Features of the individual interpretation of the cello sonata genre in the creation by Gyorgy Ligeti

The purpose of this scientific article is characterization of the individual approach concerning the outstanding Austrian composer of Hungarian origin Gyorgy Ligeti to the genre of sonata for cello solo, which was successfully made by this composer. To achieve this goal, the role of this genre in the composer’s work is determined, the stylistic features of the only cello sonata in the composer’s work are discovered, and the composition of the work is analyzed. The methodology research as is in applying a holistic musicology analysis that allows deeply penetrate into the essence of the intonational drama of the work, to reveal the individual features of the author’s interpretation by the composer of the sonata genre for solo cello. The scientific novelty. The sonata of Gyorgy Ligeti, namely, the consideration of the features of the individual interpretation of the instrumental sonata genre, has not yet become the object of domestic musicological research, so addressing this topic is relevant and has a novelty factor. Conclusion. Throughout the long career of Gyorgi Ligeti, his composer style experienced a significant evolution from experiments in the field of electronic music and micropolyphony to a gradual return to classical romantic traditions. It was facilitated by the composer’s focus on the constant search for a new musical language and ways to express it. In the Sonata for cello solo, D. Ligeti pays great attention to the timbre features and technical characteristics of the instrument, seeks to diversify its sound by introducing modern techniques and means of sound extraction. A detailed examination of the artistic and technical techniques used by the composer along with analysis of performing difficulties will facilitate the work of artists on this work and its popularization in contemporary concert and performing practice.

Independence

This chapter focuses on Barber’s earliest involvement of the performer in the creative process of a composition, in this case the Cello Sonata, premiered by Orlando Cole. The two would meet regularly, with Cole offering suggestions for improvements to the music. This fresh new take in composing music was instantly recognized by friends and audience alike. The founder of the Curtis Institute, Mary Bok, made further efforts in advancing Barber’s and also Gian Carlo Menotti’s careers by conducting auditions with music publishers. This resulted in publications of Barber’s work by G. Schirmer, as well as national radio performances where he was recognized as a pianist, composer, and singer. The chapter also describes Barber’s second large orchestral work, Music for a Scene from Shelley. He also wrote incidental music for a play by Mary Kennedy, One Day of Spring, presented at the Annie Russell Theater in Winter Park, Florida.

The Performance of Time (or the time of musical performance)

In the twentieth century, time became a key-concept for music – maybe the art more dependent on time. Even so, a myriad of definitions did turn this idea not only into a rich element for musical discourse but also into a conceptual battlefield in discourses about music. Unfortunately, there was an issue for this struggle between theoretical ideas and musical composition that always insisted in striking the debate: the performance. Thus, this is the aim of this short reflection: to bring performers as protagonists in the debate, listening to their experience in time and of time in performance. For this, the Augustinian link between Time and Memory is taken as a bottom line for the discussion. In understanding music as a kind of discourse, another important conceptual device will be claimed for this reflection, that is Rhetoric. The first part of this reflection recollects concepts from the Aristotelian and Augustinian approaches on time and discourse, and concludes with a review of the main definitions of time by composers in the twentieth century. The second part reviews three theoretical approaches of musical form as process. A third section comprises the embodiment of those discussions into practice in the Cello Sonata, written by Bernd Alois Zimmermann.

Back to Modernism. Back to Futurism. Back to New York (1948–1975)

Carter’s mid-life oeuvre much of it composed in Europe, can be divided into three phases. From the Cello Sonata to the Variations for Orchestra he achieved a synthesis of European modernism, especially as found in the music of Schoenberg, Berg and Bartók, and American ultra-modernism; in all of these works Carter either quoted or alluded to compositions by Charles Ives. The works from the Second Quartet to the Concerto for Orchestra reflect his ambivalent connection with the European avant-garde. While he was particularly impressed with the spatial composition and expansion of percussion found in works of Boulez and Stockhausen, he rejected the algorithmic and aleatoric aspects of their music. After 1968 Carter returned to New York and became a central figure in the “uptown” new music scene. He formed a particularly close association with the new music group, Speculum Musicae.

