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Space, Time, Tradition Studies Undertaken at the Doctoral School of the Budapest Liszt Academy

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Space, Time, Tradition Studies Undertaken at the Doctoral School of the Budapest Liszt Academy Space, time, tradition Studies undertaken at the Doctoral School of the Budapest Liszt Academy Edited by Péter Bozó Tér, idő, hagyomány-ang-1.indd 1 2013.12.05. 20:02:56 Tereido_cover_final.indd 9 12/5/13 1:04 PM Tér, idő, hagyomány-ang-1.indd 400 2013.12.05. 20:05:27 Space, time, tradition Studies undertaken at the Doctoral School of the Budapest Liszt Academy Edited by Péter Bozó Tér, idő, hagyomány-ang-2.indd 3 2013.12.06. 13:35:05 Tereido_cover_final.indd 9 12/5/13 1:04 PM First published in Hungary in 2013 by Rózsavölgyi & Co (founded 1850) H–1052 Budapest, Szervita tér 5. Copyright © 2013 András Batta, Péter Bozó, Anna Dalos, Soma Dinyés, Gabriella Gilányi, Balázs Horváth, Nóra Keresztes, Andrea Kovács, Veronika Kusz, Judit Rajk, Anna Scholz, Ferenc János Szabó, Boglárka Várkonyiné Terray Edited by Péter Bozó The book was published with the support of European Union and with the co-financing of European Social Fund. The cover design is based on a page from a twelfth-century copy of Boethius’ treatise on music De musica. Managing editor: Gergely Fazekas Cover design: Ferenc Szabó Technical manager: Julianna Rácz Pre-press preparation: Cirmosné ISBN 978-615-5062-13-1 ISSN 2064-3780 All rights reserved. No part of this book shall be reproduced, stored in a retrieval system, or transmitted by any means – electronic, mechanical, photocopying, recording, or otherwise – without written permission from the publisher. rozsavolgyi@lira.hu http://rozsavolgyi.hu Printed in 2013 by Prime Rate Ltd. Managing director: Péter Tomcsányi Tér, idő, hagyomány-ang-1.indd 4 2013.12.05. 20:02:58 Contents Musica scilicet ars at the Music Academy of Franz Liszt Foreword by András Batta . 7 Gabriella Gilányi The Gregorian Office Tradition of Aquileia in the Context of the Temporale. 9 Andrea Kovács The Officium defunctorum of Tomás Luis da Victoria and the Tradition of Masses for the Dead . 41 Dinyés Soma Change in the Cantata Style of Johann Sebastian Bach. 73 Anna Scholz Articulation in the Six Cello Suites of J. S. Bach Problems of the Sources and the Critical Editions. 117 Péter Bozó Liszt as a Song Composer, 1839–1861 . 149 Judit Rajk The Features of the 19th-Century Russian Romance Reflected through the Lyric Poetry of Pushkin . 179 Boglárka Terray Várkonyi Harmonic Language in Verdi’s Otello . 217 Nóra Keresztes New Types of Chord and Key Relations in the 19th Century . 237 Tér, idő, hagyomány-ang-1.indd 5 2013.12.05. 20:02:58 Ferenc János Szabó Karel Burian and Hungary. 265 Veronika Kusz Dohnányi’s American Years. 293 Anna Dalos Kodály and the Counterpoint of Palestrina: Theory and Practice . 323 Balázs Horváth The Role of Spatiality in Musical Composition. 357 Contributors to the Volume . 389 Tér, idő, hagyomány-ang-1.indd 6 2013.12.05. 20:02:58 Musica scilicet ars at the Music Academy of Franz Liszt The Music Academy has come to an historical turning point. By 22 October 2013, the birthday of its founder Franz Liszt, its historic palace will have been entirely reno- vated and refurbished. It is complemented by the Academy’s other modern premises, opened two years ago, bearing the name of György Ligeti. The European Union and the Hungarian State have provided considerable funding for Franz Liszt’s Music Academy, one of the distinguished and internationally renowned centres of higher music edu- cation, to develop an infrastructure that befits this venerable institution. In addition to tangible material changes, there the Liszt Academy has undergone intellectual re- newal as it has expanded its activities. This establishment is no longer only a university of music, but also a university of music and musicology, as well as a concert centre. Consequently, research will gain prominence in the field of musicology and the per- forming arts. In this context the term “concert centre” means that the results of schol- arly research will be presented to audiences in the form of concerts and other musical projects. The Doctoral School of the Liszt Academy was founded with a view to providing specialised postgraduate courses to the most outstanding instrumentalists, composers and music scholars, to opening the world to them with the help of international profes- sors, world-famous artists and scholars, and most importantly, to helping them inspire each other to crown their studies in the spirit of medieval “ars” as a craft, an art and a science. “Active professional development at the Doctoral School of the Liszt Academy” – the winning project of the National Development Agency’s tender under the Social Renewal Operative Program [TÁMOP] in 2012 – gives high priority to supporting scholarly and artistic research and to publishing the best works. Numerous research workshops operate at the Liszt Academy, so we are truly spoiled for choice. These include the Franz Liszt Memorial Museum and Research Centre, the Zoltán Kodály Memorial Museum and Archives, the Pedagogical Institute of Music in Kecskemét, the Church Music Department which also provides research premises to the Hungarian Academy of Sciences in the field of medieval music, the Folk Music Department which Tér, idő, hagyomány-ang-1.indd 7 2013.12.05. 