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Kurtág's Játékok: Playing Games with Tradition

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Kurtág's Játékok: Playing Games with Tradition KURTÁG’S JÁTÉKOK: PLAYING GAMES WITH TRADITION by GABRIEL NEVES COELHO A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts December 2014 i “Kurtág’s Játékok: Playing Games with Tradition,” a lecture-document prepared by Gabriel Neves Coelho in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This lecture-document has been approved and accepted by: Alexandre Dossin, Chair of the Examining Committee Date: 12/07/2014 Committee in Charge: Alexandre Dossin, Chair Jack Boss Loren Kajikawa Accepted by: Phyllis M. Paul, Associate Dean and Director of Graduate Studies, School of Music and Dance ii © 2014 Gabriel Neves Coelho iii ABSTRACT This study approaches the compilation of piano pieces known under the general title Játékok (or Games), which was written by the Hungarian composer György Kurtág. Started in 1973, the set reflects the political context of Hungary under Soviet domination, as well as its posterior dissolution, also revealing the composer’s sensitivity and openness to create in a moment of historical and aesthetic transition. In analyzing how the collection achieved a synthesis between the radical experiments of the avant-garde and the canonic repertoire, it focus on the cultural symbols he manipulates within his music, juxtaposing elements from several layers of tradition. The concept of musical games unfolds in different ways. They can be analyzed as performative games, in which ‘playing’ is interpreted as the more obvious act of performing the pieces, but also related to the idea of ‘playfulness’, therefore treating the piano almost as a toy, exploring all possibilities of movement. Another even larger group is represented by those pieces treated as compositional and/or cultural games. Here, the composer is ‘playing’ with tradition, alluding to other composers, artists and historical practices, and by consequence also relocating the cultural meaning embedded in those borrowings. This research concludes focusing on the private games, in which people, colleagues and facts from the composer’s personal life stimulate his own composition. The last section analyses the process of transmutation from a pedagogical series to the increasing exposure of his private world and frequent references to loss, identifying certain recurrent patterns occurring already in the first volumes. iv CURRICULUM VITAE NAME OF AUTHOR: Gabriel Neves Coelho PLACE OF BIRTH: Brazil GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene University of Wisconsin at Milwaukee Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil DEGREES AWARDED: Doctor of Musical Arts, Piano Performance, 2014, University of Oregon Master of Music, Piano Performance, 2007, University of Wisconsin - Milwaukee Bachelor of Music, 2005, Universidade Federal do Rio Grande do Sul, Brazil AREAS OF SPECIAL INTEREST: Contemporary music – Scholarship and Performance Practice Piano Performance Piano Pedagogy Chamber Music and Collaborative Piano PROFESSIONAL EXPERIENCE: Piano Faculty, Amazonas State University (UEA), Manaus, Brazil, starting on March, 2015 Pianist and Choir Director, Our Redeemer Lutheran Church, Eugene, Oregon, 2013- 2014 Graduate Teaching Fellow, University of Oregon, 2011- 2014 Pianist/Instructor, Bolshoi Theater School in Brazil, Joinville, SC, Brazil, 2008- 2009 v GRANTS, AWARDS AND HONORS: Graduate Teaching Fellowship, University of Oregon, School of Music and Dance, 2011-2014 Gary E. Smith Summer Professional Development Award, University of Oregon, Graduate School, 2012 Fellowship - Campos do Jordão International Music Festival, SP, Brazil, 2011 Graduate School Promising Scholar Award, University of Oregon/Graduate School, 2010 Finalist - Wisconsin Public Radio Neale Silva Young Artists' Competition, Madison, Wisconsin, 2007 Victor Vega Scholarship - Center for International Education - UWM, 2006 Chancellor's Student Award - University of Wisconsin - Milwaukee, 2005 Honorable Mention - 13th "Arnaldo Estrella" National Piano Competition, Juiz de Fora, MG, Brazil, 2004 Fellowship - Campos do Jordão International Music Festival, SP, Brazil, 2004 Winner at 13th OSPA’s Young Soloists Competition - Porto Alegre Symphony Orchestra, Brazil, 2003 PUBLICATIONS: vi ACKNOWLEDGMENTS I would like to express my gratitude to all my committee members, Dr. Alexandre Dossin, Dr. Jack Boss and Dr. Loren Kajikawa, for their generous availability during the whole process, providing me with valuable suggestions and assisting with the revision of the document. Their guidance was decisive to improve this research, and their professionalism serves as a model for my future endeavors. I am