The use of the horn in the late orchestral works by Robert Schumann
(2023)
author(s): Márton Kóródi
published in: KC Research Portal
When I played a Schumann piece, Genoveva Overture, for the first time, I was wondering, because there were Ventilhorn and Waldhorn parts. I could not imagine what his idea was when he wrote for four horns, but still used two different kinds of the same instrument. Did he want to express something with this set-up? Beside this, I did not understand why he, and other romantic composers, use so much transposition when they had already a completely chromatic instrument.
As I started to get to know and play the natural horn, it was getting clearer what his intention could have been. Why he used an ‘ancient’ instrument, though he could compose for four chromatic horns. This made me even more interested, and I also got more questions and hypotheses about the topic, for what I wanted to find an answer.
In my research, I tried to get to know the use of the horn in the middle of the 19th century. I wanted to get familiar with the contemporaries’ imagination about the old and new instrument, and with the way how they used them. Then, with this knowledge, I analysed Schumann’s orchestral works, especially the horn parts, and tried to find out if the results are matching with the background research.
My aim was too, show the horn players, that the romantic horn playing is not only about the ‘holy’ valve horn, but something more complex and colourful.
The use of the mental status examination (MSE) in fictional characters when interpreting and performing the music of Schumann and Bartók
(last edited: 2023)
author(s): Rinde Louise WIllemijn Yildiz
archived in: KC Research Portal
Name: Rinde Yildiz
Main Subject: Viola
Research Coach: Anna Scott
Title of Research:
The use of the mental status examination (MSE) in creating fictional characters when interpreting and performing the music of Schumann and Bartók
Research Question:
How would the MSE of the fictional characters that I create in musical compositions, in combination with relevant biographical information of the composer and scores, influence how I understand, practice and perform Béla Bartók’s Viola Concerto (Op. posthoumus, Tibor Serly Edition) and Robert Schumann’s Märchenbilder (Op. 113)
Summary of Results:
In order to examine how the MSE of fictional musical characters, in combination with relevant biographical information and scores, influences how I understand, practice and perform Béla Bartók’s Viola Concerto (Op. posthumous) and Robert Schumann’s Märchenbilder (Op. 113) I kept up a logbook to write down all the steps I took during this investigation.
The results of this research paper are divided over four layers. Layer one: the biographical information of Schumann and Bartók gained from books, articles and letters; Layer two: a rough interpretation of Schumann’s Märchenbilder and Bartók’s Viola Concerto based on reading scores, examining the manuscripts, playing and listening to various recordings, in combination with biographical information. Layer three: a thorough MSE of the fictional characters that are created in specific sections of Schumann's Märchenbilder and Bartók’s Viola Concerto. Layer four: using the MSE of fictional characters during interpreting, practice and performance and make recordings to find out if there are differences between interpretations before and after the incorporations of fictional characters. During this research I found that the creation and incorporation of fictional characters influenced my playing in such a way that I concretized my interpretations. As a result, I was able to pay more attention to all the details of the piece and to have a clearer image of phrasing. Furthermore, using and experimenting with the MSE meant that I broadened my imaginary palette.
Biography:
Rinde Yildiz (1991) is a second-year master student at the Royal Conservatoire in The Hague where she studies classical viola with Mikhail Zemtsov. During her studies she has been playing in various music groups and formed different ensembles. Besides her studies in music, she studied medicine at the University of Amsterdam where she received her bachelor and master degrees in June 2014 and April 2019 respectively. Concerning her medical studies, Rinde has special interest in the psychiatric branch. Having a background in both medicine and music, she is fascinated in subjects where both fields can be connected.
RASCH 27: IN-FRICTION
(last edited: 2018)
author(s): Paulo de Assis, Lucia D'Errico
This exposition is in progress and its share status is: visible to all.
Rasch 27: in-friction is a multimedia performance by Paulo de Assis, Lucia D'Errico, and Juan Parra C. that will happen in Barcelona, on the occasion of the ERC music conference, 11-13 June 2018. This exposition will be made in real time, during the performance, on 11 June 2018, 18:00-19:00.
Rasch 15-22 : transposition not exhibition
(last edited: 2018)
author(s): Lucia D'Errico, Paulo de Assis
This exposition is in progress and its share status is: visible to all.
Rasch interventions in DA TA rush, Vienna, May 2016
Rasch 5-6 – for helmut / Schumann's somathemes (3)
(last edited: 2017)
author(s): Paulo de Assis
This exposition is in progress and its share status is: visible to all.
Rasch 5 for helmut [performance] for piano, 4-channels tape and video projector // Rasch 6 | Schumann's somathemes #3 [lecture] // [ORCiM Festival, October 3 2012.
Rasch 27: in-friction is a multimedia performance by Paulo de Assis, Lucia D'Errico, and Juan Parra C. that will happen in Barcelona, on the occasion of the ERC music conference, 11-13 June 2018. This exposition will be made in real time, during the performance, on 11 June 2018, 18:00-19:00.open exposition comments (0)
Rasch interventions in DA TA rush, Vienna, May 2016open exposition comments (0)
Rasch 5 for helmut [performance] for piano, 4-channels tape and video projector // Rasch 6 | Schumann's somathemes #3 [lecture] // [ORCiM Festival, October 3 2012.open exposition comments (0)