents Oct 15 Bach Double Harpsichord Concertos program & notes ..................................... 6-7 Nov 12 Schumann: The Poet Speaks program & notes ..................................... 8-9 Dec 28 An Evening of Viennese Classics program & notes ................................... 12-13 BISCHOFBERGER Feb 18 Handel: From theWar of Love VIOLINS program & notes ................................... 14-15 Mar 18 Beethoven: Kreutzer and Pathétique Sonatas Professional Repairs, program & notes ...................................18-19 Appraisals, & Sales April 22 Vivaldi and the High Baroque 1314 E. John St. program & notes .................................. 20-21 Seattle, WA 206-324-3119 musician bios ............................................................ 22-26 www.bviolinsltd.com page 4 Thank you for joining us for this Fifth Byron Schenkman & Friends Season of Byron Schenkman & Friends! Your support makes all 2017-2018 this wonderful and inspirational music possible.
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  • Lauten-Recital
    Lauten-Recital Dienstag, 13. Januar 2015, 20 Uhr Spätgotische Stadtkirche Stuttgart-Bad Cannstatt 402. Konzert der Musik am 13. 2 Die Konzerte der MUSIK AM 13. werden wohlwollend gefördert durch die Jörg-Wolff-Stiftung, die Martin Schmälzle-Stiftung, die Stadt Stuttgart und das Land Baden-Württemberg. 3 Johann Sebastian Bach 1685-1750: Werke für Laute II Suite g-Moll BWV 995 Prelude Allemande Courante Sarabande Gavotte I Gavotte II en Rondeau Gigue Suite e-Moll BWV 996 Prelude Allemande Courante Sarabande Bourrée Gigue Präludium, Fuge und Allegro Es-Dur BWV 998 Texte von Albert Schweitzer Florian Link Sprecher Andreas Martin Laute 4 »Weil´s die größte Kunst ist« In der Renaissance galt die Laute als »Königin der Instrumente«, obwohl ihr alles Spek- takuläre und Pompöse stets fremd war. Seit jeher liebte sie das sich leise, beredt und anspielungsreich Mitteilende in der Musik. Daher hatte sie ihren Platz weniger auf den großen Bühnen, als vielmehr in den privaten und halböffentlichen Zirkeln, in denen Lautenmusik zum Bildungskanon der Gelehrten, Musikliebhaber und –kenner gehörte. Der berühmte Meistersinger-Dichter Hans Sachs hat ihr ein Lobgedicht gewidmet, worin er ihren göttlichen Ursprung in der griechischen Antike besingt. Doch recht eigentlich reicht ihre Geschichte viel weiter zurück. Vorgänger der Laute (die indische Sitar, die arabische Oud und das Tanbûr) wurden bereits im dritten Jahrtausend vor Christus in den Hochkulturen Indiens, Vorder- und Zentralasiens gespielt. Wie man heute weiß, war die Laute bei den Assyrern ein weit verbreitetes Volksinstrument. Ihre arabischen Wurzeln bewahrt die Laute übrigens bis heute im Namen: al-’ud bedeu- tet im Arabischen »Holz« (ursprünglich »Zweig«, »Rute», »Stab«) und bezieht sich auf die hölzerne Decke, den Korpus oder das Plektrum, mit dem die Saiten angeschlagen wurden.
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  • Interpretación De La Música Antigua De La Música En General
    Universidade do Estado de Santa Catarina - UDESC Análise musical Centro de Artes – CEART 2° semestre de 2005 Departamento de Música Prof. Sérgio Paulo Ribeiro de Freitas Laboratório de Ensino da Área de Fundamentos da Linguagem Musical Un texto clásico, para todos aquellos interesados en la interpretación de la música antigua de la música en general. En definitiva, la música es tanto un arte como una ciencia y como todo arte y como toda ciencia no tiene otro enemigo que la ignorancia. Los invitamos a adentrarse en un texto que aborda los problemas del intérprete que se acerca a estos repertorios. Editado por Victor Lerú, en Buenos Aires, 1978. [Fonte: http://www.sohns-musica.com.ar/dart.html] Interpretación de la música [Interpretação da Música. São Paulo: Martins Fontes, 2000 | Capítulo 9] por Thurston Dart Algunas conclusiones No pueden existir respuestas prefabricadas a las preguntas que surgen en la ejecución de la música temprana. El problema en sí sólo se ha planteado a partir del último siglo y medio, dado que hasta los primeros años del siglo XIX ningún músico estaba interesado en nada que no fuera música nueva, es decir, música escrita durante los cuarenta o cincuenta años anteriores. Los manuscritos y libros impresos antiguos eran algo para anticuarios, historiadores y "snobs" musicales: los instrumentos musicales antiguos, a menos que fueran violines, eran tan sólo pasados de moda y carentes de interés y la idea de incluir, así fuera una única pieza de música antigua en un programa de concierto, hubiera sido considerada fuera de moda y excéntrica. Las razones que determinaron las diferencias extraordinarias entre ese clima musical y el nuestro constituirían en sí mismas un tema fascinante de estudio, pero que queda fuera de nuestro propósito.
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