Le 28 juin 2017
de 15h00 à 15h30
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
salle 3202
Pré-acte / Acte
Auteur : Karina Zybina
This paper concentrates on the reception history of one small fragment from W.A. Mozart’s Requiem in D minor, K. 626, the first eight bars of Lacrimosa. Written in 1791, but left unfinished by the composer himself, this piece became a perpetual ‘work in progressʻ, ever open to all kinds of experimentation by those who dared to complete the legendary fragment, and/or record one of those completions. Changing the form and the character of the original score, these numerous arrangements and editions of the 19th-20th centuries incorporate their own ideas and approaches into Mozart’s original conception, thus creating many new ‘faces’ of the famous work and revealing its complex reception history. This reception history, in turn, forms an integral part of performance practice: by recording various versions of the piece and adding their own interpretation to the already complicated mixture, different conductors and orchestras added new layers of meaning to the reception history that I trace in my paper. In my analysis, I focus first on Mozart’s original score, then on several later versions of this score, and, finally, on several most important recordings of these later complete versions. This interdisciplinary approach aimed at reception and perception history may help uncover a new multifaceted view of Mozart’s original score, in which the attempts to complete and record the incomplete fragment in the 19th-20th centuries superimposed their own layers of (mis)conceptions and (mis)understandings on Mozart’s unfinished work.
