KURTG’S JT‰KOK: PLAYING GAMES WITH TRADITION .“Kurtg’s Jt©kok: Playing Games with

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    KURTGS JTKOK: PLAYING GAMES WITH TRADITION

    by

    GABRIEL NEVES COELHO

    A LECTURE-DOCUMENT

    Presented to the School of Music and Dance

    of the University of Oregon

    in partial fulfillment of the requirements

    for the degree of

    Doctor of Musical Arts

    December 2014

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    Kurtgs Jtkok: Playing Games with Tradition, a lecture-document prepared by Gabriel

    Neves Coelho in partial fulfillment of the requirements for the Doctor of Musical Arts degree in

    the School of Music and Dance. This lecture-document has been approved and accepted by:

    Alexandre Dossin, Chair of the Examining Committee

    Date: 12/07/2014

    Committee in Charge: Alexandre Dossin, Chair

    Jack Boss

    Loren Kajikawa

    Accepted by:

    Phyllis M. Paul, Associate Dean and Director of Graduate Studies,

    School of Music and Dance

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    2014 Gabriel Neves Coelho

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    ABSTRACT

    This study approaches the compilation of piano pieces known under the general title

    Jtkok (or Games), which was written by the Hungarian composer Gyrgy Kurtg. Started

    in 1973, the set reflects the political context of Hungary under Soviet domination, as well as

    its posterior dissolution, also revealing the composers sensitivity and openness to create in

    a moment of historical and aesthetic transition. In analyzing how the collection achieved a

    synthesis between the radical experiments of the avant-garde and the canonic repertoire, it

    focus on the cultural symbols he manipulates within his music, juxtaposing elements from

    several layers of tradition.

    The concept of musical games unfolds in different ways. They can be analyzed as

    performative games, in which playing is interpreted as the more obvious act of performing

    the pieces, but also related to the idea of playfulness, therefore treating the piano almost as

    a toy, exploring all possibilities of movement. Another even larger group is represented by

    those pieces treated as compositional and/or cultural games. Here, the composer is playing

    with tradition, alluding to other composers, artists and historical practices, and by

    consequence also relocating the cultural meaning embedded in those borrowings.

    This research concludes focusing on the private games, in which people, colleagues

    and facts from the composers personal life stimulate his own composition. The last section

    analyses the process of transmutation from a pedagogical series to the increasing exposure

    of his private world and frequent references to loss, identifying certain recurrent patterns

    occurring already in the first volumes.

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    CURRICULUM VITAE

    NAME OF AUTHOR: Gabriel Neves Coelho

    PLACE OF BIRTH: Brazil

    GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED:

    University of Oregon, Eugene

    University of Wisconsin at Milwaukee

    Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil

    DEGREES AWARDED:

    Doctor of Musical Arts, Piano Performance, 2014, University of Oregon

    Master of Music, Piano Performance, 2007, University of Wisconsin - Milwaukee

    Bachelor of Music, 2005, Universidade Federal do Rio Grande do Sul, Brazil

    AREAS OF SPECIAL INTEREST:

    Contemporary music Scholarship and Performance Practice

    Piano Performance

    Piano Pedagogy

    Chamber Music and Collaborative Piano

    PROFESSIONAL EXPERIENCE:

    Piano Faculty, Amazonas State University (UEA), Manaus, Brazil, starting on March,

    2015

    Pianist and Choir Director, Our Redeemer Lutheran Church, Eugene, Oregon, 2013-

    2014

    Graduate Teaching Fellow, University of Oregon, 2011- 2014

    Pianist/Instructor, Bolshoi Theater School in Brazil, Joinville, SC, Brazil, 2008- 2009

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    GRANTS, AWARDS AND HONORS:

    Graduate Teaching Fellowship, University of Oregon, School of Music and Dance,

    2011-2014

    Gary E. Smith Summer Professional Development Award, University of Oregon,

    Graduate School, 2012

    Fellowship - Campos do Jordo International Music Festival, SP, Brazil, 2011

    Graduate School Promising Scholar Award, University of Oregon/Graduate School, 2010

    Finalist - Wisconsin Public Radio Neale Silva Young Artists' Competition, Madison,

