Climatul artistic care a precedat fenomenul Mozart
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| Format: | Buch |
| Sprache: | Romanian |
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Iaşi
Ed. PIM
2007
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Datensatz im Suchindex
| _version_ | 1819786556045524992 |
|---|---|
| adam_text | CUPRINS
Cuvânt înainte
Climatul artistic
5
Repere ale valorii
-
modelul clasic
9
Conceptul estetic clasic
13
Valori de relaţie
-
clasic şi romantic
17
Cristalizarea stilului muzical clasic
21
De la suită la sonată
25
Contribuţia Iui D.
Scarlatti la
evoluţia sonatei
31
Contribuţia Iui
Ph. Em. Bach
şi J.
Haydn
la evoluţia sonatei
39
Concluzii
53
Abstract
59
Bibliografie
65
Abstract
The work represents a way of scientific comprehension of the
historical and aesthetical apparition of the Mozart sonatas. The work
following these perspectives: historical (of the times and of the classical
style), structural and semeiotic (of the analyses of the musical discourse),
hermeneutical and performing (of the piano principles). These perspectives
propose the quest of truth by means of the historical, art and philosophy
experience. The theme is large due to the need to contain both tradition,
existent until the composer s apparition (source of his creations) and the
great classical period in which Mozart became conspicuous in the musical
art.
We presents the classical artistic climate, which highlights the
classical pattern
-
valuable landmark, the classical aesthetic concept, the
relational values (classic romantic), the classical music style, continuing then
with the evolution of the instrumental music from the suite to the sonata, the
contribution of the composers D. Scarlatti, Ph. Em. Bach and J. Haydn to the
evolution of the sonata.
The equilibrium of the means of expression and the sobriety of the
classical art expression derive from the general tendency of the people in
those times to subject themselves to the social conveniences and to dominate
their senses and thoughts with the help of a clear judgment, which will
control also the creative process of the artists. The fantasy and the
inspiration will not prevail any more in the classical art, as the act of the
rational thinking wins and stops any full reign of imagination, by a
supradimensionai
action of the human will. The classical art was thus the
result of an aesthetic ideal, prone towards equilibrium between content and
form, between expression and construction.
The classical model is defined as value, starting from the notion,
period, concept, artistic style, by its meanings. He has three semantic levels:
an axiological, historical and an aesthetic level. The entire semantic area of
the classical term is contained and also deformations of its meanings.
The classical aesthetics evolves, between Baroque and Romanticism,
by the French, English, German, Russian, Italian and Romanian classicism.
The representatives of the Enlightenment, being the promoters of the nature
imitation procedures referred to various subjects taken from the real life in
order to make more people come to the artistic performance. Thus, new
59
dramatic
genres
with realistic profile crystallized both in the theatre and
opera: the French comic opera and the Italian opera
buffa
and the German
Spingspiel. At the end of the 17th century, in the European culture, the
representative of the Sturm
und
Drang artistic movement detached by a
subjected
tonus
emphasized also by a protest attitude, which is a real
preromantic
trait. The features of the classical art therefore reveals by the
comparison between the classical and romantic hero, as relation between
new and old .
The stylistic meaning involves features of the operas, of the
composers, etc while the historical meaning involves historical landmarks, a
cultural, philosophical and artistic complex. The historical perspective of the
opera and of the classical style highlights therefore forms of expression in
different
socio-cultural
contexts but also the manifestation way of the same,
the structuring of the language elements specific to the piano instrument and
their evolution depending on the classical norms and aesthetics.
The classical style, by the three coryphaei of the Viennese classicism
-
Haydn, Mozart and Beethoven cultivates the classical elegance, the clarity
and transparency of the musical language, the genre and the forms, being
well settled, further to the application of sever compositional principles.
The dramatic and the Italian instrumental genre, the French Rococo,
the school of German organists, the representative of the school of
Mainnheim, the composers within the Viennese school are not omitted
either, by their creation, the compositional technique and the evolution of the
musical language being highlighted.
