Przesłania muzyki upublicznione i prywatne
Journal Title: Teoria Muzyki. Studia, Interpretacje, Dokumentacje - Year 2015, Vol 6, Issue 6
Abstract
19th-century music is closely related to almost all intellectual currents of the age. Many composers created their music to serve literary, religious, social and political purposes and, together with writers, philosophers and politicians, search for new directions. The term “message” is chosen by many 20th-century composers to make their intentions clear. For example, Arnold Schönberg articulated a belief that the most distinguished masterpieces convey prophetic messages, which point to forms that develop mankind. Many works of musical art that are surrounded by a unique atmosphere eventually owe their fame not least to the humanitarian messages they proclaim. This is true for works such as Mozart’s Magic Flute, Beethoven’s Fidelio and the Ninth Symphony, through the musical dramas of Richard Wagner, symphonies by Gustav Mahler, as well as works like Wozzeck by Alban Berg and The Soldiers by Bernd Alois Zimmermann. Apart from the pieces which convey such public messages, there are those whose connotations are “private”. These include works dedicated to the composers’ friends, patrons or persons they are closely related to. In many cases such works carry a private message, which in effect is only decipherable by the addressee. Additionally, many composers write pieces with hidden schemata. They allow themselves to be inspired by personal experiences, by visions, and by literary or ideological concepts or works of fine art, and lay compositional foundations they, for some reason, do not wish to share with the public. Weber, Schumann, Smetana, Bruckner, Tchaikovsky, Mahler, Busoni, Schönberg, Webern, Janáček, Berg – all of them have written such music. It has been the most sensational finding of recent years to discover that all the mature works by Alban Berg are based on detailed hidden schemata.
Authors and Affiliations
Constantin Floros
Keywords
Related Articles
- EP ID EP332115
- DOI 10.26377/22998454tm.15.6.001
- Views 114
- Downloads 0
"Powiało na mnie morze snów…" Pieśni zadumy i nostalgii
Penderecki’s extraordinary song cycle features a remarkable range of styles (and poets). An analysis of the first three songs offers insight into Penderecki’s compositional strategies, with special attention to pitch str...
Droga ku pełni. Dzieje muzyki wobec prawa tetraktysu. Rekonesans
The four times of the day, the four seasons, the four parts of the world and the four winds, the four elements and the four tempers... According to Pythagoreans, numbers are crucial to the understanding of the structure...
O Wandern, Wandern, meine Lust. Symbole wędrówki w późnych sonatach fortepianowych Schuberta
Autor, korzystając z teorii symbolu (L. Kołakowski, H.-G. Gadamer), analizuje i interpretuje symbole wędrówki w późnych sonatach Franza Schuberta: Sonacie c-moll D 958, Sonacie A-dur D 959, Sonacie B-dur D 960. Jako arch...
Wokół pojęcia tonalności w dziejach myśli o muzyce
For centuries, musical works have been associated with the idea of order, harmony and beauty. From he nineteenth century, also on the basis of tonality (tonalité, Tonalität). The dispute over the concept of tonality is g...
Jasność i ciemność, czyli tonacje krzyżykowe i bemolowe
Due to the intrinsic and inherent oppositions within the major-minor system, it is naturally binary and dialectic. One of those oppositions is that of directions, or tonal melos up/down of the circle of fifths, that is t...