Page 113 - Weiss, Jernej, ur. 2018. Nova glasba v “novi” Evropi med obema svetovnima vojnama ?? New Music in the “New” Europe Between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 2
P. 113
work and performance ...
(1921) its suites and fantasias for the quarter-tone piano performed by Karel
Reiner).
IV.
In the frame of interpretation research we can also compare the interpreta-
tive style of individual personalities, bodies or generations, so-called “in-
terpretative schools” whose specificity is determined by the technique or
the method of training, however increasingly more the ability to enlight-
en about (adequately get across) certain (national) repertoire from a certain
complex interpretative point of view.
In the 20th century the ideal of performance individualization was ap-
proached by the requirement of adequate portraying of author’s periodic
compositional style. The demand for the stylistic purity is applied especial-
ly categorically when introducing domestic music (works of the so-called
classics of one or another national music).
Area that appears most suitable for processing is chamber music and
particularly one specific part, so called Czech Quartet School. It is the area
of music which has its tradition within the local music culture. It is one of
few artistic activities in the field of Czech musical culture where we can
observe the continual development (presumption of development of inter-
pretive tradition, if we still believe in interpretive tradition) with all even-
tual divides and deviations. The founding significance belongs to the Bo-
hemian Quartet. In the begining of the 20th century it was primarily the
Ševčík-Lhotský Quartet, Zika’s (Czechoslovak) and Prague Quartets. Inter-
pretation of the Bohemian Quartet especially began to change with the in-
ventions of the phonograph (roll) and a gramophone record.
The fact that music can be written not only in the sheet but also as a
sound, not only its progression but also quallities elusive in the notation, re-
directs the attention to topical and currently ongoing flow of music. Here
we can also find the impulse (which is often overlooked) of the development
of new interpretive tradition. (Herbert von Karajan for example perfectly
adapted to the gramophone industry.)
We encounter a particular phenomenon in the first recordings of the
Bohemian Quartet: individual musicians are highlighting contemporary
clichés, especially glissando when changing positions, rapid changes in
tempo and dynamics. However on the contemporary sound recordings re-
marked with technical imperfections they sound artificial and amateur-
ish. Similar characteristics also apply to the recordings of violinists Jan
111
(1921) its suites and fantasias for the quarter-tone piano performed by Karel
Reiner).
IV.
In the frame of interpretation research we can also compare the interpreta-
tive style of individual personalities, bodies or generations, so-called “in-
terpretative schools” whose specificity is determined by the technique or
the method of training, however increasingly more the ability to enlight-
en about (adequately get across) certain (national) repertoire from a certain
complex interpretative point of view.
In the 20th century the ideal of performance individualization was ap-
proached by the requirement of adequate portraying of author’s periodic
compositional style. The demand for the stylistic purity is applied especial-
ly categorically when introducing domestic music (works of the so-called
classics of one or another national music).
Area that appears most suitable for processing is chamber music and
particularly one specific part, so called Czech Quartet School. It is the area
of music which has its tradition within the local music culture. It is one of
few artistic activities in the field of Czech musical culture where we can
observe the continual development (presumption of development of inter-
pretive tradition, if we still believe in interpretive tradition) with all even-
tual divides and deviations. The founding significance belongs to the Bo-
hemian Quartet. In the begining of the 20th century it was primarily the
Ševčík-Lhotský Quartet, Zika’s (Czechoslovak) and Prague Quartets. Inter-
pretation of the Bohemian Quartet especially began to change with the in-
ventions of the phonograph (roll) and a gramophone record.
The fact that music can be written not only in the sheet but also as a
sound, not only its progression but also quallities elusive in the notation, re-
directs the attention to topical and currently ongoing flow of music. Here
we can also find the impulse (which is often overlooked) of the development
of new interpretive tradition. (Herbert von Karajan for example perfectly
adapted to the gramophone industry.)
We encounter a particular phenomenon in the first recordings of the
Bohemian Quartet: individual musicians are highlighting contemporary
clichés, especially glissando when changing positions, rapid changes in
tempo and dynamics. However on the contemporary sound recordings re-
marked with technical imperfections they sound artificial and amateur-
ish. Similar characteristics also apply to the recordings of violinists Jan
111
