POZNÁMKY K TEKTONICKÝM PRINCÍPOM V OPERÁCH RICHARDA STRAUSSA

• Authors: Branko Ladič

Title variants

EN

Notes on the tectonic principles in Richard Strass ś operas

• Languages of publication: SK

Abstracts

EN

This article deals with the tectonic principles in Richard Strauss ś works, taking account of his first six operatic compositions. These principles diverge notably in the individual works. Salome and Electra are so-called symphonic operas – apart from use of the orchestral apparatus, they are characterised especially by the applied tectonic and formal principles, adopted partially from so-called absolute music. Principally this means the sonata-form elements which we encounter in these operas – thematic dualism, tonal planning and tonal equalisation. In The Knight of the Rose and Ariadne on Naxos, as regards tectonics there is a tendency towards the classical model of so-called number opera, though on a different qualitative level – to a greater extent there is a prominence of song and a traditionally conceived periodicity.

Keywords

EN

SONATA FORM; SONATA PRINCIPLE; SYMPHONIC OPERA; NUMBER OPERA; PERIODICITY; STRAUSS RICHARD

• Publisher: Institute of Musicology, Slovak Academy of Sciences; VEDA, Publishing House of the Slovak Academy of Sciences
• Journal: Musicologica Slovaca
• Year: 2012
• Volume: 3 (29)
• Issue: 1
• Pages: 85 - 97

Contributors

author

Branko Ladič

• Katedra hudobnej vedy FF UK, Gondova 2, 818 01 Bratislava, Slovak Republic