    Wisconsin, 2007

    Victor Vega Scholarship - Center for International Education - UWM, 2006

    Chancellor's Student Award - University of Wisconsin - Milwaukee, 2005

    Honorable Mention - 13th "Arnaldo Estrella" National Piano Competition, Juiz de

    Fora, MG, Brazil, 2004

    Fellowship - Campos do Jordo International Music Festival, SP, Brazil, 2004

    Winner at 13th OSPAs Young Soloists Competition - Porto Alegre Symphony Orchestra,

    Brazil, 2003

    PUBLICATIONS:

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    ACKNOWLEDGMENTS

    I would like to express my gratitude to all my committee members, Dr. Alexandre

    Dossin, Dr. Jack Boss and Dr. Loren Kajikawa, for their generous availability during the whole

    process, providing me with valuable suggestions and assisting with the revision of the document.

    Their guidance was decisive to improve this research, and their professionalism serves as a

    model for my future endeavors.

    I am especially thankful to my friend David Kobaly, who generously spent several hours

    helping me to revise the drafts, making the final version look much cleaner than I would ever be

    able to achieve just by my own effort, considering that English is my second language. I also

    would like to mention my friend Dr. Andrew Pokorny, who contributed with precious theoretical

    insights.

    Finally, my deepest thanks to my family, who gave me so much love, encouragement and

    support during such a challenging period. I also would like to honor all my friends in the music

    field for sharing their friendship and love for their craft, I learn with you every day.

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    I dedicate this work to all my teachers.

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    TABLE OF CONTENTS

    Chapter Page

    I. INTRODUCTION ........................................................................................................ 1

    1.1. Motivation....1

    1.2. Structure.6

    1.3. Overview of the Literature ...8

    II. KURTGS JTKOK: AN OVERVIEW... 13

    2.1 Origins and Features .........13

    2.1.1 Theatre of Music .........25

    2.1.2 Objet Trouv ..30

    2.1.3 New Music Studio ........... ........34

    2.1.4 Layers of Tradition........36

    2.2 Models.......40

    2.2.1 Fingerlarks............40

    2.2.2 Mikrokosmos ....................................... .47

    2.3 Dissemination of his works.......53

    III. CULTURAL MEANING AND ASSOCIATIONS ....73

    3.1 Borrowing Techniques.75

    3.2 Contextualization.93

    IV. IN THE MANNER OF THE AGING KURTG...100

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    V. CONCLUSION ....126

    APPENDIX ....128

    BIBLIOGRAPHY...129

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    LIST OF EXAMPLES

    Example Page

    1a. Palm stroke (1)........................................................ 19

    1b. Wrong notes allowed (1)............................. 20

    2a. (one palm beside the other)................................. 21

    2b. Playing with basic elements........ 21

    3. Hommage Blint Endre.. 24

    4. The Bunny and the Fox 25

    5. Dumb-show (Quarrelling 2) ..28

    6. Bored. 30 7. Perpetuum mobile (objet trouv) ......... 34

    8. Fugitive thoughts about the Alberti bass . 35 9. Key to the signs used.... 39

    10. Flowers We Are, Frail Flowers (1b)............... 40 11. Fingerlarks (No. 5 Allegro).. 47 12. Postface Kocsis Zoltn .... 70

    13. Russian Dance .................................................... 79

    14. Adoration, adoration, accursed desolation.. 81

    15. Scraps of a colinda melody faintly recollected.... 82

    16. Hommage Nancy Sinatra ............ 83

    17a. Les Adieux ... 87 17b. Les Adieux (Detail) ...... 88

    18. Hommage Ligeti............... 89 19. Hommage Tchaikovsky....... 90 20. La fille aux cheveux de lin enrage ................ 91

    21. Hommage Borsody Lszl ...................................... 92

    22. Motto Flowers We Are.. 105

    23. Consolation - In Remembrance of Magda Szvai ....... 107

    24. In Memoriam Hermann Alice... 108

    25. Hommage a Schubert ....... 109

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    LIST OF EXAMPLES

    Example Page

    26. Schubert Der Tod und das Mdchen.............. 111

    27. Hommage a Schubert................................ 112

    28. Kondor Rock (in the manner of the aging Liszt).................................. 115

    29. Liszt Ossa arida.............. 117

    30. Farewell to Pl Kadosa .....118

    31. In memorian Andrs Mihly .... 120

    32. [Example - Chord] ...120

    33a. Kondor Rock (Detail).............. 121

    33b. In mem