Marek Kopelent: nástin života a tvorby
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Czech |
| Veröffentlicht: |
Praha
Radioservis
2012
|
| Ausgabe: | Vyd. 1. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 163 S. Ill. |
| ISBN: | 9788087530191 |
Internformat
MARC
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| 245 | 1 | 0 | |a Marek Kopelent |b nástin života a tvorby |c Michal Matzner |
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Datensatz im Suchindex
| _version_ | 1812173428979924992 |
|---|---|
| adam_text |
OBSAH
Předmluva
.5
Ediční poznámka
.7
Úvod
.9
Hledání a dospívání
.11
První kontakt
s
Novou hudbou
.15
Třetí smyčcový kvartet a první úspěchy
na mezinárodních pódiích
.21
Normalizace
.25
Období velkých oratorií
.29
Po roce
1989.37
Varhanní tvorba
.41
Hallelujah
.41
Jitřní chvalozpěv
.49
Radosti z milosti
.56
Shrnutí
. .62
Canto
espansivo
.65
Canto
espansivo
v kontextu literatury pro
klarinet
ve
20.
století
.66
Metoda intervalového výběru
.67
Tónová centra
.70
Princip opakování materiálových prvků
.71
Shrnutí.
.75
Závěr
.77
Předmluva
к
soupisové části
.81
Soupis skladeb Marka Kopelenta
.83
Diskografie
.126
Biografìe
Slovníky a encyklopedie
.139
Ostatní literatura
.141
Výběr z článků, rozhovorů a polemik
.143
Poznámky
.145
Resumé (anglicky)
.153
Doslov
.163
RESUME
This biographical sketch and commentary on the compositions is
a compilation of texts from a monograph thesis and doctoral dis¬
sertation written by the young, prematurely deceased musicolo¬
gist
Michal
Matzner (1978-2010)
at the Charles University
Faculty of Arts.
Marek Kopelent
was born on
28
April
1932
in Prague to the
family of a lawyer working at the Ministry of Finance and of
a secondary school teacher of Czech and French. He is said
to have learned preciseness of formulation and linguistic
style from his mother, and he seemingly got his feeling for
literature from her as well. Although the career of Kope¬
lent'
s
father as a high-ranking tax official was not artistic, he
left noteworthy manuscripts of poetic creations with ties to
the work of
Jaroslav
Vrchlický.
Of key importance for the
composer's future orientation were his studies at the French
Gymnasium, which Kopelent attended before his admission
to the Academy of Performing Arts in
1951.
Like many com¬
posers of his generation, he did not study composition at
a conservatory, but he did study music theory privately with
Dr. Josef
Kubáň,
the organist at the St. James Church, who
also taught him harmony and prepared him for his studies
at the Academy.
His training in the class of the excellent if rather conser¬
vative teacher
Jaroslav Řídký
was reflected in his composi¬
tions from that time and in his graduation piece, the
symphonic drama for orchestra Satanela
(1954-55)
based on
153
the poem of the same title by
Jaroslav
Vrchlický.
Other note¬
worthy works from
Kopelenťs
first period besides Satanela
are the orchestral composition
Ouvertura
(1954-55),
Písně
rozhořčené
(Songs of Bitterness) for baritone and piano
(1956),
a setting of poignant verses by Petrarch, composed as a com¬
mentary on the events of the Hungarian Revolution, and the
more neoclassical Three Movements for Strings
(1958).
As an editor of printed music for the State Publisher of Lit¬
erature, Music and Art (SNKLHU), where he worked from
1956,
Kopelent came into contact with diverse musical scores,
and this was a pivotal influence on his creative thinking.
Other important sources of significant creative impulses at
that time were the possibility of importing foreign scores pri¬
vately, the first edition of
Ctirad Kohoutek'
s
book
Novodobé
skladebné teorie západoevropské hudby
(Contemporary Composi¬
tional Theory of West-European Music), regular participation at
the Warsaw Autumn festival, repeated visits to Prague by
Witold Lutosławski, Krzysztof Penderecki
and other Polish
composers, and last but not least, personal contacts with
some of the representatives of the West-European musical
scene including
Luigi Nono
and
Karlheinz Stockhausen.
Thanks to stimuli from Darmstadt and
Donaueschingen,
there were increasing numbers of musicians in this country
who were taking inspiration from those sources and radi¬
cally reformulating their artistic credos. Besides
Kabeláč,
Burghauser,
Kapr
and
Rychlík,
there were composers from
the younger generation such as
Zbyněk Vostřák,
Rudolf Ko-
morous,
Vladimír Šrámek, Marek
Kopelent and
Jan Klusák.
Together with the theorists
Eduard
Herzog
and
Vladimír
Lébl, in
1965
these composers founded the Prague New
154
Music Group. It was
Zbyněk Vostřák,
twelve years older
than Kopelent, who became the most important figure as¬
sociated with him. Besides the stylistic similarities of their
music, they were also bound together by similar fates dur¬
ing the period of normalization after the Soviet invasion of
1968.
