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001 ocm61178260;

003 OCoLC;

005 20141211184032.0;

008 050726s2005 mdua b 011 0 eng ;

010 a| 2005051605;

020 a| 0810852977q| (alk. paper);

020 a| 9780810852976q| (alk. paper);

035 a| (Sirsi) o61178260;

035 a| (OCoLC)61178260;

042 a| pcc;

049 a| EREM;

050 00 a| ML55b| .S6845 2005;

082 00 a| 780/.92| 22;

245 00 a| Essays in honor of László Somfai on his 70th birthday :b| studies in the sources and the interpretation of music /c| edited by László Vikárius and Vera Lampert.;

260 a| Lanham, MD :b| Scarecrow Press,c| 2005.;

300 a| viii, 526 pages :b| illustrations ;c| 27 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 487-506) and indexes.;

505 00 t| László Somfai: an appraisal /r| József Ujfalussy --t| A reverse interview /r| Adrienne Gombocz --g| Part I.t| Theoretical issues: performance practice, editing, and interpreting music.t| The unbearable lightness of ethnomusicological complete editions: the style of the ba'al tefillah (prayer leader) in the East European Jewish service /r| Judit Frigyesi --t| Ordinary melodies in the context of the "Old Roman chant" question /r| Gábor Kiss --t| In the workshop of the musicus /r| László Dobszay --t| Performing medieval music in the late-1960s: Michael Morrow and Thomas Binkley /r| David Fallows --t| 19th-century paths to Palestrina's music: Italian, German, and French editions of the Missa Papae Marcelli /r| Zsuzsanna Domokos --t| Watermarks are singles, too: a miscellany of research notes /r| Jan LaRue --t| Toward a performance history of Bach's Sonatas and Partitas for solo violin: preliminary investigations /r| Dorottya Fabian --t| "'Returning' to the Skin": on Theodor W. Adorno's theory of musical interpretation /r| Hermann Danuser --g| Part II.t| Classical style: from Gluck through Beethoven.t| Siciliana-tempi and Haydn's sicilianos /r| Eva Badura-Skoda --t| Haydn's Op. 9: a critique of the ideology of the "classical" string quartet /r| James Webster --t| The voice of God in Haydn's Creation /r| Elaine Sisman --t| Gluck's Serenata Tetide (1760) and Mozart: a supplement to the preface to the first edition in the Gluck-Gesamtausgabe /r| Gerhard Croll --t| Did Mozart "pedal", and if so, how much and where? /r| Malcolm Bilson --t| Mozart's chamber music with keyboard: a musical panorama of Europe, 1762-1788 /r| Katalin Komlós --t| Mozart's Mannheim Sonatas for violin and piano /r| Jürgen Hunkemöller --t| Mozart's modular minuet machine /r| Neal Zaslaw --t| Praise of wine from Ofen, ugliness, and friendship: three occasional compositions by Franz Xaver Süssmayr /r| Rudolf Flotzinger --t| Recycling old ideas in Beethoven's String Quartet Op. 132 /r| Bathia Churgin --g| Part III.t| Nineteenth century: questions of a national style.t| A suggestive detail in Weber's Freischütz /r| Richard Taruskin --t| Franz Liszt's first Hungarian symphonic attempt: the National-ungarische Symphonie /r| Adrienne Kaczmarczyk --t| Umerenno or Andantino molto: on Musorgsky's tempo markings /r| Márta Papp --g| Part IV.t| Twentieth century: Schoenberg, Bartók, Kodály, and beyond.t| Anxiety, abstraction, and Schoenberg's gestures of fear /r| Klára Móricz --t| Wagnerian details in Webern's op. 5, no. 2 /r| David E. Schneider --t| Zoltán Kodály's art of fugue: about the neo-classicism of the Concerto for Orchestra /r| Anna Dalos --t| Bartók analysis in America /r| János Kárpáti --t| Bartók and his song texts /r| Ferenc László --t| The making of a cycle of folksong arrangements: the sources of Bartók's Eight Hungarian Folksongs /r| Vera Lampert --t| A stray leaf from Bartók's black pocket-book /r| Oliver Neighbour --t| Backgrounds of Bartók's "Bitonal" Bagatelle /r| László Vikárius --t| Analytical notes to Bartók's Improvisations, op. 20 and the ordering of the series /r| Ivan Waldbauer --t| Narrative analysis in the comparative approach to performances: the Adagio of Bartók's Music for Strings, Percussion, and Celesta /r| Márta Grabócz --t| Some impressions on the performance tradition of the Bartók Violin Concerto /r| Peter Laki --t| "Hommage à Sacher via Bartók": Bartók quotations in Henri Dutilleux's Trois strophes sur le nom de Sacher and Heinz Holliger's Atembogen /r| Felix Meyer --t| Luciano Berio's Sonata per Pianoforte Solo, or, The disclosures of a sketch page /r| Reinhold Brinkmann.;

