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Arthur Honegger'in Müziği Ve Viyolonsel Konçertosu

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Arthur Honegger'in Müziği Ve Viyolonsel Konçertosu T.C. ULUDA Ğ ÜN İVERS İTES İ SOSYAL B İLİMLER ENST İTÜSÜ MÜZ İK ANASANAT DALI YAYLI ÇALGILAR SANAT DALI ARTHUR HONEGGER’ İN MÜZ İĞİ VE V İYOLONSEL KONÇERTOSU (YÜKSEK L İSANS SANAT ESER İ MET İN ÇALI ŞMASI) Ali Kaan KAPLAN BURSA - 2015 T.C. ULUDA Ğ ÜN İVERS İTES İ SOSYAL B İLİMLER ENST İTÜSÜ MÜZ İK ANASANAT DALI YAYLI ÇALGILAR SANAT DALI ARTHUR HONEGGER’ İN MÜZ İĞİ VE V İYOLONSEL KONÇERTOSU (YÜKSEK L İSANS SANAT ESER İ MET İN ÇALI ŞMASI) Ali Kaan KAPLAN Danı şman: Prof. İsmail GÖ ĞÜŞ BURSA - 2015 ÖZET Yazarın Adı ve Soyadı : Ali Kaan KAPLAN Üniversite : Uluda ğ Üniversitesi Enstitü : Sosyal Bilimler Enstitüsü Anasanat Dalı : Müzik Sanat Dalı : Yaylı Çalgılar Tezin/Çalı şmanın Niteli ği : Yüksek Lisans Sayfa Sayısı : xii+112 Mezuniyet Tarihi : .../..../2015 Tez Danı şmanı : Prof. İsmail GÖ ĞÜŞ ARTHUR HONEGGER’ İN MÜZ İĞİ VE V İYOLONSEL KONÇERTOSU Arthur Honegger, 20. yüzyılın bestecileri arasında, adı her ne kadar az telaffuz edilse de oldukça önemli bir yere sahiptir. Daha gençlik yıllarında önemli bir besteci olarak “Fransız Altıları”ndan birisi olmayı ba şarmı ştır. Ba şta Dmitri Shostakovich olmak üzere bazı bestecilere örnek olan Honegger, ya şamı boyunca ini şli-çıkı şlı dönemler ya şamı ş fakat her türlü durumda gererek büyük bir özveri ile çalışmı ş, sürekli eser üretmi ştir. Üretti ği eserlerde, birçok akımın özelliklerini kendi sanat vizyonu ile harmanlamı ş, klasik formlara yeni boyutlar kazandırmı ş ve kendi müzikal kimli ğini olu şturmu ştur. Hayranı oldu ğu Bach’ı ve Beethoven’ı sürekli olarak, Claude Debussy’yi de daha çok gençlik yıllarında örnek almı ştır. Bunlardan dolayı Honegger’in müzikal anlayı şı biraz karma şıktır. Bu karma şıklık, yazmı ş oldu ğu “Viyolonsel Konçertosu”na da yansımı ştır. Bestecinin viyolonsel konçertosunun konu edildi ği bu çalı şmanın ilk bölümünde Arthur Honegger’in hayatı, müzik stili ve klasik formlara getirdi ği yenilikler ele alınmı ştır. İkinci bölümde, eserin form açısından incelemesi yapılmı ş ve eserin seslendirilmesine yönelik öneriler sunulmu ştur. Günümüzde nadir olarak seslendirilen bu eser, konçerto formu, sonat formu ve 20. yüzyılda sık kullanılan blok teknik kullanılarak yazılmı ştır. Oldukça renkli ve zengin tınılara sahiptir. Ayrıca solistik açıdan oldukça zor pasajları da içinde bulundurur. Bu çalı şma, Honegger’in ya şamını, müzikal anlayı şını ve “Viyolonsel Konçertosu”nu detaylı bir şekilde incelemek amacıyla yazılmı ştır. Türkiye’de çok bilinmeyen Arthur Honegger hakkında günümüze kadar sadece bir Türkçe lisansüstü metin çalı şması yapıldı ğı, “Viyolonsel Konçertosu”nun ise hiç incelenmedi ği için bu çalı şmanın önemli oldu ğu dü şünülmektedir. Anahtar Kelimeler: Arthur Honegger, viyolonsel, çello, konçerto iii ABSTRACT Writer’s Name and Surname : Ali Kaan KAPLAN University : Uluda ğ University Institute : Institute of Social Sciences Field : Music Branch : String Instruments Degree : Master Number of Pages : xii+112 Degree Date : .../..../2015 Supervisor : Prof. İsmail GÖ ĞÜŞ ARTHUR HONEGGER’S MUSIC AND HIS CELLO CONCERTO Arthur Honegger is one of the prominent composers of the 20th century although he is not very well known. He succeeded to become one of the “French Six” as an important composer even at his youth. Honegger who was a model for some composers especially for Dmitri Schostakovich, lived a life with struggles but in any case worked hard and produced pieces continuously. In his works, he combined properties of various approaches with his vision of art, he added new dimentions to classical forms and created his own musical identity. He followed Bach and Beethoven who he admired forever and Debussy mostly when he was young. That’s why his musical interpretation is a little bit confusing. This confusion is reflected in his “Cello Concerto” In the first part of this work which has been mentioned composer’s cello concerto, Arthur Honegger’s life, music style and the novelties he brought to classical forms are explained. In the second part, “Cello Concerto” is analyzed in terms of form and suggestions for playing are presented. This work which is rarely performed today, was written using concerto form, sonata form and block technique which was often used in the 20th century. It has quite colorful and rich timbres and also quite difficult passages in terms of soloistic performance. This work was written in order to analyze Honegger’s life, musical interpretation and his “Cello Concerto” in details. It is thought that, this work has an importance since only one Turkish master work has been written about Honegger who is not really recognized in Turkey and his “Cello Concerto” hasn’t been analyed so far. Keywords: Arthur Honegger, violoncello, cello, concerto iv ÖNSÖZ 20. yüzyılın