Practically the first important composition where these
tendencies in Kopelent's music began to be reflected is the
cantata for alto solo, narrator, mixed choir and orchestra to
verses by
Jan Skácel
titled
Chléb a ptáci
(Bread and Birds). Al¬
ready then, Kopelent's handling of
Skáceľs
rather clear,
daring symbolism of a blue bird shot from the sky, flying
down to us, seeking in vain for freedom in the midst of
barbed wire, did not escape the ideological criticism of the
day. Along with this vast cantata, in
Nenia
with a Flute (in
memory of
Hana Hlavsová),
Kopelent had already formula¬
ted with absolute clarity his new direction. It was in this
work that for the first time he dared to apply the composi¬
tional ideas of the successors to Anton
Webern,
with which
he had been in fleeting contact already since
1957,
and he
began to work with those ideas systematically in
1959.
The
work was written between
1960
and
'61,
and it had its pre¬
miere at a Composer's Union reading session at
Mánes
in
Prague on
17
December
1962.
Besides free twelve-tone tech¬
niques, in this piece, in searching for new sonic possibili¬
ties, Kopelent uses an electronic sine wave generator,
perhaps as the very first composer to do so in Czechoslo¬
vakia.
Not long after Kopelent's stylistic rebirth, in
1963
he com¬
posed his Third String Quartet, commissioned by
Dušan Pan-
155
dula,
the second violinist of the
Novák
String Quartet. This
groundbreaking composition is determined by a series of
parameters. For pitch organization, Kopelent uses not only
semitones arranged in a twelve-tone series, but also quarter
tones. As in his other compositions, he again avoids here
any mechanical application of serialism. Parts of the series
merely make up a sort of system of support for the work's
structure. The meter is recorded in a graphically proportion¬
ate notation on a grid measured off in seconds. Of course,
along the lines of the aleatory typical of the Polish school,
the way that the rhythm comes out depends largely on the
performers. In order to preserve tectonic integrity, when
playing the quartet it is necessary to maintain at least a mini¬
mum degree of fluidity when moving from one structure to
the next and also at least approximate observance of the time
limits that are expressed numerically above the notation of
the tones.
The quartet's extraordinarily successful premiere was
given by the
Novák
String Quartet in the form of a record¬
ing broadcast by the radio station
WDR in
Cologne in Fe¬
bruary
1964,
and the same ensemble performed the work
again at a concert of Creative Group A in Brno on
24
June
1964.
In the
Supraphon
1967
gramophone anthology
Musica
nova Bohémica
et
Slovaca,
the work is represented by a newer
recording by the
Novák
Quartet from
1965.
Kopelent dedicated yet another chamber work in this se¬
ries to the
Novák
Quartet. His String Quartet No.
4,
com¬
pleted in
1967,
was given its world premiere that same year
in Augsburg. In a new recording made by the AMU String
Quartet in December
1996,
the diminutively proportioned
156
Fourth Quartet, just eight minutes in duration, is included in
Kopelenťs
composer profile
Mon
amour, issued on the Mul-
tisonic label in
1997.
Two years after completing that work, Kopelent received
a
DAAD stipendium
(Deutscher Akademischer Austausch¬
dienst)
for a one-year residence in West Berlin as part of the
arts programme Berliner
Künstlerprogram,
which had been
instituted for already renowned artists from various artistic
fields. To Kopelent, this study visit meant the opportunity
for contact with current events, especially as his stay was
even extended for another half year. The time of the com¬
poser's stay in Berlin coincided with the period of the nor¬
malization purges in Czechoslovakia, and in the case of
Kopelent, many personal aversions towards him colored the
way he was treated. Upon his return from Berlin, on
31
March
1971
he was dismissed from his employment at
Supraphon,
he was not taken back into the post-normaliza¬
tion Union of Czech Composers and Concert Artists, and he
was subsequently blocked from active participation in
Czech cultural life.
In the years that followed,
Kopelenťs
music was, paradoxi¬
cally, better known and more often performed abroad than
in his homeland, and it was from abroad that during that
period he even received commissions for new works (Wit-
tener
Tage für neue Kammermusik, Westdeutscher Rund¬
funk, Musikprotokol Graz,
Warsaw
Spring).
The composer
also
received these commissions because of the renown his
music had earned in the
1960s,
and which he managed to
maintain through the period of normalization in spite of the
impossibility of traveling abroad.
157
The situation in which he found himself during the
1970s
was profoundly reflected in his creative work, where he de¬
liberately attempted to give his music a defiant, sarcastic
character. The composer would display
-
for example by
a stylistic discrepancy or by a digression into some sort of
genre
-
his distaste for the regime in power (he himself de¬
scribed this procedure as „intharsis"). This is how Kopelent
dealt with the situation that he personally and society as
a whole were faced with. During that period, his composi¬
tional style was still based on New Music and tends towards
atonality, he often composed using a free twelve-tone tech¬
nique like in the
1960s,
and he used proportional notation.