20:02:58 8 Musica scilicet ars at the Music Academy of Franz Liszt in co-operation with the Hungarian Academy of Sciences’ Institute for Musicology and the Hungarian Heritage House now has research capabilities, and last but not least the Musicology and Music Theory Department. Contrary to international practice, Zoltán Kodály and Bence Szabolcsi founded this Department at the Music Academy, not a university, to take the message that, whether in theory or in practice, music should be studied by musicians. This book presents about a dozen summaries of brilliant doctoral dissertations cov- ering a colourful variety of areas and authors including musicologists, church musi- cians, instrumentalists and singers, as well as composers. What these papers have in common is quality, and the editors picked the finest works of recent years. Originality shines through with novel topics, fresh attitudes and thought-provoking aspects. What makes these papers exciting is their inherent curiosity: the reader is offered innovative answers to genuine issues. I am proud to recommend this book to every discerning musician. I also warmly recommend it to inspirational teachers, no matter in which area they work. This is a document of a new chapter in the history of the Liszt Academy which I believe will stand the test of time, as have done many others in the establishment’s glorious past. Budapest, 11 June 2013 András Batta Rector (English translation by Miklós Bodóczky) Tér, idő, hagyomány-ang-1.indd 8 2013.12.05. 20:02:58 Gabriella Gilányi The Gregorian Office Tradition of Aquileia in the Context of the Temporale This study is a condensed version of the author’s PhD dissertation, bearing the same title and defended in 2007 (research director: László Dobszay). The diocesan offices of medieval Italy form one area of Gregorian research that has been explored only superficially. Most of the source material is still unexplored: there remains such a quantity of unresearched codices in libraries and collections that inter nation al collaboration on assessing and analyzing their content is long overdue. However, the work of two emblematic figures in Italian research into Gregorian, Giulio Cattin and Giacomo Baroffio, has led to a recent increase of interest in the Italian source materials from historians of music and liturgy. This research has also come to focus on the Gregorian sources of the northern Transalpine border regions. Writers have seen Aquileia, center of today’s Friuli province, as one of the chief medieval dioceses in this respect. The knowledge I gained of Aquileia’s varied Gregor- ian source materials and the support I received from my consultant, László Dobszay, led me to circumscribe my findings about the material in a work of dissertation length and scholarly intent. Based on my specialist competencies, I placed the musical elem- ents of the Divine Office to the fore, but I was also drawn to an interdisciplinary ap- proach of examining systematically the historical background, liturgy, codex attributes, and musical notation. As my title defines, I decided to narrow my subject to the diocesan office of the documented medieval period of Aquileia, and more specifically to the office liturgy and chant repertory of Temporale feasts and periods,1 and to examine this by the full- est possible system of criteria.2 It emerged from the increasingly differentiated layers revealed that the surviving office codices of the 11th–15th centuries are unique and invaluable to the musical and cultural history. The medieval office liturgy that these 1 The office rites have been less thoroughly investigated in the international literature, although the office, with the mass, is a main pillar of medieval liturgy, with a more varied liturgical content than the mass itself, more melodies, and a repertory that steadily increased over the centuries. 2 The Sanctorale part of the Aquileian office rite containing the music for saints was not examined. Tér, idő, hagyomány-ang-1.indd 9 2013.12.05. 20:02:58 10 The Gregorian Office Tradition of Aquileia in the Context of the Temporale sources preserve forms an unexampled blend of liturgical elements from the neighbor- ing Central European and Italian traditions with the liturgical material of Aquileia, shaped and conserved for centuries. 1. Problems of terminology A breakdown of the Aquileian office into chronological or geographic spheres and as- signing the variants to them is not impeded simply by the variety of the source ma- terials. Even the term “Aquileia” can be defined several ways in different historical periods. The dissertation’s first chapter (1–3) sets out to clarify terminological ques- tions.
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