520 a| This book celebrates Hungarian musicologist László Somfai (1934-), head of the Budapest Bartók Archives for more than three decades, past president of the International Musicological Society, and leading authority on the music of Joseph Haydn and Béla Bartók. His complex approach to source material involves evaluating biographical data while examining compositional sketches, notation, and performance practice, leading him to an "authentic" understanding of music that reaches beyond the discussion of musical sources. In keeping with the spirit of Somfai's lifelong achievement, this book is devoted to the topics and approaches he has pioneered, without limiting the discussion to any particular period or style of music. With a natural emphasis on the Viennese classics and Bartók, these thirty-four essays cover a range of music study from the Middle Ages to the second half of the twentieth century, including contributions from young scholars and leading musicologists alike, Somfai's colleagues, friends, and former students from all over the globe. Complete with an updated bibliography, the book presents new and in-depth analyses of source studies and performance practices of many great composers.;

650 0 a| Musicx| History and criticism.=| ^A18818;

650 0 a| Musicx| Interpretation (Phrasing, dynamics, etc.)=| ^A31204;

650 0 a| Performance practice (Music)=| ^A252120;

700 1 a| Vikárius, László,d| 1962-e| editor.=| ^A609481;

700 1 a| Lampert, Verae| editor.=| ^A190988;

700 1 a| Somfai, László,e| honoree.=| ^A275576;

994 a| C0b| ERE;

596 a| 3;

998 a| 1018073;

999 a| ML55 .S6845 2005w| LCc| 1i| 30372012913148d| 10/19/2025e| 1/2/2025f| 6/3/2024g| 9l| MSTm| JMUSICn| 16p| $75.60q| 1r| Ys| Yt| MGESBKu| 12/1/2005x| BOOKz| MCIRCo| .STAFF. enhanced 5/23/22 -jjam/jjab;

Essays in honor of László Somfai on his 70th birthday : studies in the sources and the interpretation of music / edited by László Vikárius and Vera Lampert.

Other author	Vikárius, László, 1962- editor.
Other author	Lampert, Vera editor.
Other author	Somfai, László, honoree.
Format	Book
Publication Info	Lanham, MD : Scarecrow Press, 2005.
Description	viii, 526 pages : illustrations ; 27 cm
Subjects	Music--History and criticism. Music--Interpretation (Phrasing, dynamics, etc.). Performance practice (Music)

