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The Symbiosis of Music and Poetry Symbiosis of Music and Poetry in Alfred Schnittke's Five Aphorisms for Piano Item Type text; Electronic Dissertation Authors Faynberg, Anton Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 13:31:39 Link to Item http://hdl.handle.net/10150/620981 THE SYMBIOSIS OF MUSIC AND POETRY IN ALFRED SCHNITTKE’S FIVE APHORISMS FOR PIANO by Anton Faynberg ___________________________ Copyright © Anton Faynberg 2016 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2016 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Anton Faynberg, titled “Symbiosis of Music and Poetry in Alfred Schnittke’s Five Aphorisms for Piano” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ________________________________________________Date: 5/2/2016 Dr. John Milbauer ________________________________________________Date: 5/2/2016 Dr. Rex Woods ________________________________________________Date: 5/2/2016 Dr. Lisa Zdechlik Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: 5/2/2016 Document Director: John Milbauer 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Anton Faynberg 4 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES....................................................................................5 ABSTRACT.......................................................................................................................6 CONCEPTS AND DEFINITIONS....................................................................................7 INTRODUCTION..............................................................................................................8 SHOSTAKOVICH AS A SOVIET MODERNIST..........................................................11 APHORISMS AND FIVE APHORISMS...........................................................................13 SCHNITTKE AS A SOVIET POSTMODERNIST.........................................................18 BRODSKY AS A SOVIET POSTMODERNIST............................................................27 CONCLUSION: [UN]TYING THE KNOT.....................................................................38 APPENDICES: INTRODUCTION..................................................................................45 APPENDIX A: ANALYSIS OF SHOSTAKOVICH’S APHORISMS ............................46 APPENDIX B: ANALYSIS OF SCHNITTKE’S FIVE APHORISMS ...........................52 APPENDIX C: SELECTED BRODSKY POEMS...........................................................60 REFERENCES..................................................................................................................63 5 LIST OF MUSICAL EXAMPLES Ex. 1.1: Shostakovich, Recitative , mm. 1-4.......................................................................47 Ex. 1.2: Shostakovich, Serenade , mm. 35-37....................................................................48 Ex. 1.3: Shostakovich, Nocturne , first line........................................................................49 Ex. 1.4: Shostakovich, Elegy , mm. 1-2..............................................................................50 Ex. 1.5: Shostakovich, Lullaby , mm. 1-3...........................................................................51 Ex. 2.1: Schnittke, Aphorism 1, mm. 1-10.........................................................................52 Ex. 2.2: Schnittke, Aphorism 1, mm. 37-38.......................................................................53 Ex. 2.3: Schnittke, Aphorism 1, mm. 39-41.......................................................................54 Ex. 2.4: Schnittke, Aphorism 2, mm. 1-9...........................................................................55 Ex. 2.5: Schnittke, Aphorism 2, mm. 23-31.......................................................................56 Ex. 2.6: Schnittke, Aphorism 3, mm. 1-7...........................................................................57 Ex. 2.7: Schnittke, Aphorism 4..........................................................................................58 Ex. 2.8: Schnittke, Aphorism 5, mm. 1-11........................................................................59 6 ABSTRACT Alfred Schnittke’s Five Aphorisms for Piano (1990) constitutes a unique sub- genre of piano music first explored by Dmitry Shostakovich in Aphorisms (1927). Schnittke’s Five Aphorisms exhibit stylistic and metaphysical parallels with the poetry of Joseph Brodsky. The present examination puts in perspective a vibrant example of Russian Postmodernist music. This study relates Alfred Schnittke’s Five Aphorisms for Piano (1990) both to an earlier set of piano pieces, Dmitry Shostakovich’s Aphorisms (1927), and to the poetry of Joseph Brodsky (1940-96). The study identifies musical and extra-musical connections between Shostakovich and Schnittke and examines the genesis of their musical sets in light of the composers’ biographies and writings. Later it explores Schnittke’s relationship with Brodsky, to whom the Five Aphorisms was dedicated, and whose poetry was intended to be recited before the performance of each of the five pieces. It analyzes the worldview and philosophy of Schnittke and Brodsky within the context of Postmodernism in order to shed new light upon their artistic intentions. Finally, the study considers the broader question of the relationship between music and poetry in late Soviet artworks. Throughout the document the Shostakovich set will be referred to as Aphorisms and the Schnittke set as Five Aphorisms . 7 CONCEPTS AND DEFINITIONS The purpose of this section is to define and contextualize the terms and concepts used in the document. Modernism: A period of art and music history from circa 1890 to circa 1930, to which the Shostakovich Aphorisms belong. The present study suggests that Modernism was a reactive period, with the artistic intention of representing a new and chaotic world following the Industrial Revolution. Postmodernism: A period of history following Modernism. The present study suggests that Postmodernism is more an attitude than a codified artistic period. Postmodernism is essentially reflexive. Postmodernism tropes are described in detail throughout the document. Stylistic elements: Aspects that find concrete expression in the artistic work, including musical/poetic language, and musical/poetic devices. Metaphysical/Extra-musical elements: Aspects that are suggested or implied by the work. These elements are presented within the context of the artist’s biography and worldview. Aphorism: A short saying which communicates a lasting truth. An aphorism is the marriage of poetry and philosophy, of style and content. 8 INTRODUCTION Silentium 1 She has not yet been born: she is the music and the word, and therefore the un-torn, fabric of what is stirred. If civilized man is verbal man, the poet is paragon. In the hierarchy of human expression, language is unique and infinitely varied. Postmodernism claims that language constitutes reality rather than simply representing it. Because of this, we are all essentially verbal and even literary; we are all storytellers. 2 Ludwig Wittgenstein, the Postmodernist sage, asserts that: “…understanding a sentence is much more akin to understanding a theme in music than one may think.”3 Speech is often linked with music and there are numerous analogies between the two forms of expression/communication. Perhaps music came first, in the song of the bird, in the utterings and mutterings of animals, in the groans and primal screams of early man. The conceptual definition of music has expanded to include those biological sounds as deliberate and purposive if not ‘conscious.’ Still, they are sounds with pitch, timbre, and duration. 1. Osip Mandelstam, translated by A.S. Kline, modified by the author. (http://www.poetryintranslation.com/PITBR/Russian/Mandelstam.htm), accessed: 10/18/14. 2. See: Iris Murdoch, Existentialists and Mystics (New York: Penguin, 1999) and Claude Lévi-Straus, Tristes Tropiques (New York: Penguin
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