Die lateinische Sprache in der Musik des 20. Jahrhunderts II: Krzysztof Pendereckis "Dies Irae"
In our century, Latin has by no means lost its attractiveness for composers and listeners. The gamut of Latin texts set to music became even larger: composers turned to non-canonical liturgies, to non-Christian Latin and even to completely new Latin texts expressly written for the given purpose. Thi...
Gespeichert in:
| 1. Verfasser: | |
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| Dokumenttyp: | Article (Journal) |
| Sprache: | Englisch |
| Veröffentlicht: |
[1996]
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| In: |
International journal of musicology
Year: 1996, Jahrgang: 5, Pages: 401-418 |
| Online-Zugang: | Verlag, lizenzpflichtig, Volltext: https://www.jstor.org/stable/24619330
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| Verfasserangaben: | Werner Schubert (Heidelberg, Deutschland) |
MARC
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| 520 | |a In our century, Latin has by no means lost its attractiveness for composers and listeners. The gamut of Latin texts set to music became even larger: composers turned to non-canonical liturgies, to non-Christian Latin and even to completely new Latin texts expressly written for the given purpose. This was the case with Strawinsky's Oedipus Rex, a rare piece in its kind. Initially, this practice found few followers, except for Carl Orff who, for the framing parts of his Catulli Carmina, provided a home-made Latin text in the vein of Plautus. It was left, however, to Krzysztof Penderecki to adopt, in his Dies irae, a method comparable to Strawinsky's. Yet, unlike the latter, he avoided radical innovation: By adopting for his work the title of a famous Latin sequence (Dies irae), he directed his listeners' expectations towards a determined goal. Furthermore, he incorporated into his work original Latin quotations from the Vulgate and Greek lines from Aeschylus' Eumenides. | ||
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