The sonata genre, by the preclassical school, the sonata cycle (minuet,
rondo, scherzo, lied, variations on a theme, the fugue), the quartet, the
concert, the symphony are presented in the suite and the sonata
,
pursuing
at the crystallization of the form of classical sonata. Since the genre
apparition in the Baroque age, several composers contributed to the
diversification of the cycle movement, and the musical expression extended
considerably. The dramaturgy of the genre brings new architectonic laws,
tending towards savant sound constructions, mastered with images which
capture the dynamism of life.
The contribution of the composers to the evolution of the sonata is
captured by the Sonatas of Scarlatti, those of Ph.Em. Bach and those of J.
Haydn, in an analysis of those sonatas, highlighting the new elements and
the evolution of the musical language.
The Scaralatti s Sonatas bring new elements to the internal structure,
tailoring the form to a new content and to the classical requirement of
asymmetry. Scarllati invented melodic, rhythmical and harmonic structures
60
but he was also a master of the sound architecture. Some Scarlatti s sonatas
are conceived in the simple form of the suite, other prefigure the classical
sonata, bithematic with development. The writing is bold and brings a
colorful refinement, his instrumental style announcing the classical piano
technique. The order and logic of the musical discourse is based upon the
tonal-functional system, the dominant type of texture being the homophonic
and the polyphonic. The new elements of the structure of the musical
language place the Scarlatti s sonatas among the reference works, which
anticipates the classical style and the means of the piano technique.
Ph.
Emanuel Bach
is considered as the father of the modern sonata. In
his sonatas, he combines the old instrumental form with the Scarlatti s
conquests, conceiving a cycle consisting of more contrasting movements. He
diversifies the elements of expression and the sound architecture, by the
theme differentiation and crystallization of new expressions, he brings near
the instrumental discourse to the cantability of the human voice, prefiguring
the explosion of the mozartian instrumental melodism.
J. Haydn synthesizes and sets the definite structure of the genre and
of the form of the classical sonata. The theme comment delimits the early
sonatas to those during the last period of creation. The early sonatas are
tributary to the past, not following a fixed pattern, but he clearly delimits the
main ideas and the three sections. The instrumental writing is simple,
transparent, with homophone type texture. Certain liberties of the tonal
relations can be noticed.
During the middle period, the Haydn s compositional thinking gains
in variety and density on two levels
-
macro and micro structural. Most of
the sonatas have three movements, conceived on three formal patters. He no
longer often uses the monothematic sonata but the bithematic one or the lied
or even the rondo when opening the instrumental cycle. The themes detach
themselves by expression contract, the conflict episodes with well structured
stages and with ample modulating direction gain in dimensions. The writing
is more dense and with various expression elements.
In the last period of creation, the sonatas are more elaborated, of more
ample dimensions, with advanced compositional techniques, some
anticipating Mozart, others Beethoven. The
microstructures
are amplified, he
often uses chromatisms and modulations, and he joins the homophone type
texture with the
polyphone
one, anticipating the romantic language. The
patterns of the instrumental language remain still anchored in the classical
architectonics.
The universe of the J. Haydn s sonatas registers in an area of melodic
beauty, of the equilibrium and harmony of language and sound structures.
61
The melodies becomes far more expressive, with well finished details,
sometimes of popular texture. At rhythmical level, symmetric formulas of
dancing origin are encountered, specific to the Baroque but also
compositional structures, generating polyrhythmic effects. In the last works
the dynamic contrasts are more often.
The
33
musical examples allow the analyses of the linkage with the
musical text, at the same time the comparison of the elements of musical
structure in the creation of the three composers being carried out.
The comment constantly takes into account the stylistic landmarks of
the classical music, seeking to identify the Mozartian stylistic traits, as
particularities, without omitting to influence the Mozartian style, from both
directions: from the tradition towards contemporaneity.
