Balakirev’s “The Lark”: Interpretation and Performance

Julian Hellaby

doi:10.18290/rh247212sp.16

Data publikacji : 2024-08-23

Tom 72 Nr 12 Zeszyt specjalny (2024)

Balakirev’s “The Lark”: Interpretation and Performance

Julian Hellaby

https://orcid.org/0000-0002-2345-6524

DOI: https://doi.org/10.18290/rh247212sp.16

Abstrakt

Following on from work carried out by Márta Grabócz, John Irving, Julian Hellaby and others, this article examines ways in which a piece of music can signify in terms of its structure, its dynamic and expressive trajectory and its topical content, and shows how a grasp of these aspects can be a valuable tool for the performer. Focusing on Balakirev’s arrangement of Glinka’s song “The Lark”, a particular beginning-middle-end design (Agawu 1991, 2009) is identified and shown to support and interact with dynamic, expressive and topical features. Recommendations for performance are drawn from these hermeneutic observations.

Szczegóły

Bibliografia

Statystyki

Autorzy

Pobierz pliki

pdf (English)

Wskaźniki altmetryczne

Cited by / Share

Licencja

Utwór dostępny jest na licencji Creative Commons Uznanie autorstwa – Użycie niekomercyjne – Bez utworów zależnych 4.0 Międzynarodowe.

Bibliografia

Agawu, Kofi. 1991. Playing with Signs. Princeton: Princeton University Press.

Agawu, Kofi. 2009. Music as Discourse. Oxford: Oxford University Press.

Aristotle. Poetics. The Internet Classics Archive: Poetics by Aristotle. Accessed July 13, 2023. https://classics.mit.edu/Aristotle/poetics.html.

Astakhova, Olga. 2019. “‘The Lark’ by Glinka in Balakirev’s Piano Version: Experience of Comparative Chronotopic Analysis.” Translated by Simon Nicholls, 7:169–75. Saratov: International Scientific Forum, The Dialogue of Art and Art-Paradigms.

Bakhtin, Mikhail. (1981) 2011. “Forms of Time and of the Chronotope in the Novel: Notes Towards a Historical Poetics.” In The Dialogic Imagination: Four Essays by M. M. Bakhtin, edited by Michael Holquist, translated by Caryl Emerson and Michael Holquist, 84–258. Texas: University of Texas Press.

Bitzan, Wendelin. 2021. Preface to Die Lerche, Bearbeitung für Klavier, by Mikhail Glinka. Berlin: G. Henle Verlag.

Davies, Stephen. 2001. Musical Works and Performances. Oxford: Oxford University Press.

Garden, Edward. 1967. Balakirev: A Critical Study of his Life and Music. London: Faber.

Grábocz, Márta. 2009. Musique, narrativité, signification. Paris: L’Harmattan.

Ivanovich, Roman. 2014. “The Brilliant Style.” In The Oxford Handbook of Topic Theory, edited by Danuta Mirka, 330–54. Oxford: Oxford University Press.

Klein, Michael. 2005. Intertextuality in Western Art Music. Bloomington: Indiana University Press.

Littlewood, Julian. 2004. The Variations of Johannes Brahms. London: Plumbago Books.

Matthay, Tobias. (1931) 2013. The Visible and Invisible in Piano Technique. Redditch: Read Books.

McLachlan, Murray. 2014. The Foundations of Technique. London: Faber.

Monelle, Raymond. 2000. The Sense of Music. Princeton and Oxford: Princeton University Press.

Peirce, Charles Sanders. (1911) 1998. “A Sketch of Logical Critics.” The Essential Peirce, edited by Peirce Edition Project, 2:451–62. Bloomington: Indiana University Press.

Ratner, Leonard. 1980. Classic Music: Expression, Form, and Style. New York: Schirmer Books.

Rink, John. 1999. “Opposition and integration in the piano music”. In The Cambridge Companion to Brahms, edited by Michael Musgrave, 79–97. Cambridge: Cambridge University Press.

Royal Society for the Protection of Birds. n.d. “Folklore and myths.” Accessed August 10, 2023. https://www.rspb.org.uk/birds-and-wildlife/advice/ask-an-expert/folklore-and-myths

Sandor, Gyorgy. 1980. On Piano Playing. New York: Schirmer Books.

Thom, Paul. 2007. The Musician as Interpreter. Pennsylvania: Pennsylvania State University Press.