חברות וחברי איגוד יקרים,

במסגרת מפגש הקולוקוויום שיתקיים עוד שבוע בדיוק, ביום שני, ה-21/4 בשעה 20:00, נארח את ג׳ונתן דאנסבי, פרופסור לתיאוריה של המוזיקה בביה״ס איסטמן (רוצ'סטר, ניו יורק) ואחת הדמויות הבולטות בחקר האנליזה, הביצוע והפילוסופיה של המוזיקה. עבודתו רחבת ההיקף – מהתמחות ביוהנס ברהמס, דרך עיסוק במוזיקה ווקאלית ועד הגות על האפיסטמולוגיה של הניתוח המוזיקלי – השפיעה עמוקות על דורות של חוקרים ומבצעים.
תגובות: פרופ' ברברה בארי (אוניברסיטת לונדון, קולג׳ גולסמית׳ס) וברק שוסברגר (האוניברסיטה העברית, ירושלים).

* כרגיל, לאחר סשן התגובות יתקיים דיון פתוח לכלל המשתתפים.

אבסטרקט:

To Be a Saint: Domenico Scarlatti’s K. 87

My title refers to Scarlatti’s memorable appearances in José Saramago’s 1987 novel Baltasar and Blimunda, supposedly in Lisbon in about 1716. Scarlatti’s final exchange with the heroine, peasant-witch Blimunda, is recorded in Saramago’s signature minimal punctuation: “What is it to be a saint, Signor Scarlet, You tell me, Blimunda.” Pure fiction of course, that exchange, but then, so are the majority of supposed facts, about Scarlatti and his more than 500 keyboard sonatas (some of them almost certainly for piano), that have become part of the three-century mythology built up about this mysterious life and its mysterious works. For example, we do not know whether Scarlatti ever performed his own works as a young virtuoso, or why so few of his works were published in his lifetime, and so on. The Sonata in B minor, K.87, is typical at least in the sense that we have no evidenced idea whether it is an early or a late work, or even of such simple and telling information as whether it was conceived as a slow piece or, maybe, a fast piece—commercial recordings exemplify both possibilities. It appears in its opening ideas to be “contrapuntal,” yet moves on to what is clearly “fandango” music: polyphony and dance are but two of the strange bedfellows in this polystylistic collage of a piece that is nevertheless, arguably, thoroughly “organic.” W. Dean Sutcliffe and Joel Sheveloff have published studies aiming to plug some of the gaps in our appreciation, if not in our factual knowledge, by considering the compositional aspects of K.87 that might provide some clues. In that spirit, this presentation explores the music’s texture and form and in particular—relying on Schenkerian ideas of directed motion—its voice-leading structure, all of which feeds into its coherent interpretation. The sonata that Vladimir Horowitz launched into public appreciation, recording it four times between 1935 and 1986, has become one of Scarlatti’s best-known yet little analyzed compositions over the last century or so; and the labyrinth of musical questions it asks of us repays endless inquiry.

קישור:

https://us06web.zoom.us/j/8083636205?pwd=cbF2p1kaOGm5GVVER2bywyRWjfIN9H.1&omn=86769660308

Meeting ID: 808 363 6205
Passcode: 6bZtBu