Four styles lead to the age of the classical music:
-the french rococo, represented by the music of
Rameau, Couperin
and Scarlatti
-the gallant style, an elegant style seriously opposed to the Baroque,
which has the ornamentics in common with the Rococo but differs from the
latter by the very clear structure of the phrases: J.C. Bach,
Sammartini,
Hasse, Pergolesi.
-the
empfindlich,
the sensitive style, known as a romantic variant of
the rococo style, anticipating the Romanticism of the 19th century. It is a
sensitive style, with a subjective expression, melancholic, encountered in
C.P.E. Bach, W.F.Bach. The Lied and the Siengspiel are results of the said
style.
- Sturm
und
Drang , style which manifests by works in minor
tonality and dynamic effects, for instance the Symphonies no.
44,45, 49
of
Haydn, those between
17770-1780,
the Symphony K.
183
in
G
minor by
Mozart or the Idomeneo , which present long recitatives, storm-like
scenes, in minor tonality and a passionate expression accompanied by the
orchestra.
As a fundamental feature of the classical music, the clarity of the
structures, the thematic dualism, the harmonic progressions, the constant use
of
appoggiatura,
the chromatization with expressive effect, the very rich
rhythm often appears. The dynamics and the orchestral colors are
thematically used, procedure which shows the influence of the Mannheim
school pursuers.
62
The objective of the work is achieved through the range of
possibilities provided by the connections that are made: between the social
and cultural climate, between the historical, artistic and musical climate,
between genres, shapes, architectonic structures, between composers and
between interpreter artists.
By emphasizing evolutions and changes (valuable, stylistic,
instrumental, esthetical and interpretative), pointed out through a series of
musical examples, we have tried to open the way towards the creative
achievement of the interpretative experiences and the original
communication of the act.
The understanding phenomena and the suitable interpretation of what
is to be understood is an issue related to hermeneutics and to the interpreter s
experience in its wholeness. Starting from understanding tradition, we
acquire means of experience that can be checked by reading the texts and
through the interpretative acts.
The phenomenon allows for experimentation in a hermeneutic
universe, and our conscience is open to means of expression and thinking
which take shape while communicating.
63
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| id | DE-604.BV035990979 |
| illustrated | Illustrated |
| indexdate | 2024-12-23T22:56:32Z |
| institution | BVB |
| isbn | 9789737167309 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-018883677 |
| oclc_num | 643884993 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 71 S. Notenbeisp. |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Ed. PIM |
| record_format | marc |
| spellingShingle | Constantin, Mihaela Climatul artistic care a precedat fenomenul Mozart Mozart, Wolfgang Amadeus 1756-1791 (DE-588)118584596 gnd Wiener Klassik (DE-588)4189851-5 gnd Klaviersonate (DE-588)4030995-2 gnd Musikverstehen (DE-588)4212275-2 gnd |
| subject_GND | (DE-588)118584596 (DE-588)4189851-5 (DE-588)4030995-2 (DE-588)4212275-2 |
| title | Climatul artistic care a precedat fenomenul Mozart |
| title_auth | Climatul artistic care a precedat fenomenul Mozart |
| title_exact_search | Climatul artistic care a precedat fenomenul Mozart |
| title_full | Climatul artistic care a precedat fenomenul Mozart Mihaela Constantin |
| title_fullStr | Climatul artistic care a precedat fenomenul Mozart Mihaela Constantin |
| title_full_unstemmed | Climatul artistic care a precedat fenomenul Mozart Mihaela Constantin |
| title_short | Climatul artistic care a precedat fenomenul Mozart |
| title_sort | climatul artistic care a precedat fenomenul mozart |
| topic | Mozart, Wolfgang Amadeus 1756-1791 (DE-588)118584596 gnd Wiener Klassik (DE-588)4189851-5 gnd Klaviersonate (DE-588)4030995-2 gnd Musikverstehen (DE-588)4212275-2 gnd |
| topic_facet | Mozart, Wolfgang Amadeus 1756-1791 Wiener Klassik Klaviersonate Musikverstehen |
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