Friedemann Sallis
Biographic Data
| ID | 1671528 |
|---|---|
| NAME | Friedemann Sallis |
| GIVEN NAMES | Friedemann |
| FAMILY NAME | Sallis |
| SIGNATURE | SALLIS F |
| AFFILIATIONS | ELTE Research Centre for the Humanities |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Converging Trajectories in the Creative Practice of György Kurtág and Luigi Nono
This text examines the converging trajectories in the creative practice of György Kurtág and Luigi Nono. Despite the enormous differences that mark their music, their backgrounds, and their public personas, important similarities do emerge when we study the development of their compositional technique in more detail. These similarities became more pronounced after their first meeting in 1978 and are particularly strong in that liminal space in wh…
Bartók’s Sonatas for Violin and Piano nos. 1–2
In the focus of this paper a survey of the draft score will disclose major corrections of the concept and discuss deleted and rewritten sections in both Sonatas for Violin and Piano no. 1 (1921) and no. 2 (1922). A close study of the unusual-type preliminary sketches of the First Sonata in his so-called Black Pocket-Book (facsimile edition: 1987) already gave insight into Bartók’s atypical composition when he had to work without a piano at hand f…
Fleurs recyclées
Cet article explore une face cachée de l’oeuvre publiée de György Kurtág. Le « motif de la fleur », d’abord apparu dans Bornemisza Péter mondásai [Dits de Péter Bornemisza], opus 7 (1963-68), a proliféré dans une part significative des composition de Kurtág. L’impact de ce type de relation motivique est mis en lumière à travers l’ Officium breve in memoriam Andreae Szervánszky, opus 28 (1988-89), pour quatuor à cordes. La recherche présentée ici …
Le paradoxe postmoderne et l’oeuvre tardive de Luigi Nono
Cet article propose un examen des aspects problématiques qui entourent l’usage du terme postmoderne. L’oeuvre tardive de Luigi Nono (1926-1990) constitue un excellent point de départ pour une telle étude. Les compositions de la fin de sa carrière, telles Omaggio György Kurtág (1983-1986) et Fragmente-Stille, an Diotima (1980), ont surpris et choqué ses collaborateurs de longue date. Les formes fragmentaires et la nature introvertie de cette musiq…
La transformation d'un héritage
No prominent works on this page.
La transformation d'un héritage
Le paradoxe postmoderne et l’oeuvre tardive de Luigi Nono
Cet article propose un examen des aspects problématiques qui entourent l’usage du terme postmoderne. L’oeuvre tardive de Luigi Nono (1926-1990) constitue un excellent point de départ pour une telle étude. Les compositions de la fin de sa carrière, telles Omaggio György Kurtág (1983-1986) et Fragmente-Stille, an Diotima (1980), ont surpris et choqué ses collaborateurs de longue date. Les formes fragmentaires et la nature introvertie de cette musiq…
Fleurs recyclées
Cet article explore une face cachée de l’oeuvre publiée de György Kurtág. Le « motif de la fleur », d’abord apparu dans Bornemisza Péter mondásai [Dits de Péter Bornemisza], opus 7 (1963-68), a proliféré dans une part significative des composition de Kurtág. L’impact de ce type de relation motivique est mis en lumière à travers l’ Officium breve in memoriam Andreae Szervánszky, opus 28 (1988-89), pour quatuor à cordes. La recherche présentée ici …
Bartók’s Sonatas for Violin and Piano nos. 1–2
In the focus of this paper a survey of the draft score will disclose major corrections of the concept and discuss deleted and rewritten sections in both Sonatas for Violin and Piano no. 1 (1921) and no. 2 (1922). A close study of the unusual-type preliminary sketches of the First Sonata in his so-called Black Pocket-Book (facsimile edition: 1987) already gave insight into Bartók’s atypical composition when he had to work without a piano at hand f…
Converging Trajectories in the Creative Practice of György Kurtág and Luigi Nono
This text examines the converging trajectories in the creative practice of György Kurtág and Luigi Nono. Despite the enormous differences that mark their music, their backgrounds, and their public personas, important similarities do emerge when we study the development of their compositional technique in more detail. These similarities became more pronounced after their first meeting in 1978 and are particularly strong in that liminal space in wh…
Art (4 works) · Musicology and Musical Analysis (4 works) · Humanities (3 works) · Philosophy (3 works) · Art history (2 works) · Diverse Musicological Studies (2 works) · Literature, Musicology, and Cultural Analysis (2 works) · Piano (2 works) · Aesthetics (1 work) · Artistic and Creative Research (1 work)