Contents	László Somfai: an appraisal / József Ujfalussy -- A reverse interview / Adrienne Gombocz -- Part I. Theoretical issues: performance practice, editing, and interpreting music. The unbearable lightness of ethnomusicological complete editions: the style of the ba'al tefillah (prayer leader) in the East European Jewish service / Judit Frigyesi -- Ordinary melodies in the context of the "Old Roman chant" question / Gábor Kiss -- In the workshop of the musicus / László Dobszay -- Performing medieval music in the late-1960s: Michael Morrow and Thomas Binkley / David Fallows -- 19th-century paths to Palestrina's music: Italian, German, and French editions of the Missa Papae Marcelli / Zsuzsanna Domokos -- Watermarks are singles, too: a miscellany of research notes / Jan LaRue -- Toward a performance history of Bach's Sonatas and Partitas for solo violin: preliminary investigations / Dorottya Fabian -- "'Returning' to the Skin": on Theodor W. Adorno's theory of musical interpretation / Hermann Danuser -- Part II. Classical style: from Gluck through Beethoven. Siciliana-tempi and Haydn's sicilianos / Eva Badura-Skoda -- Haydn's Op. 9: a critique of the ideology of the "classical" string quartet / James Webster -- The voice of God in Haydn's Creation / Elaine Sisman -- Gluck's Serenata Tetide (1760) and Mozart: a supplement to the preface to the first edition in the Gluck-Gesamtausgabe / Gerhard Croll -- Did Mozart "pedal", and if so, how much and where? / Malcolm Bilson -- Mozart's chamber music with keyboard: a musical panorama of Europe, 1762-1788 / Katalin Komlós -- Mozart's Mannheim Sonatas for violin and piano / Jürgen Hunkemöller -- Mozart's modular minuet machine / Neal Zaslaw -- Praise of wine from Ofen, ugliness, and friendship: three occasional compositions by Franz Xaver Süssmayr / Rudolf Flotzinger -- Recycling old ideas in Beethoven's String Quartet Op. 132 / Bathia Churgin -- Part III. Nineteenth century: questions of a national style. A suggestive detail in Weber's Freischütz / Richard Taruskin -- Franz Liszt's first Hungarian symphonic attempt: the National-ungarische Symphonie / Adrienne Kaczmarczyk -- Umerenno or Andantino molto: on Musorgsky's tempo markings / Márta Papp -- Part IV. Twentieth century: Schoenberg, Bartók, Kodály, and beyond. Anxiety, abstraction, and Schoenberg's gestures of fear / Klára Móricz -- Wagnerian details in Webern's op. 5, no. 2 / David E. Schneider -- Zoltán Kodály's art of fugue: about the neo-classicism of the Concerto for Orchestra / Anna Dalos -- Bartók analysis in America / János Kárpáti -- Bartók and his song texts / Ferenc László -- The making of a cycle of folksong arrangements: the sources of Bartók's Eight Hungarian Folksongs / Vera Lampert -- A stray leaf from Bartók's black pocket-book / Oliver Neighbour -- Backgrounds of Bartók's "Bitonal" Bagatelle / László Vikárius -- Analytical notes to Bartók's Improvisations, op. 20 and the ordering of the series / Ivan Waldbauer -- Narrative analysis in the comparative approach to performances: the Adagio of Bartók's Music for Strings, Percussion, and Celesta / Márta Grabócz -- Some impressions on the performance tradition of the Bartók Violin Concerto / Peter Laki -- "Hommage à Sacher via Bartók": Bartók quotations in Henri Dutilleux's Trois strophes sur le nom de Sacher and Heinz Holliger's Atembogen / Felix Meyer -- Luciano Berio's Sonata per Pianoforte Solo, or, The disclosures of a sketch page / Reinhold Brinkmann.
Abstract	This book celebrates Hungarian musicologist László Somfai (1934-), head of the Budapest Bartók Archives for more than three decades, past president of the International Musicological Society, and leading authority on the music of Joseph Haydn and Béla Bartók. His complex approach to source material involves evaluating biographical data while examining compositional sketches, notation, and performance practice, leading him to an "authentic" understanding of music that reaches beyond the discussion of musical sources. In keeping with the spirit of Somfai's lifelong achievement, this book is devoted to the topics and approaches he has pioneered, without limiting the discussion to any particular period or style of music. With a natural emphasis on the Viennese classics and Bartók, these thirty-four essays cover a range of music study from the Middle Ages to the second half of the twentieth century, including contributions from young scholars and leading musicologists alike, Somfai's colleagues, friends, and former students from all over the globe. Complete with an updated bibliography, the book presents new and in-depth analyses of source studies and performance practices of many great composers.
Bibliography note	Includes bibliographical references (pages 487-506) and indexes.
LCCN	2005051605
ISBN	0810852977 (alk. paper)
ISBN	9780810852976 (alk. paper)

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Essays in honor of László Somfai on his 70th birthday : studies in the sources and the interpretation of music / edited by László Vikárius and Vera Lampert.

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