Fin de partie: Making a Song and Dance About it.
Reviews and articles have generally approached Kurtág's opera by way of the Beckett play on which it draws, a natural consequence of the composer's openly stated admiration for Beckett, and for this play in particular, going back to his attendance at the first production when he was in Paris in 1957...
| Publicado en: | Contemporary Music Review Vol. 44; no. 1/2; pp. 82 - 98 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Mar-Jun2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=193276750&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 193276750 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Mar-Jun2025 vid: 44 iid: 1/2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 193276750 10.1080/07494467.2026.2626337 ppf: 82 ppct: 16 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.3MB tig: atl: Fin de partie: Making a Song and Dance About it. aug: au: Griffiths, Paul affil: Independent scholar su: Opera Beckett, Samuel, 1906-1989 Arrangement (Musical composition) sug: subj: Opera Beckett, Samuel, 1906-1989 Arrangement (Musical composition) keyword: Beckett Endgame Fin de partie György Kurtág opera ab: Reviews and articles have generally approached Kurtág's opera by way of the Beckett play on which it draws, a natural consequence of the composer's openly stated admiration for Beckett, and for this play in particular, going back to his attendance at the first production when he was in Paris in 1957. This article surveys his history with Beckett's writing before outlining ways in which the libretto—and still more the opera—depart from the source text, especially in drastically cutting the dialogue between the main characters, Hamm and Clov, but also in adding a Beckett poem as a prologue. Beyond that, ways in which the work is emphatically an opera are considered. Kurtág was well versed in opera from his student time and immediately after, when he served as repetiteur in a provincial theatre. The testimony of people who knew him as a performer or teacher is that opera has remained alive in his musical thinking. Proof of this, though emerging creatively so late, is to be found in his piece—in traditional aspects (e.g. the choice of voice types), in developments of antecedents (notably Monteverdi) and in innovations, such as the use of accompanimental style as a definer of character and situation. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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