Totentanz Franza Liszta alebo Tanec Slovákov:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Slovak |
| Veröffentlicht: |
Trnava
Lisztova Spoločnost' na Slovensku
2010
|
| Ausgabe: | Vyd. 1. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 201 S. Ill., Notenbeisp. |
| ISBN: | 9788097059705 |
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Datensatz im Suchindex
| _version_ | 1804145786452180992 |
|---|---|
| adam_text | MIROSLAV
DEMKO
· TOTentanz ·
FRANZA
LISZTA
Obsah
Úvod
..............................................................................................................7
I.
Okolnosti podmieňujúce vznik skladby
Totentanz........................................11
II.
Danse
Macabre
-
vízia smrti
.......................................................................55
III.
Asketizmus
sv.
Bernarda, jeho fikcie v politickej realizácii
......................66
IV.
Problematika strachu v duchu sv. Bernarda
................................................81
V. Od konfrontácie strachu k novým myšlienkovým horizontom
..................94
Náboženské a estetické konfrontácie
VI.
Danse
Macabre
v literárnom a estetickom vnímaní
.................................101
VII.
Totentanz-
Tanec Tatov-Slovákov
........................................................110
Dies
Irae v Medicejskom
glagolskom
kódexe
VIII.
Lisztova
doplňujúca skladba k Totentanzu:
...........................................118
A spomínali sme Tatov
-
Slovákov
IX.
Postoj Charlesa Baudelairea k Franzovi
Lisztovi
....................................125
Estetický konflikt európskeho významu
X. Konflikt bez konca?
....................................................................................176
Záver
...........................................................................................................182
Conclusion
......................................................................................................185
Prílohy
...............................................................................................................189
Príloha
1...........................................................................................................190
Príloha2
.................................................................................:.........................192
Príloha
3............................................................................................................194
MIROSLAV
DEMKO
· TOTentanz ·
FRANZA
LISZTA
Conclusion
This book introduces, for the first time,
„Totentanz ,
with its subtitle of
paraphrase on Dies Irae ~ a composition for piano and orchestra
-
that is,
„The Dance of the Tots (Slovaks) . At the same time, it acquaints the reader
with the Slovak composer Franz Liszt and the peculiarities and problems,
which surrounded this genius and which
-
until now
-
have not been clarified,
and have been continuously circumvented and ignored.
We cannot comprehend (nor appreciate) all of his musical, literary and
other artistic works individually, separated from one another, because they
are thematically inter-connected. This is the basis of perception and under¬
standing of not only Liszt s works and activities, but also his life.425
„Totentanz -
„The Dance of the
Tóts
(Slovaks)
-
is closely related to the
very problems of Franz Liszt s identity and his relationship with the Slovak
nation, which had been known in Europe under several names (adjectives):
Sclavonian, Slavonian,
Uhoř,
Tót
(in Magyar
lang. Toth)
and finally Slovak.
That is why it is necessary on the part of Slovakia to introduce to the European
cultural and historical circles the
„Tót
variation of Slovak nomenclature. In
the converse case, a foreign reader might
remaio
attached to expressions and
explanations offered to him by current dictionaries, encyclopedia
-
or any old
propaganda.
In the book, I had mentioned, that it is imperative to familiarize oneself
with the real history of me Slovaks within
Uhorsko,
in order to understand
the
centurieś-Jong
struggle of mis colonized nation for its basic rights during
the 19th century. It is a given, that without the knowledge of the Slovak his¬
tory and the Slovak cultural past, as well as the language particulars of indi¬
vidual nations of
Uhorsko (Ugria),
we cannot appreciate the peculiarities of
425
Rémy
Strieker Franz
Lazi
Éditions Gallimard,
1
993.
185
MIROSLAV
DEMKO
· TOTentanz ·
FRANZA
LISZTA
terminology, historical origins of names of nations and places in Central Eu¬
rope, nor can we understand the life of Liszt or his works.
