“AUTHENTICITY,” “WERKTREUE” AND THE MUSICAL WORK.: VLADIMIR HOROWITZ’S PERFORMANCE OF SCHUMANN’S TRÄUMEREI.
2014 (English)In: XVI Nordic Musicological Congress Stockholm 2012: Proceedings / [ed] Jacob Derkert, Stockholm: Department of Musicology and Performance Studies Stockholm University , 2014, 154-163 p.Conference paper (Refereed)
The starting point for the following reflections about performance practice and its relationship to the musical work is a critical article in The New Grove Dictionary (6th ed. 1980). The article deals with one of the legendary musicians of the twentieth century, the Russian-American pianist Vladimir Horowitz who is criticised in a way that is unusual in a dictionary. My intention is not so much to take a stand to this criticism but to widen the approach and examine the statements (arguments) from a broader perspective, to contribute to a more general discussion about musical evaluations and their attachment to different opinions on what phenomenon the musical work is. During the 1920s and 1930s there was a radical change in ideals of composition and performance practice. The hypothesis of the author is that this change is grounded not only in new aesthetical ideals, but also in a different opinion on the nature of the musical work. This shift in paradigm is the result of a series of changes in society in which also (the) musicology played an important role.
Place, publisher, year, edition, pages
Stockholm: Department of Musicology and Performance Studies Stockholm University , 2014. 154-163 p.
Research subject Musicology
IdentifiersURN: urn:nbn:se:su:diva-113269ISBN: ISBN 978-91-976961-6-6OAI: oai:DiVA.org:su-113269DiVA: diva2:783747
XVI Nordic Musicological Congress Stockholm 2012