A careful examination of the theoretical and practical treatises on instrumentation ranging from Adolf Bernhard Marx (1837-47) and Hector Berlioz (1843) to Hugo Riemann (1902) and Richard Strauss (1905) and including Theodor W. Adorno's writings (1932-66) reveals that these theorists – along with many others they influenced – shared two basic elements: a negative evaluation of romantic instrumentation (when compared to that of classic composers) and the more or less implicit belief that timbre is subordinated to the other parameters of a composition (considered as "structural"), so that its role must be restricted to clarifying melodic lines and formal divisions. Although Adorno in his late studies did go so far as to hypothesize a structural role for timbre in some composers who contributed to the transition from Romanticism to Modernity – Wagner, Strauss, Mahler – and thus formulated the most advanced statements on this matter, at the same time he continued to rely on the traditional concepts and theoretical hierarchies. Ernst Kurth's position stands out in sharp contrast to this historical-theoretical framework. In his two treatises Romantische Harmonik und ihre Krise in Wagners "Tristan" (1920) and Bruckner (1925) – well in advance of Adorno – he asserted a structural role for timbre and instrumentation while proposing a radical change in music theory. In fact Kurth's positive evaluation of romantic instrumentation went hand in hand with his critique of the Formenlehre tradition, which had been the point of departure for all the aforementioned theorists. In his analytical remarks Kurth gave considerable importance to both the qualitative and quantitative values of instrumentation, insisting that the related parameters (timbre and density) were inseparable from the other features of the composition considered as a whole. As a historical model of his theory of form, the study of Bruckner"s symphonies allowed Kurth to identify clearly the role of "energetic" articulation based on the reaching of "highpoints", where parameters such as dynamics, timbre and density – long regarded as secondary – come to prevail over the primary parameters of composition, commonly identified in melodic, harmonic and rhythmic values. In addition, Kurth’s analytical approach brought out a functional deployment of the orchestral layers that is characteristic of Bruckner. The comparison between Kurth's perspective and the prevailing theoretical paradigm leads to two main considerations. From a historiographical point of view, Kurth's remarks offer the opportunity to clarify Bruckner's position with respect to further developments in late Romanticism and Modernity and particularly Mahler, whose symphonies were generally considered as the turning point toward a "new instrumentation". In making this claim, Guido Adler (1916), Egon Wellesz (1928-29) and Adorno (1960) rely on the idea that Mahler's instrumentation – unlike that of romantic composers – serves to clarify melodic lines and their articulation. Kurth's comments give rise to a different perspective on this historical evolution: starting from Bruckner, Mahler gradually overcomes the functional use of orchestral layers, going beyond the predictability of the energetic course that is characteristic of Bruckner's symphonies. From a methodological point of view, Kurth's perspective questions what Carl Dahlhaus (1985) postulated as the only safe way toward a theory of instrumentation, that is, its gradual integration into the general theory of composition; Kurth actually opted for a radical change of paradigm in order to re-evaluate instrumentation as a central aspect of composition.

Verso una teoria della strumentazione romantica: il rapporto tra forma e timbro in Ernst Kurth

CECCHI, ALESSANDRO
2013-01-01

Abstract

A careful examination of the theoretical and practical treatises on instrumentation ranging from Adolf Bernhard Marx (1837-47) and Hector Berlioz (1843) to Hugo Riemann (1902) and Richard Strauss (1905) and including Theodor W. Adorno's writings (1932-66) reveals that these theorists – along with many others they influenced – shared two basic elements: a negative evaluation of romantic instrumentation (when compared to that of classic composers) and the more or less implicit belief that timbre is subordinated to the other parameters of a composition (considered as "structural"), so that its role must be restricted to clarifying melodic lines and formal divisions. Although Adorno in his late studies did go so far as to hypothesize a structural role for timbre in some composers who contributed to the transition from Romanticism to Modernity – Wagner, Strauss, Mahler – and thus formulated the most advanced statements on this matter, at the same time he continued to rely on the traditional concepts and theoretical hierarchies. Ernst Kurth's position stands out in sharp contrast to this historical-theoretical framework. In his two treatises Romantische Harmonik und ihre Krise in Wagners "Tristan" (1920) and Bruckner (1925) – well in advance of Adorno – he asserted a structural role for timbre and instrumentation while proposing a radical change in music theory. In fact Kurth's positive evaluation of romantic instrumentation went hand in hand with his critique of the Formenlehre tradition, which had been the point of departure for all the aforementioned theorists. In his analytical remarks Kurth gave considerable importance to both the qualitative and quantitative values of instrumentation, insisting that the related parameters (timbre and density) were inseparable from the other features of the composition considered as a whole. As a historical model of his theory of form, the study of Bruckner"s symphonies allowed Kurth to identify clearly the role of "energetic" articulation based on the reaching of "highpoints", where parameters such as dynamics, timbre and density – long regarded as secondary – come to prevail over the primary parameters of composition, commonly identified in melodic, harmonic and rhythmic values. In addition, Kurth’s analytical approach brought out a functional deployment of the orchestral layers that is characteristic of Bruckner. The comparison between Kurth's perspective and the prevailing theoretical paradigm leads to two main considerations. From a historiographical point of view, Kurth's remarks offer the opportunity to clarify Bruckner's position with respect to further developments in late Romanticism and Modernity and particularly Mahler, whose symphonies were generally considered as the turning point toward a "new instrumentation". In making this claim, Guido Adler (1916), Egon Wellesz (1928-29) and Adorno (1960) rely on the idea that Mahler's instrumentation – unlike that of romantic composers – serves to clarify melodic lines and their articulation. Kurth's comments give rise to a different perspective on this historical evolution: starting from Bruckner, Mahler gradually overcomes the functional use of orchestral layers, going beyond the predictability of the energetic course that is characteristic of Bruckner's symphonies. From a methodological point of view, Kurth's perspective questions what Carl Dahlhaus (1985) postulated as the only safe way toward a theory of instrumentation, that is, its gradual integration into the general theory of composition; Kurth actually opted for a radical change of paradigm in order to re-evaluate instrumentation as a central aspect of composition.
2013
Cecchi, Alessandro
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11568/656869
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