The current musicology, however, has not taken into account these geo¬
graphic and historical peculiarities of nations within the former
Uhorsko,
and
because
ofthat,
it did not react (it ignored) Liszt s terminology in his docu¬
ments or to his signing himself as „Sclavissimo (slave), during the last few
years of his life.
A real irony of fate was the reaction of the French composer
Čamile
Saint-
Saëns,
who composed not just one, but two macabric dances. And right among
his papers did Arthur Dandelot find a document with a surprisingly accurate
description of the legendary Franz Liszt as a Slav
-
s slave .426 This docu¬
ment definitively confirms the view of Franz Liszt as a Slovak composer and
the theme of
„Totentanz
itself sounds as a symbol of a national awakening,
which ideologically flows towards the Millennial St. Cyril and St. Method
Celebration in Rome, in
1863 -
which Franz Liszt attended and actively par¬
ticipated in.427
I have pointed out several times, that
„Totentanz
cannot be put forth, un¬
derstood, nor explained as a macabric dance, dance of the dead, or even some
Franz Liszt s (gruesome) bloody vision. Even the very personality character¬
istics of Franz Liszt contradict it and finally, it is very hard to imagine that
Franz Liszt would dedicate a „dance of the dead to his son-in-law, a world-
famous pianist Hans
von Bülow!
They performed
„Totentanz
together at its
world premiere in Holland, in
1865.
„Totentanz was
originally
(1839)
named just ,JDies Irae (Days of anger
/
irritation, an apocalyptic portrayal of the world), but when, in
1841
the
Uhorsko
parliament passed into law the Magyar language as the compulsory
and official language for the Slovaks, Franz Liszt renamed the composition
to
„Totentanz ,
and left paraphrase on Dies Irae as its subtitle.
427
426
Arthur Dandelot: La Vie etl OEuvre
de
Saint-Saëns.
Dandelot, Paris,
1930,
s.
32 - 33.
n
Miroslav
Demko: Franz Liszt
compositeur Slovaque. L Age d Homme, Lausanne,
február
2003.
M.
Demko:
Konečne
Franz Liszt
prijatý svojou domovinou. Slovenská biologická spoločnosť
SAV, Bratislava, jún
2003.
M. Demko: Stratený syn Slovenska
Franz Liszt.
Bratislava, december
2003.
M. Demko: Stratený syn Slovenska
Franz Liszt.
Bratislava, december
2008
(korigované vyda¬
nie).
M. Demko: Cyrilo-metodské oslavy v Ríme roku
1863
a Franz Liszt. Lisztova
spoločnosť
na
Slovensku, Bratislava,
2008.
M. Demko:
Ukradený skladatel
Franz Liszt. Translation
to Czech:
Agentura NAP. Eko-konzult,
2010,
Bratislava.
186
MIROSLAV
DEMKO
· TOTentanz ·
FRANZA
LISZTA
Franz Liszt s main purpose was to focus everybody s attention on his peo¬
ple living at the heart of Europe
-
Tóts
(Slovaks)
-
who were on the brink of
extinction. Only in the case, that the nation of
Tóts
(Slovaks) would cease to
exist, would have the word
„Totentanz
the meaning the „Dance of the Dead .
The questions surrounding
„Totentanz
had, in their fictitious naming of
the Slovak nation, an odd, nay, rather mocking and humiliating meaning,
which frequently manifested itself in the European literature.
Only by recognizing the conflicts and problems surrounding Liszt s liter¬
ary piece
Des Bohémiens et de leur Musique en Hongrie
do we
arrive
at
Baudelaire s incongruity.
Franz Liszt
emphasized, that
Magyar
music is based
on Gypsy musical traditions, but Baudelaire disagreed and chose just the op¬
posite, paradoxically, to „see Liszt as a Gypsy . By this, the very meaning
and interpretation of
„Totentanz
should
-
according to this new tradition by
Baudelaire
-
come to be viewed as a death dance, a macabric dance.
Newly found documents, which are surprisingly relevant to
„Totentanz
and the relationship of this composition to the Slovaks, intensify the image
of
„Totentanz
against the background political and cultural events.