Turning Points (1945–1948)

Until the appearance of his Piano Sonata in 1946, and Sonata for Violoncello and Piano in 1948 Carter seemed to lack a distinctive voice. Aaron Copland, a close friend, taunted Carter about the “difficulty” of works that Carter had tried to make accessible, and did not mention Carter in an important 1948 article on emerging composers. Carter’s music at this time, however, was moving in new directions. The two sonatas for the first time deploy the distinctive formal and contrapuntal techniques of his mature style. Their idioms also reflect Carter’s realignment with ultra-modernism in his renewed friendship with Varèse and involvement with the publication and performance of Ives’ works. The appearance of metrical modulation in the Cello Sonata, an innovative approach to rhythmic organization, also sprang from Rudolf Kolisch’s study of tempo in Beethoven’s music.

The Secret of Brahms Cellos Sonata No. 1 Op. 38 and Shostakovich Cello Sonata Op. 40

This study aims to find a technique solution behind the Far interval and Octave interval in Brahms Cello sonata no.1 opus 38 and Shostakovich cello sonata op. 40 through literature and Discography approach. The fingering problems may poses special difficulties to any cellists. According to the author’s assessment, there are two problems that warrant special attentions of the cellist. Both intervals may cause serious problems on the performance of short fingers cellists. The size of the fingerboard on the cello as compared to other string instruments are longer, resulting in harder difficulties regarding obtaining tone (Stowell, 1999). From the results of the Far Interval and Octave Interval and active involvement of the researchers, the results show that, what is shown that every cellist are anatomically different. The fingers of the cellists are naturally very flexible. It cannot be converted to another cellists. So flexibly that it is possible to overcome the problem in a simple and convenient.

Virtuosity and Dor: George Enescu and the Hora Lungă

George Enescu’s aptitude as a virtuoso musician, developed at the conservatoires of Vienna and Paris, built on childhood experiences with Romani-Romanian musicians (the muzica lăutărească tradition), and Romanian folk music. The doina, a folk genre constructed from improvisatory repetitions of melody, and particularly associated with the concept of dor, “longing,” served as an inspiration throughout Enescu’s compositional career. This study examines virtuosity in relation to Enescu’s musical expressions of dor, specifically in his approach to the hora lungă, a sub-class of the doina. The virtuosic zenith of his Third Violin Sonata involves blurring the lines between emulation of muzica lăutărească performance with traditional vocal hora lungă delivery. The later Second Cello Sonata is contextualised with reference to Lucian Blaga’s formulation of the “stylistic matrix” as a means for depicting dor in connection to the temporal. Virtuosity here rather relates to interpretation: evoking the unconscious and the “mioritic space” by contrast to emulation of muzica lăutărească or the spontaneity of improvised hora lungă performance. Considering these examples with reference to personal and historical context, the present study suggests these passages perform the traditional function of the hora lungă: catharsis.

The Evolution of Chopin’s Sonata Forms

This study examines the evolving use of sonata form by Chopin, with specific focus on the ways that formal innovations in his early sonatas (opp. 4 and 8) and piano concertos (opp. 11 and 21) anticipate formal patterns in his late piano sonatas (Nos. 2 and 3) and the Cello Sonata; in particular, I excavate Chopin’s application of the second theme group (S) as a primary form-defining unit. In doing so, I investigate additional sonata forms by Chopin and Schubert, introduce a new formal function called “resetting of the formal compass” (RFC), and reconsider a recent debate between Hepokoski/Darcy and Wingfield, providing evidence for the resurgence of early Classical conventions in the heart of the Romantic era.

A SOLUTION TO THE FINGERING PROBLEM OF BRAHMS CELLOS SONATA NO.1 OPUS 38 AND SHOSTAKOVICH CELLO SONATA OPUS 40

Tulisan ini lahir dari permasalahan yang dihadapi penulis ketika memainkan Sonata Cello No. 1 op.38 karya Johanes Brahms dan Sonata Cello Op 40 karya Shostakovich. Persoalan ini sering juga dihadapi dalam memainkan beberapa komposisi. Pendalaman pokok permasalahan tersebut mendorong penulis untuk merumuskan kedalam dua pokok permasalahan, yaitu permasalahan Oktav dan Jarak Interval. Dalam hal ini permasalahan tersebut berhubungan erat dengan struktur penjarian secara anatomis penulis sendiri. Pencarian solusi permasalahan tersebut menjadi penelitian tersendiri dan selanjutnya menjadi hal yang penting bagi penulis untuk dapat berbagi pengalaman yang dijadikan studi bersama. Tulisan ini mengutamakan siasat baru mengenai kemampuan tekhnis memainkan interval dan oktav dan persoalan jarak interval dalam kontek Sonata