Page 114 - 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. 114
nova glasba v »novi« evropi med obema svetovnima vojnama
K ubelik (1880–1940), František Ondříček (1857–1922) and singer Emmy
Destinn (1878–1930). Such an approach may resemble theatrical facial ex-
pressions and diction which with the onset of the film became dull (or per-
haps comical). Each such recitation (interpretation) is significant, has its
own semantics.
Study of the audio data offers wide possibilities for the study of perfor-
mances and their mutual relations. Production and distributing of music
media has one more audible effect. The artists from the second half of the
20th century who have the opportunity to easily compare their own per-
formance with the recordings of their colleagues usually present a homog-
enous interpretative style while the individuality and diversity are consid-
ered to be dominating feature of older records.
V.
In this context I would like to remind that the interpretation of the work
was (and partially still is) considered as secondary in the history of music.
Even the designation performing culture represents certain classification.
Performance is only a reproduction, simple performance, standing against
serious compositional work. For example Johannes Brahms said:
“If I perform something from Beethoven I am suppressing my own
individuality and reproduce what the author has prescribed. Still, I
have a lot of work to do.”3
Also the Austrian theorist Heinrich Schenker considered “individu-
al contribution” of the artist to be unnecessary. Therefore, is the interpret-
er really just a mere executor of the musical text as claimed by Stravinskij?
These ideas stem from the inequal ratio between the significance of the
score and its execution (interpretation). Within the European tradition the
term work is bound especially to its fixation (composition recorded in the
notation), finality (the work is complete and other authors cannot make any
input) and uniqueness (singularity; the work is tied to the author as to the
unique creative personality).
We must still have the multilayer nature of music on our mind for its
perceivable form is added only by its execution. Composer’s notation is a
precursor of the artifact of music not the music itself. The score itself is not
3 Heinrich Schenker, Der Tonwille. Flugblätter zum Zeugnis unwandelbarer Geset-
ze der Tonkunst einer neuen Jugend dargebracht, Heft 6 (Wien: Universal-Edition,
1923), 37.
112
K ubelik (1880–1940), František Ondříček (1857–1922) and singer Emmy
Destinn (1878–1930). Such an approach may resemble theatrical facial ex-
pressions and diction which with the onset of the film became dull (or per-
haps comical). Each such recitation (interpretation) is significant, has its
own semantics.
Study of the audio data offers wide possibilities for the study of perfor-
mances and their mutual relations. Production and distributing of music
media has one more audible effect. The artists from the second half of the
20th century who have the opportunity to easily compare their own per-
formance with the recordings of their colleagues usually present a homog-
enous interpretative style while the individuality and diversity are consid-
ered to be dominating feature of older records.
V.
In this context I would like to remind that the interpretation of the work
was (and partially still is) considered as secondary in the history of music.
Even the designation performing culture represents certain classification.
Performance is only a reproduction, simple performance, standing against
serious compositional work. For example Johannes Brahms said:
“If I perform something from Beethoven I am suppressing my own
individuality and reproduce what the author has prescribed. Still, I
have a lot of work to do.”3
Also the Austrian theorist Heinrich Schenker considered “individu-
al contribution” of the artist to be unnecessary. Therefore, is the interpret-
er really just a mere executor of the musical text as claimed by Stravinskij?
These ideas stem from the inequal ratio between the significance of the
score and its execution (interpretation). Within the European tradition the
term work is bound especially to its fixation (composition recorded in the
notation), finality (the work is complete and other authors cannot make any
input) and uniqueness (singularity; the work is tied to the author as to the
unique creative personality).
We must still have the multilayer nature of music on our mind for its
perceivable form is added only by its execution. Composer’s notation is a
precursor of the artifact of music not the music itself. The score itself is not
3 Heinrich Schenker, Der Tonwille. Flugblätter zum Zeugnis unwandelbarer Geset-
ze der Tonkunst einer neuen Jugend dargebracht, Heft 6 (Wien: Universal-Edition,
1923), 37.
112
