43 KB402 KB40 KB196520252007O'Loughlin, Niallštevilka:2letnik:43str. 139-152ISSN:0580-373XCOBISSID:36307298URN:URN:NBN:SI:doc-XX52P7CDenFilozofska fakulteta, Oddelek za muzikologijoMuzikološki zbornikglasbagodalakvartetimodernizemmotivimusictradicionalizemWood, Hugh, 1932-Intelektualni čar| Intellectual magic| s strastjo pretihotapljena tradicija v godalnih kvartetih angleškega skladatelja Hugha Wooda| tradition infiltrated by passion in the string quartets of the English composer Hugh Wood|Throughout the history of music there has often been a conflict between the old and the new. This applies very much to the music of the English composer, Hugh Wood (b.1932). Studying history, and later composition with Anthony Milner, Iain Hamilton and Mátyás Seiber, he respectively gained from them beauty of music, especially melody, and a mastery of counterpoint; the technique of twelve-note serialism; and a varied and undogmatic approach to composition. This has been reflected in almost universal praise for his music from the critics. Of his five numbered string quartets, the first, fourth and fifth are cast in separate movements, while the second and third play continuously in a large number of linked sections. Quartets Nos.1, 4 and 5 have short separate movements which ostensibly employ traditional forms, ternary, rondo, sonata, scherzo and trio, but in practice give little indication of this because of the vivid but terse ideas and the subtlety of motivic connections that arise from the use of extensive melodic fragments given at the very beginning of each work. The Quartets Nos. 2 and 3 are superficially different in technique, but here Wood groups his numerous sections (39 for No.2 and 24 for No.3) to suggest traditional forms. Again this is deceptive as there is dramatic argument at a detailed level which disguises any obvious connection with these traditional forms. The overall effect is one of drama, enhanced by a strong feeling for the progress of the music. The composer has retained some vestiges of traditional form and other techniques in his music, but at the same time has at all stages enlivened his thematic material with vividness, imagination and a strong sense of musical drama coupled with a strong motivic network. This is the intellectual magic that marks out these quartets as very specialSkozi zgodovino glasbe je vselej obstajal konflikt med starim in novim. Enako velja za glasbo angleškega skladatelja Hugha Wooda (r. 1932). Najprej je študiral zgodovino, nato kompozicijo z Anthonyjem Milnerjem, Iainom Hamiltonom in Mátyásom Seiberjem, in od vsakega posebej znal najti lepoto glasbe, zlasti melodike, in mojstrstvo v kontrapunktu; dvanajsttonski serialistični tehniki; in raznolik ter nedogmatski pristop h kompoziciji. To se zrcali v domala univerzalni hvali njegove glasbe pri kritikih. V njegovem opusu, ki šteje pet godalnih kvartetov, imajo prvi, četrti in peti godalni kvartet več stavkov, medtem ko sta drugi in tretji oblikovana kot nepretrgana niza številnih odsekov. Kvarteta št. 1, 4 in 5 imajo kratke med seboj ločene stavke, ki navidezno temeljijo na tradicionalnih glasbenih oblikah, tridelni formi, rondoju, sonati, scherzu in triu, a praktično ponujajo kaj malo namigov nanje zaradi živahnih, a zgoščenih idejah in subtilnih motivičnih povezav, ki nastajajo z rabo obsežnih melodičnih fragmentov, predstavljenih na samem začetku vsakega dela. Kvarteta št. 2 in 3 sta po vnanjosti drugačna, a tu Wood grupira številne odseke (39 v Drugem in 24 v Tretjem godalnem kvartetu), da bi nakazal tradicionalne oblike. Toda to je varljivo, saj gre za dramaturški argument na ravni podrobnosti, ki zakrinka vsakršno očitno povezavo s tradicionalnimi formami. Skupni učinek je enak tistemu pri drami, okrepljeni z močnim občutkom za napredek glasbe. Skladatelj je ohranil nekatere sledi tradicionalne glasbene oblike in njihovih kompozicijskih tehnik, vendar je obenem na vseh ravneh oživil tematsko gradivo z živahnostjo, domišljijo in močnim čutom za glasbeno dramo, združeno z močno mrežo motivov. To je intelektualni čar, ki kaže te kvartete kot nekaj resnično posebnegaTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaUniverza v Ljubljani, Filozofska fakulteta