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TEÓRIA TÓNOVÝCH MNOŽÍN ALLENA FORTEHO A JEJ APLIKÁCIA PRI ANALÝZE PIESŇOVÉHO CYKLU AD ASTRA EUGENA SUCHOŇA

100%

Štúň M.

Musicologica Slovaca

2022

tom 13 (39)

nr 1

114 - 140

The pitch-class set theory is hitherto the most complex analytical approach to atonal music. Its author is the American musicologist Allen Forte (1926–2014), who built on the work of previous authors and systematised this theory in his book The Structure of Atonal Music (1973). The basic material of the theory is the harmonic component of music, which he explores via prime forms: numerical abstractions of the tonal and intervallic material of the specific harmony. The diverse relationships of pitch-class sets are derived from mathematical convention and there is, for example, a complementarity of sets, a relationship of subsets and supersets, and a formation of set complexes. This paper aims to analyse the song cycle Ad astra (1961) by Eugen Suchoň (1908–1993). This is an atonal work in which the composer applies his own theory to the apprehension of the twelve-tone space. Analysis by the method of pitch-class sets finds a number of relationships and structurally important elements of the work.

CESTY K AUTENTICKEJ SUCHOŇOVEJ KRÚTŇAVE

88%

Štefková M.

Slovenské divadlo (Slovak Theatre)

2022

tom 70

nr 2

132 – 157

This study is a contribution to the still topical polemic about the authentic version of the Slovak national opera, Eugen Suchoň’s Krútňava [Whirlpool], among the supporters of Suchoň’s original concept and some opera dramaturges and directors who, pointing out the inadequacy of the original version in terms of dramatic effectiveness, still eliminate the composer’s intention to embed this rural story into a dramatic framework. After its première on the 10th December 1949, Suchoň was ordered by the communist censure to make changes to his opera: to remove the Christian motifs and the melodramatic framework with the dramatic characters of the Poet and the Double. The composer refused to do so and that is when the troubled fate of the opera began. In its original version, it was re-staged on the occasion of Suchoň’s centenary in 2008 by the State Opera in Banská Bystrica. The Slovak National Theatre sticks to the version without the dramatic framework. The author of this study defends Suchoň’s original version with its own, immanently musical and ideological, concept and logic.

BÁSNE ZO ZBIERKY NOX ET SOLITUDO IVANA KRASKA V PIESŇOVEJ LYRIKE TROCH SLOVENSKÝCH HUDOBNÝCH TVORCOV

75%

Ščepán M.

Musicologica Slovaca

2015

tom 6 (32)

nr 2

307 – 320

Ivan Krasko (1876 – 1958), own name Ján Botto, is regarded as the leading ﬁgure of literary modernism in Slovakia. His poems have been set to music by several Slovak composers, with most of these adapted poems being taken from Krasko’s best-known collection, Nox et solitudo (1909). Tis work was drawn upon by composers from diﬀerent 20th century generations, ranging from the older generation of composers, through the adherents of musical modernism, to the representatives of New Music. The aim of the paper is to present Krasko’s poetry in works for vocals and piano by Mikuláš Schneider-Trnavský (1881 – 1958), Eugen Suchoň (1908 – 1993) and Tadeáš Salva (1937 – 1995), highlighting the genesis of the works studied, their status in the context of these composers’ work, and their artistic signiﬁcance, using semantic-structural analysis.