Inventing Tradition: Webern's Piano Variations in Early Recordings
Inventing Tradition: Webern's Piano Variations in Early Recordings
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发明传统：早期录音中韦伯恩的钢琴变奏曲
作者：
Cook N
韦伯恩的钢琴变奏曲作品27在第二次世界大战爆发前两年首次演出，但只是在战争结束后-在非常不同的美学和意识形态环境下-才发展出一种表演传统。通过结合计算机辅助的第一乐章的近距离阅读和语境分析，本文追溯了早期表演的相互竞争的风格和意识形态方向--一个来自勋伯格圈的战前传统，另一个来自与达姆施塔特和《死亡骑士》相关的欧洲先锋派，以及在20世纪60年代末左右出现的或多或少达成共识的解释的谈判过程。我的目标是探索经验方法可以用于音乐学目的的方式，将记录的表演与其历史背景联系起来，并将Op.27的故事与音乐理论方法的发展联系起来，这些方法将表演视为作曲结构的函数。文章所基于的关键录音作为与文本协调的Sonic Visualiser会话文件在线呈现。
Webern's Piano Variations Op. 27 were first performed two years before the outbreak of the Second World War, but it was only after the war – and in very different aesthetic and ideological circumstances – that a performance tradition developed. Through a combination of computer‐assisted close reading and contextual analysis of the first movement, this article traces the competing stylistic and ideological directions of early performances – one deriving from the pre‐war tradition of the Schoenberg circle, the other from the European avant‐garde associated with Darmstadt andDie Reihe– and the processes of negotiation through which a more or less consensus interpretation emerged around the end of the 1960s. My aims are to explore ways in which empirical approaches can be deployed for musicological purposes, to relate recorded performances to their historical contexts and to link the story of Op. 27 to the development of music‐theoretical approaches that see performance as a function of compositional structure. Key recordings on which the article is based are presented online as Sonic Visualiser session files coordinated with the text.