Essays in Honor of Laszlo Somfai on His 70th Birthday Studies in the Sources and the Interpretation of Music

by Unknown

• ISBN13: 9780810852976
• ISBN10: 0810852977
• Format: Hardcover
• Copyright: 2005-11-01
• Publisher: Scarecrow Press

Summary

This volume of essays celebrates Hungarian musicologist László Somfai (b. 1934), head of the Budapest Bartók Archives for more than three decades, past president of the International Musicological Society, and a leading authority on the music of Joseph Haydn and Béla Bartók. His complex approach to source material involves evaluating biographical data while examining compositional sketches, notation, and performance practice, leading him to an "authentic" understanding of music that reaches beyond the discussion of musical sources. This honorary volume is devoted to the topics and approaches he has pioneered, without limiting the discussion to any particular period or style of music history. With a natural emphasis on the Viennese classics and Bartók, the 34 essays in this volume cover a range of music study, from the Middle Ages through the second half of the 20th century. Contributions from younger scholars and leading musicologists alike have been collected, including Somfai's former students, friends, and colleagues from all over the globe. Complete with an up-to-date bibliography of Somfai's publications, this book presents new and in-depth analyses of source studies and performance practices of many great composers and musical styles.

Table of Contents

Preface by the Editors	vii
Laszlo Somfai: An Appraisal	1	(2)
Jozsef Ujfalussy
A Reverse Interview	3	(4)
Adrienne Gombocz
Part I Theoretical Issues: Performance Practice, Editing, and Interpreting Music
The Unbearable Lightness of Ethnomusicological Complete Editions: The Style of the ba'al tefillah (Prayer Leader) in the East European Jewish Service	7	(12)
Judit Frigyesi
Ordinary Melodies in the Context of the ``Old Roman Chant'' Question	19	(26)
Gabor Kiss
In the Workshop of the musicus	45	(6)
Laszlo Dobszay
Performing Medieval Music in the Late-1960s: Michael Morrow and Thomas Binkley	51	(6)
David Fallows
19th-Century Paths to Palestrina's Music: Italian, German, and French Editions of the Missa Papae Marcelli	57	(20)
Zsuzsanna Domokos
Watermarks Are Singles, Too: A Miscellany of Research Notes	77	(10)
Jan LaRue
Toward a Performance History of Bach's Sonatas and Partitas for Solo Violin: Preliminary Investigations	87	(22)
Dorottya Fabian
``'Returning' to the Skin'': On Theodor W. Adorno's Theory of Musical Interpretation	109	(18)
Hermann Danuser
Part II Classical Style: From Gluck through Beethoven
Siciliana-Tempi and Haydn's Sicilianos	127	(12)
Eva Badura-Skoda
Haydn's Op. 9: A Critique of the Ideology of the ``Classical'' String Quartet	139	(20)
James Webster
The Voice of God in Haydn's Creation	159	(16)
Elaine Sisman
Gluck's Serenata Tetide (1760) and Mozart: A Supplement to the Preface to the First Edition in the Gluck-Gesamtausgabe	175	(6)
Gerhard Croll
Did Mozart ``Pedal,'' and If So, How Much and Where?	181	(12)
Malcolm Bilson
Mozart's Chamber Music with Keyboard: A Musical Panorama of Europe, 1762--1788	193	(14)
Katalin Komlos
Mozart's Mannheim Sonatas for Violin and Piano	207	(12)
Jurgen Hunkemoller
Mozart's Modular Minuet Machine	219	(18)
Neal Zaslaw
Praise of Wine from Ofen, Ugliness, and Friendship: Three Occasional Compositions by Franz Xaver Sußmayr	237	(12)
Rudolf Flotzinger
Recycling Old Ideas in Beethoven's String Quartet Op. 132	249	(20)
Bathia Churgin
Part III Nineteenth Century: Questions of a National Style
A Suggestive Detail in Weber's Freischutz	269	(4)
Richard Taruskin
Franz Liszt's First Hungarian Symphonic Attempt: The National-ungarische Symphonie	273	(14)
Adrienne Kaczmarczyk
Umerenno or Andantino molto: On Musorgsky's Tempo Markings	287	(16)
Marta Papp
Part IV Twentieth Century: Schoenberg, Bartok, Kodaly, and Beyond
Anxiety, Abstraction, and Schoenberg's Gestures of Fear	303	(22)
Klara Moricz
Wagnerian Details in Webern's Op. 5, No. 2	325	(6)
David E. Schneider
Zoltan Kodaly's Art of Fugue: About the Neo-Classicism of the Concerto for Orchestra	331	(18)
Anna Dalos
Bartok Analysis in America	349	(26)
Janos Karpati
Bartok and His Song Texts	375	(12)
Ferenc Laszlo
The Making of a Cycle of Folksong Arrangements: The Sources of Bartok's Eight Hungarian Folksongs	387	(14)
Vera Lampert
A Stray Leaf from Bartok's Black Pocket-Book	401	(4)
Oliver Neighbour
Backgrounds of Bartok's ``Bitonal'' Bagatelle	405	(20)
Laszlo Vikarius
Analytical Notes to Bartok's Improvisations, Op. 20 and the Ordering of the Series	425	(20)
Ivan Waldbauer
Narrative Analysis in the Comparative Approach to Performances: The Adagio of Bartok's Music for Strings, Percussion, and Celesta	445	(16)
Marta Grabocz
Some Impressions on the Performance Tradition of the Bartok Violin Concerto	461	(6)
Peter Laki
``Hommage a Sacher via Bartok'': Bartok Quotations in Henri Dutilleux's Trois strophes sur le nom de Sacher and Heinz Holliger's Atembogen	467	(14)
Felix Meyer
Luciano Berio's Sonata per pianoforte solo or The Disclosures of a Sketch Page	481	(6)
Reinhold Brinkmann
A Somfai Bibliography	487	(20)
Index of Proper Names	507	(12)
About the Contributors	519