In comparison with the previous decade, however, his
scores had become more colorful and structured, but at the
same time he was using
aleatorie
passages, and his compo¬
sitions therefore did not have a definitively settled form. In¬
stead, there would be a number of possible forms that
depended to a certain degree on the performer. It was also
during this period of the composer's creative work that he
first began using quotations and brief interjections of tonal
music, and alongside his dense intervallic sonic structures,
these interjections create a characteristic of Kopelent's po¬
etic language: an element of semantic juxtaposition.
If one can speak of something of a turning point in Kope¬
lent's otherwise stylistically unified
oeuvre,
we would place
it in the late
1970s
and early
1980s.
In the case of
Marek
Ko¬
pelent, one cannot speak of any drastic transformation, such
as Penderecki has undergone, for example, whose music has
over time distanced itself from the compositional resources
of New Music. Although he still remained within the con-
158
text of New Music, a certain clarification in Kopelent's music
began to arrive gradually. An external stimulus was his re¬
turn to the Roman Catholic faith and to the Christian spiri¬
tual tradition. This has been reflected both in his choice of
subject matter and in the intervallic structuring of Kope¬
lent's compositions. This shift can already be seen by the late
1970s
in his second organ composition
Jitřní chvalozpěv
(Morning Eulogy). The composer himself dates the trans¬
formation of his creative work in connection with the com¬
posing of his String Quartet No.
5 (1979-80)
and Symphony
for orchestra
(1982).
The premiere of his Fifth Quartet took
place in Paris in January
1983,
performed by the
Suk
String
Quartet, which also played the work two years later in Pra¬
gue (a recording of the Paris concert was issued in
1993
on
the
Harmonia
mundi
label). The aforementioned stylistic
change primarily involves the way Kopelent makes use here
of the interval of the major third not merely as a character¬
istic digression into a genre, but rather as an integral feature
of the composition.
In addition to the String Quartet No.
3,
another work from
the composer's earlier stylistic orientation towards New
Music is the Canto
intimo
for flute and vibraphone, com¬
posed during the same year
(1963)
and performed at a con¬
cert of the ensemble
Sonatori di Praga
at the Sylva-Taroucca
Palace on the street
Na Příkopě
during the autumn of the
following year. Besides the miniatures for oboe (Prelude, In¬
terlude) and composition titled
Londýnský jarní pozdrav
(Lon¬
don Spring Greeting), premiered as part of a presentation of
the Prague Spring festival at the Foreign Press Club in Lon¬
don in
2007,
the composer's newer works are represented
159
for example with the cantata Agnus Dei for soprano solo and
chamber ensemble. The work is based on the traditional pra¬
yer of the Catholic liturgy in combination with selected texts
by Martin Luther. It was composed in
1983,
and its premiere
performance took place in June of that year in Nuremberg.
Translated by Mark Newkirk
160 |
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| id | DE-604.BV040670185 |
| illustrated | Illustrated |
| indexdate | 2024-10-06T14:00:53Z |
| institution | BVB |
| isbn | 9788087530191 |
| language | Czech |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025496768 |
| oclc_num | 828789235 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 163 S. Ill. |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Radioservis |
| record_format | marc |
| spelling | Matzner, Michal 1978-2010 Verfasser (DE-588)103117513X aut Marek Kopelent nástin života a tvorby Michal Matzner Vyd. 1. Praha Radioservis 2012 163 S. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Kopelent, Marek 1932-2023 (DE-588)129099627 gnd rswk-swf Kopelent, Marek 1932-2023 (DE-588)129099627 p DE-604 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025496768&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025496768&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Matzner, Michal 1978-2010 Marek Kopelent nástin života a tvorby Kopelent, Marek 1932-2023 (DE-588)129099627 gnd |
| subject_GND | (DE-588)129099627 |
| title | Marek Kopelent nástin života a tvorby |
| title_auth | Marek Kopelent nástin života a tvorby |
| title_exact_search | Marek Kopelent nástin života a tvorby |
| title_full | Marek Kopelent nástin života a tvorby Michal Matzner |
| title_fullStr | Marek Kopelent nástin života a tvorby Michal Matzner |
| title_full_unstemmed | Marek Kopelent nástin života a tvorby Michal Matzner |
| title_short | Marek Kopelent |
| title_sort | marek kopelent nastin zivota a tvorby |
| title_sub | nástin života a tvorby |
| topic | Kopelent, Marek 1932-2023 (DE-588)129099627 gnd |
| topic_facet | Kopelent, Marek 1932-2023 |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025496768&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025496768&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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