Festschrift für Ernst Lichtenhahn zum 80. Geburtstag – Festschrift for Ernst Lichtenhahn’s 80th Birthday
Edited By Antonio Baldassarre and Marc-Antoine Camp
Without any exaggeration one can call Ernst Lichtenhahn a doyen of Swiss music research. As one of the few musicologists in the German-speaking sphere he has succeeded in merging different linguistic-cultural and disciplinary research traditions. In his manner of scientific understanding, historical and systematic musicology, ethnomusicology and music practice are methodologically and topically related closely to each other, entirely consistent with the holistic concept of music research as developed by Guido Adler. With the title «Communicating Music», this Festschrift for Ernst Lichtenhahn’s 80 birthday attempts to take up and to further develop the diversity of scientific issues as emerged through such an understanding. It collects papers that come from a variety of methodological and theoretical perspectives to deal with issues about the discursive nature of music, about mediation and transformation processes of music as well as about the discourse on music itself.
Debussy interpretieren: Die Orchestrationen der Six Epigraphes antiques von Erich Schmid / Erich Itor Kahn und Ernest Ansermet im Vergleich
Die Orchestrationen der Six Epigraphes antiques von Erich Schmid / Erich Itor Kahn und Ernest Ansermet im Vergleich
Summary: In 1932/33 Erich Schmid and Erich Itor Kahn presented their orchestral arrangement of Claude Debussy’s piano music Six Epigraphes Antiques (L 131). Although performed on numerous occasions, this particular arrangement was never printed, in contrast to Ernst Ansermet’s 1932 orchestral arrangement of the same music. The present chapter provides an in-depth analytical comparison of these two arrangements. Beyond the mere finding of differences in sound effects the analysis is guided by the question as to what extent these arrangements utilise the semantic background of Debussy’s original as their problem-solving bases. Although Ansermet follows Debussy’s performance indications, the investigation shows that he does not appear to attempt to engage at the level of meaning of the piano version. In contrast Schmid and Kahn dig deeper: They attempt to get involved with the substantive conception of Debussy’s composition to realise an individually appropriate sound design.
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