especially thankful to my friend David Kobaly, who generously spent several hours helping me to revise the drafts, making the final version look much cleaner than I would ever be able to achieve just by my own effort, considering that English is my second language. I also would like to mention my friend Dr. Andrew Pokorny, who contributed with precious theoretical insights. Finally, my deepest thanks to my family, who gave me so much love, encouragement and support during such a challenging period. I also would like to honor all my friends in the music field for sharing their friendship and love for their craft, I learn with you every day. vii I dedicate this work to all my teachers. viii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ........................................................................................................ 1 1.1. Motivation…………………………………………………………….…………….………..1 1.2. Structure…………………………………………………………………….…………………6 1.3. Overview of the Literature ……….………………………….……………….………8 II. KURTÁG’S JÁTÉKOK: AN OVERVIEW…………………….………………………………….. 13 2.1 Origins and Features ..……………………………………....………………..……….13 2.1.1 Theatre of Music ………………….……………………..…..…………………….…...25 2.1.2 Objet Trouvé …………………………………………………………………………..30 2.1.3 New Music Studio ……………………….……….......... ………………….....…...34 2.1.4 Layers of Tradition…………….….….………………………………………..…...36 2.2 Models………………….…………………..…..…………………………………….….…40 2.2.1 Fingerlarks………………....……………………..…………………………....…..40 2.2.2 Mikrokosmos …….…………………….……..................................……....47 2.3 Dissemination of his works………….……………………………………..…....53 III. CULTURAL MEANING AND ASSOCIATIONS ………………………………………....73 3.1 Borrowing Techniques…………………………………………………………………….75 3.2 Contextualization…………………………………………………………………………….93 IV. IN THE MANNER OF THE AGING KURTÁG……….………………….………………….100 ix V. CONCLUSION …………………………………………..………………………………………………..126 APPENDIX …………….………………………………………….….………………………………………………….128 BIBLIOGRAPHY……………………………………………………………………..………………………….129 x LIST OF EXAMPLES Example Page 1a. Palm stroke (1)......................................................…………….……………………. 19 1b. Wrong notes allowed (1)............................…………………………….…………… 20 2a. (one palm beside the other)...............................….…………………………….…… 21 2b. Playing with basic elements…………………………………………...…………..... 21 3. Hommage à Bálint Endre……………………………………………..……………… 24 4. The Bunny and the Fox ……………………………………………………………… 25 5. Dumb-show (Quarrelling 2) ……………………………………………………….….28 6. Bored…………………………………………………………………………………. 30 7. Perpetuum mobile (objet trouvé) ……………………………………………........…. 34 8. Fugitive thoughts about the Alberti bass ……………………………………………. 35 9. “Key to the signs used”…………………………………………………………..….. 39 10. Flowers We Are, Frail Flowers (1b)...........……………………………………..….. 40 11. Fingerlarks (No. 5 – Allegro)…………………………….…………………………. 47 12. Postface à Kocsis Zoltán ………………………………………………………...…. 70 13. Russian Dance …………………………………….................................................... 79 14. Adoration, adoration, accursed desolation………………………………………….. 81 15. Scraps of a colinda melody – faintly recollected………………………………...…. 82 16. Hommage à Nancy Sinatra …………………………………………...……........…. 83 17a. Les Adieux ………………………………..………………………………………. 87 17b. Les Adieux (Detail) …………………………………………………………..….... 88 18. Hommage à Ligeti...........……………………………………..…………………….. 89 19. Hommage à Tchaikovsky…………………………….…….....……………………. 90 20. La fille aux cheveux de lin – enragée ………….......………………………...…...... 91 21. Hommage à Borsody László ………………………………...................................... 92 22. Motto – Flowers We Are………………………………………………………….. 105 23. Consolation - In Remembrance of Magda Szávai …………………………......…. 107 24. In Memoriam Hermann Alice…………………………….……………………….. 108 25. Hommage a Schubert …………………………......………………………………. 109 xi LIST OF EXAMPLES Example Page 26. Schubert – “Der Tod und das Mädchen”...........……………….…………….……. 111 27. Hommage a Schubert............................…………………………….………...…… 112 28. Kondor Rock (in the manner of the aging Liszt)...............................….….….…… 115 29. Liszt – “Ossa arida”....…..…………………………………………...…………..... 117 30. Farewell to Pál Kadosa …………………………..………………………………...118 31. In memorian András Mihály ……..……………………………………………..… 120 32. [Example - Chord] ………………………………………………………….….….120 33a. Kondor Rock (Detail)...........……………….…………….………………………. 121 33b. In memorian András Mihály (Detail)…………………..............………...…….… 121 34. In memorian Edison Denisov ………….…………………………………….….….123 35.Tears...........……………….………………..………………………………………. 124 36. In memorian Edison Denisov………………….........….………...……………...… 125 37. Consolation - In Remembrance of Magda Szávai..........….………………………. 126 38.
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