PowerPoint prezentacijaThe reception of baroque music in selected compositions by Rochberg,
Schnittke and Szymaski
Tomislav Bui
Presentation content
• Short introduction to the theory of intertextuality • Short review of Gérard Genette’s transtextual
categories • Musicological applications of intertextuality • Application of the Genette’s transtextual categories
to music analysis: the case of Schnittke’s first concerto grosso (1976-77)
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Intertextuality
• Julia Kristeva – introduced the term in 1960’s - initial theory Bakhtin + Saussure + Derrida • Roland Barthes – promoted the theory (widespread
usage) - expanded the meaning of the word „Text”
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TRANSTEXTUALITY
Paratextuality
Intertextuality
Metatextuality
Hypertextuality
Architextuality
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INTERTEXTUALITY
Musicological applications of intertextuality
1991)
Influence, 1991)
Theory of Transtextuality and
its Musical Relevance, 2015)
Music, 2000)
• 20th century concerti grossi: Ernest Bloch, Ralph Vaughan Williams, Bohuslav Martin, Henry Cowell, Heitor Villa-Lobos, Krzysztof Penderecki, Philipp Glass
• Schnittke: 6 concerti grossi (1976 – 1994)
• Concerto grosso no.1 (1976/77) – first performance in Leningrad, performances in the West encouraged by violinist Gidon Kremer and conductor Gennadi Rozhdestvensky 7/20
Transtextural procedures in Schnittke’s Concerto grosso no.1
1) Concerto grosso as a historical genre - alternation of concertino and tutti groups; toccata and rondo as old forms (architextuality) 2) Baroque influenced themes in Toccata and Rondo used in process of clusterization; transformation of excerpts from film music (hypertextuality) 3) quotation of themes from Tchaikovsky’s and Berg’s violin concertos (intertextuality stricto sensu) 4) discussion about Corelli’s and Vivaldi’s influence in existing linear notes and analytical writings (paratextuality, metatextuality)
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MOVEMENT STYLISTIC ELEMENTS I. Preludio (Andante) Child-like folk tune, various cluster
formations
II. Toccata (Allegro) two Baroque influenced themes (A i B), 12-tone waltz-like episodes with reference to BACH monogram
III. Recitativo (Lento) short quotations from famous Tchaikovsky’s and Berg’s violin concertos
IV. Cadenza Cadential figures: tonal harmonization of a closing figuration
V. Rondo (Agitato) alternating descending Vivaldian sequences (Rondo theme), tango
VI. Postludio (Andante) brief reminiscences of previous used elements
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New stylistic elements introduced in each movement of Concerto grosso no.1
Corelli’s Concerti da
Corelli, Concerto grosso, op.6, no.7, 1.movement (Allegro)
Concertino and tutti alternation
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Vivaldi, Concerto in a minor, RV 356, Op.3 No.6, I. movement
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Vivaldi, Concerto for 2 Violins in A minor, RV 522, 1.movement
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Thank you for your attention!
The reception of baroque music in selected compositions by Rochberg, Schnittke and Szymaski
Presentation content
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