önemli bestecilerinden olan Arthur Honegger, ya şamı boyunca birçok önemli esere imza atmı ştır. Her ne kadar günümüzde çok sık icra edilmese de, “Do Majör Viyolonsel Konçertosu” da bu önemli eserlerden bir tanesidir. Bu metin çalı şması, söz konusu konçertonun form analizini ve konçertoyla ilgili çe şitli seslendirme önerilerini kapsamaktadır. Türkiye’de bu eserle ilgili yazılan ilk kapsamlı ara ştırma olması dolayısıyla, bu metin çalı şmasının müzik okullarında hem ö ğretim elemanları hem de ö ğrenciler için faydalı bir kaynak olaca ğı dü şünülmektedir. Bu metin çalı şmasını hazırlamamda bana gerekli bilgileri ve tecrübelerini aktaran danı şmanım Prof. İsmail Gö ğüş’e, form analizlerinde bana yardımcı olan Doç. Gökçe Altay’a, performans çalı şmalarımda yardımcı olan Prof. Dr. Ozan Tunca’ya, İngilizce kaynak tercümelerinde yardımcı olan Ö ğr. Gör. Aygül Çetik’e ve Hasan Çelik’e te şekkürlerimi sunarım. v İÇİNDEK İLER Sayfa No. TEZ ONAY SAYFASI……………………………………………………..............ii ÖZET…………………………………………………………………………….....iii ABSTRACT..............................................................................................................iv ÖNSÖZ.......................................................................................................................v İÇİNDEK İLER..........................................................................................................vi RES İMLER.............................................................................................................viii TABLOLAR...........................................................................................................viii ŞEK İLLER................................................................................................................ix GİRİŞ ..........................................................................................................................1 BİRİNC İ BÖLÜM ARTHUR HONEGGER’ İN HAYATI VE MÜZ İK ST İLİ 1. ARTHUR HONEGGER’ İN HAYATI...................................................................2 1.1. Çocukluk ve Gençlik Yılları...........................................................................2 1.1.1. Paris Konservatuvarı yılları ve erken dönem eserleri..........................4 1.1.2. “Fransız Altıları”nın olu şumunda Honegger.......................................8 1.2. Olgunluk Evresi ve “Kral Arthur”................................................................12 1.2.1. Siyasal geli şmeler ve 2. Dünya Sava şı yılları...................................23 1.3.Son Yıllar.......................................................................................................31 vi 2. ARTHUR HONEGGER’ İN MÜZ İK ST İLİ........................................................35 2.1. 20. Yüzyılın Ba şında Müzikteki Geli şmeler.................................................35 2.2. Honegger’in Müzikal Kimli ğinin Olu şması.................................................35 İKİNC İ BÖLÜM ARTUR HONEGGER’ İN V İYOLONSEL KONÇERTOSUNUN İNCELENMES İ 1. ESER İN FORM ANAL İZİ...................................................................................38 1.1. Birinci Bölüm (Andante)..............................................................................39 1.2. İkinci Bölüm (Lento)....................................................................................68 1.3. Kadans ve Üçüncü Bölüm (Allegro Marcato)..............................................81 2. ESER İN SESLEND İRİLMES İNE YÖNEL İK ÖNER İLER.............................104 2.1. Birinci Bölüm (Andante)............................................................................105 2.2. İkinci Bölüm (Lento)..................................................................................105 2.3. Kadans ve Üçüncü Bölüm (Allegro Marcato)............................................106 SONUÇ...................................................................................................................108 KAYNAKLAR.......................................................................................................109 EK...........................................................................................................................111 ÖZGEÇM İŞ ............................................................................................................112 vii RES İMLER Sayfa No. Resim 1: Fransız Altıları (Auric hariç) ve Cocteau. Piyano ba şındaki isim Jean Cocteau. Ayaktakiler (soldan sa ğa): Milhaud, Honegger, Tailleferre, Poulenc, Durey........................................................................................................................10 Resim 2: Pacific 231................................................................................................ 14 TABLOLAR Tablo 1: Eserin birinci bölümünün şeması...............................................................39
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