We see, that the expression
„Tót
is synonymous with present-day name¬
sake „Slovak . Similarly, we find that the Slovak folk song
,,£ƒ,
už sa na tej
hore lístie červeneje
(„Hey, the leaves are turning red upon that mountain )
has
-
in the basic Gregorian motif- common elements with
„Totentanz .
It is generally known, that Franz Liszt became acquainted with the theme
of „dies irae during his visit of Italy. He must have known about the Medici
Glagolitic Codex428 from the 14th century, which includes a liturgical book
with parts of breviary, ritual and sequences (hymns) of Dies Irae, written in
the Old Slovak (sometimes Old Sloven) language.429
The history of Slovakia, namely the subjugation of Slovaks and the knowl¬
edge of the exceptional cultural standing of Franz Liszt during the years of
composing
„Totentanz , all
offers us the ability to achieve a more complex
view of the thematic, literary, historic and esthetic creativity of many Slovak
personalities, which consequently
-
in a surprising way
-
complement Liszt s
image of this musical piece.
428
Relating to the alphabet ascribed to St. Cyril and formerly used in writing some Slavonic lan¬
guages.
429
Slovaks (from the former Czecho-Slovakia) and Slovenes (from the former Yugoslavia) were
at one time part of the same nation
-
probably until 9th cent., when the second wave of the
Mongol hordes (Magyars) pushed into Central Europe.
187
MIROSLAV
DEMKO
· TOTentanz ·
FRANZA
LISZTA
If a Slovak bard of the 19th century asks himself a question, „What is
going on? , then Liszt answers within the possibilities of the period, synony¬
mously with the hope of the coming enlightenment, that is, movement, which
he immortalized in
„Totentanz .
In light of the events taking place in Europe, new attempts at reviews and
scrutiny indicate that giving Liszt s compositions a correct name, in reality
collides with a political and
-
more to the point
-
pro-Magyar slant on matters.
Renaming of
„Totentanz
(Dance of the Slovaks) to „Todtentanz (Dance of
the Dead) is in itself a kind of permanent longing desire to see the Slovaks
already dead!
In truth, it is necessary to admit, that this is nothing, but ridicule of Franz
Liszt himself, as he is the bearer of the hereditary struggle of the Slovaks in
their appeal for the truth and justice. Without the knowledge of the truth, no
nation is ever really alive or free.
188
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| isbn | 9788097059705 |
| language | Slovak |
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| spelling | Demko, Miroslav Verfasser aut Totentanz Franza Liszta alebo Tanec Slovákov Miroslav Demko Vyd. 1. Trnava Lisztova Spoločnost' na Slovensku 2010 201 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Liszt, Franz 1811-1886 Totentanz (DE-588)300094841 gnd rswk-swf Liszt, Franz 1811-1886 Totentanz (DE-588)300094841 u DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022627632&sequence=000002&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=022627632&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Demko, Miroslav Totentanz Franza Liszta alebo Tanec Slovákov Liszt, Franz 1811-1886 Totentanz (DE-588)300094841 gnd |
| subject_GND | (DE-588)300094841 |
| title | Totentanz Franza Liszta alebo Tanec Slovákov |
| title_auth | Totentanz Franza Liszta alebo Tanec Slovákov |
| title_exact_search | Totentanz Franza Liszta alebo Tanec Slovákov |
| title_full | Totentanz Franza Liszta alebo Tanec Slovákov Miroslav Demko |
| title_fullStr | Totentanz Franza Liszta alebo Tanec Slovákov Miroslav Demko |
| title_full_unstemmed | Totentanz Franza Liszta alebo Tanec Slovákov Miroslav Demko |
| title_short | Totentanz Franza Liszta alebo Tanec Slovákov |
| title_sort | totentanz franza liszta alebo tanec slovakov |
| topic | Liszt, Franz 1811-1886 Totentanz (DE-588)300094841 gnd |
| topic_facet | Liszt, Franz 1811-1886 Totentanz |
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