Le 30 juin 2017
de 14h30 à 15h00
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
salle 3206
Séance précomposée - Liszt after Liszt - Liszt après Liszt
Pré-acte / Acte
Auteur : Rossana Dalmonte
The paper will consider the opportunity to reverse the traditional direction in the study of the relationships between Liszt and Debussy: instead of starting from Liszt, hypothesizing his capacity to compose in view of the music of the future [Bartók 1978; Gut 1981; Lesure 1987; Pesce 1990; Le Diagon-Jacquin 2006], it seems more appropriate to think that Debussy found in Liszt’s music some writing suggestions able to express his own thinking at a particular point in his creative output [partially in Dalmonte 2012].
This approach is based on two conceptual frameworks: the concept of “influence” and “appropriation” and the solution of the “loci topici”.
“Influence” and “Appropriation” through listening can be unconscious or conscious and each main aspect of the experience shows a number of possibilities in-between. “Influence” and “Appropriation” through scores are much more conscious, but they can enrich the reader (or the player) also in an unconscious way. And the use of the “appropriated” musical feature can also be conscious or unconscious.
“Loci topici” are often defined as certain problems of musical composition that trouble a generation of musicians in a particular epoch of history. The passage from tonality to atonality; the choice between “classical forms” and “free forms”; the choice between scales out of the tonality, etc. are “loci topici” for both Liszt and Debussy, as for many others in the decades at the end of the XIX and at the beginning of the XX century. But it seems that among them, these problems often find similar solutions.
