DiaryINDEX｜past｜will
| 2008年07月31日(木) | 最新のモーツァルトについての論文情報 |
あまりバカなことばかり
書いてあきれられてもいけないので
たまには、真面目なことを…
最新のモーツァルト情報です。
今日 Ｋ音大図書館で雑誌をみて
その後、Ｗｅｂ検索してみた結果です。
下記が論文のAbstract（梗概）です。
全文ほしい方は、私に頼むか（笑）
（エラそうにすみません。… (^^；)）
下記サイトで有料注文して下さい。
http://caliber.ucpress.net/doi/abs/10.1525/jams.2008.61.1.1
なお、
Editor's Note によれば
The Fall issue (Vol.61-3) will include a Colloquy on
textual criticisim and Mozart's Requiem
featuring the remarks of
Dancan Druce,Robert Levin,Richard Maunder and
Christoph Wolff.
We encourage readers to submit their own views.
だそうです、期待しましょう。
（大意： 今秋発行の本誌61-3号では
モーツァルトの《レクイエム》について
ダンカン・ドゥルーズ始めレヴィン、モンダーなどの
〔増補版校訂者や大御所〕ヴォルフらによるディスカッションなど
掲載予定なので、読者は期待してほしい）
*****
Journal of the American Musicological Society
Spring 2008, Vol. 61, No. 1, Pages 1–65
“Die Ochsen am Berge”:
Franz Xaver Süssmayr and the Orchestration of
Mozart's Requiem, K. 626
Simon P. Keefe
Abstract
Franz Xaver Süssmayr's letter to the publisher Härtel (1800)
about his involvement in completing Mozart's Requiem
implicitly and explicitly asks its recipient to take
his contribution seriously.
Positive appraisals of the entire Requiem in the early decades
of the nineteenth century, read alongside this letter,
invite reevaluation of Süssmayr's orchestration of the work.
Early writings on Mozart's orchestration clarify that Süssmayr's countless musical decisions, large and small, would have carried genuine aesthetic resonance.
Süssmayr's view that the winds should function primarily as
support for the voices derives from Mozart's orchestration
of the Introit, and manifests itself especially in voice doublings and frequent segues between vocal statements.
The origin of his shaping of orchestration toward climactic points in the Lacrymosa, Sanctus, and Benedictus, however,
is less clearly attributable to Mozart.
Süssmayr's entitlement to a vision of his own for the completion
of the work, one that may not follow Mozart's intentions in
every respect, encourages us to consider putative “transgressions” evidence of active engagement with the work itself,
rather than of musical misjudgment.
Examining the Sanctus and Benedictus
(for which no materials in Mozart's hand are extant)
as well as the Sequence, reveals the consistency and coherence of
Süssmayr's vision across the Requiem as a whole.
http://caliber.ucpress.net/doi/abs/10.1525/jams.2008.61.1.1
