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Różnica i powtórzenie jako aspekty reprezentacji w Variationen für Orchester op. 31 Arnolda Schönberga1

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Sowińska-Fruhtrunk I.

Kwartalnik Młodych Muzykologów UJ

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2018

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issue 2(37)

125-158

EN

The article focuses on the issues of difference and repetition, as defined by Gilles Deleuze, and their possible application to Arnold Schoenberg’s dodecaphonic work, Variations for Orchestra Op. 31. Although Schoenberg’s reflection on these problems comes from the earlier years than Deleuze’s, the correspondence of understanding the difference and repetition between them is striking. Two other terms by Deleuze and Guattari applied to the work are becoming and refrain. Repetition and refrain are associated with the representational moment in the work (motif B-A-C-H as a quote and as a type of refrain) while difference and becoming are associated with the anti-representational moment (dodecaphonic technique, developing variation technique, etc.).

2

Doświadczenie Zagłady w Ocalałym z Warszawy op. 46 Arnolda Schönberga: geneza, dzieło, interpretacja

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Sowińska-Fruhtrunk I.

Kwartalnik Młodych Muzykologów UJ

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2016

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issue 2(29)

4-30

EN

The purpose of this paper is to examine the way in which the experience of the Holocaust can be represented, embodied and even relived in or through music. The category of experience thus serves as a main methodological tool in this survey, helping to reconstitute the proces of expressing it through music, specifically in Arnold Schoenberg’s A Survivor from Warsaw Op. 46. A related point to consider is the composer’s engagement in the fight for human rights just before the World War II, a fact that is not yet widely recognized. A brief overview of Schoenberg’s religious, social, and political environment is followed by the history of the Survivor’s… origins, analysis of its literary text, and, finally, interpretation. While discussing the ethical limits of the Holocaust representation, the opinions of Theodor W. Adorno, Ernst van Alphen, Berel Lang, and Giorgio Agamben are consulted.

3

Experience of the Holocaust in Music: Examining the Case of Arnold Schoenberg’s ‘A Survivor from Warsaw’ Op. 46

100%

Sowińska-Fruhtrunk I.

Język - Szkoła - Religia

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2017

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vol. 12

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issue 4

98-108

PL

The purpose of this paper is to examine the way in which the experience of the Holocaust can be represented, embodied or relived in/through music. The category of experience has gained recently a great recognition and importance in the interdisciplinary research. Surprisingly, it is still little applied in musical art, although it seems to be a major category when talking about the compositional process, as well as referring to the performance and listener/interpreter points of view. The experience category (as defined by Ryszard Nycz) thus serves as a main methodological aid in this survey. It helps to reconstitute the proces of expressing the experience of the Holocaust in music, specifically in music of Arnold Schoenberg. ‘A Survivor from Warsaw’ Op. 46 for narrator, men’s chorus and orchestra came into existence two years after the Second World War was finished. Schoenberg wrote the text himself including at the end of the piece a Jewish prayer ‘Shema Yisrael’. Textual and musical figures representing violence, fear, despair and hope are discussed in detail. Lastly, all these aspects are explored in the context of Schoenberg’s written opinions and ideas regarding human rights.

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2 Kwartalnik Młodych Muzykologów UJ

1 Język - Szkoła - Religia

3 Sowińska-Fruhtrunk I.

1 2018

1 2017

1 2016

Różnica i powtórzenie jako aspekty reprezentacji w Variationen für Orchester op. 31 Arnolda Schönberga1

Doświadczenie Zagłady w Ocalałym z Warszawy op. 46 Arnolda Schönberga: geneza, dzieło, interpretacja

Experience of the Holocaust in Music: Examining the Case of Arnold Schoenberg’s ‘A Survivor from Warsaw’ Op. 46