Res Musica 13 (2021)

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    (Eesti Muusika- ja Teatriakadeemia, 2021) Kotta, Kerri, koostaja
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    Baroque Elements and Specific Orchestral Functions in Beethoven’s Triple Concerto Op. 56
    (Eesti Muusika- ja Teatriakadeemia, 2021) Rakochi, Vadim; Kotta, Kerri, koostaja
    This paper discusses the uniqueness, in style and genre, of Beethoven’s use of the orchestra in the Triple Concerto. The orchestration of the Triple Concerto is characterised by its reliance on tutti, the limited role of orchestral soloists (unlike in Beethoven’s other concertos), and infrequent alternations between instrumental groups. This is closely linked to an element of the Baroque (indicated through the concept of the concerto, which derives from the Italian verb concertare “to agree”, the triple concerto model, and the choice of soloists) in the Classical concerto (indicated through the use of sonata form, the manner of presenting the material, and the instrumentation). The orchestra acts as a genre-creating factor as a result of the undisclosed competition between the Baroque concerto grosso, the Classical solo concerto, and chamber trio models. The orchestra becomes a form-defining factor thanks to its use to mark the boundaries between the sections of sonata form, here smaller than is usual in the Classical sonata, a fact which occasionally makes the succession of episodes similar to ritornello form; furthermore, it is the orchestra that is significantly associated with a surprising synergy of Classical and Baroque elements to form a hybrid model of the concerto.
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    Beethoven’s Theme of the Slow Movement of Piano Sonata Op. 13: Phrasing, Functional Cycles, Metre and Dramaturgy
    (Eesti Muusika- ja Teatriakadeemia, 2021) Khannanov, Ildar D.; Kotta, Kerri, koostaja
    In this article the author tackles the issues of phrasing, functional cycle, metric hierarchy, form and dramaturgy as related to the analysis of the second movement of Ludwig van Beethoven’s Piano Sonata Op. 13. These elements are heterogeneous and, perhaps, would be better discussed separately. However, the author goes back to nineteenth-century music scholarship as an example of dealing with heterogeneity despite the incompatible character of its elements. Phrasing is thus related to tonalfunctional cycles of various designs; these are both linked to the metric hierarchy on the local level (iambic unit) and on the level of the metric period, as suggested by Hugo Riemann. The author points to some parallels with the poetic structure of the four-foot iamb. Beethoven mixes and matches diverse patterns in a contemplative and reflective flow of ideas, appropriate for such a noble Adagio. The author then compares several editions of the Adagio with regard to articulation of phrasing. Finally, Beethoven’s slow movement is analyzed in terms of musical dramaturgy – a category well researched in the Russian tradition by Viktor Tsukkerman and Viktor Bobrovsky. The ultimate goal of the article is to bring to the attention of the readers the complexity and perfection of Beethoven’s musical poetics on the 250th anniversary of his birth.
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    Editor’s Preface
    (Eesti Muusika- ja Teatriakadeemia, 2021) Kotta, Kerri, koostaja
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    Eesti emakeel ja koraaliviiside rütm
    (Eesti Muusika- ja Teatriakadeemia, 2021) Jõks, Eerik; Kotta, Kerri, koostaja
    It seems to be believed that rhythmic chorales could bring more freshness and momentum to hymn singing in the Estonian language than isometric chorales. This study examines how the replacing of isometric chorales with rhythmic chorales fits with the rhythm of Estonian, and whether there could be alternative ways to sing more vigorously besides restoring the rhythm of the presumably original German tunes from the 16th–18th centuries. In order to consider prosodic idiomaticism, an analytical method is introduced to measure the compatibility of the rhythm of the Estonian text with that of the chorale melody. In the quest for more vigorous singing, an artistic research approach is used. This study shows that the isometric chorale is significantly better suited to the rhythm of the Estonian language than the rhythmic chorale. An unaccompanied monodic performance style emerges from this study (narrative style) by using isometric chorale scores, but without forcing equal rhythmical values on to each syllable. The rhythm of the chanting arises almost exclusively from the prosodic rhythm of Estonian. It reveals a new kind of chorale experience, which has a much more efficient flow of the musical/textual storyline as well as greater completeness, with no less vigour than that pursued by the so-called rhythmic chorale.
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    Francois Couperin’s La Flore (5th Ordre): Motivic Replication, Approach to III, and Analytic Methodology
    (Eesti Muusika- ja Teatriakadeemia, 2021) Slottow, Stephen; Kotta, Kerri, koostaja
    When I first played François Couperin’s keyboard miniature La Flore, it immediately struck me as beautiful, restrained, and austere. This article comments on the following aspects of the piece: (1) a persistent motive and its interaction with the piece’s structure; (2) how the opening measures both set up this motive and are echoed in the closing measures; (3) the somewhat circuitous route to the mediant; (4) the coda; and (5) the potential awkwardness of integrating the motive, which moves from scale degrees 5 ^ up to 8^ and back again, within an Urlinie structure which descends to 1^. To this end, I will also look at an unpublished 2016 reading by Charles Burkhart which incorporates David Neumeyer’s ideas of the ascending Urlinie and the three-voice Ursatz (Neumeyer 1987a and b).
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    Muusikateadusliku elu kroonikat 2020/2021
    (Eesti Muusika- ja Teatriakadeemia, 2021) Klooren, Äli-Ann; Kotta, Kerri, koostaja
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    Saateks koostajalt
    (Eesti Muusika- ja Teatriakadeemia, 2021) Kotta, Kerri; Kotta, Kerri, koostaja
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    The High-Classical German Instrumental Style as the Foundation of Anton Bruckner’s Thematic Designs
    (Eesti Muusika- ja Teatriakadeemia, 2021) Jurkowski, Edward; Kotta, Kerri, koostaja
    Anton Bruckner’s symphonies have long been recognized as vital contributions to the canon of late- Romantic western art music. Yet this body of work has not been without controversy. One frequent criticism involves the vast length of his themes and the enormous size of each movement – features that have often been attributed to Bruckner’s unremitting adulation of Wagner. Rather than situate Bruckner’s art as a product of post-Wagnerian aesthetics, in this paper I argue that it is more profitable to examine Bruckner’s melodic style as an expansion upon the instrumental themes of the high Classical German style, paradigms formalized in William Caplin’s Classical Form (1998). By outlining the relationships between the thematic material from Bruckner’s and Beethoven’s works, I show that the foundation of Bruckner’s melodic style is more reactionary than has been acknowledged. More specifically, I show that the themes from these works are enlarged – in Caplin’s terms, loosened – versions of Caplinian theme types. Through the course of the discussion, I identify in Bruckner’s symphonies comparable loosening techniques, suggesting stylistic conventions. I end with some remarks about further areas of inquiry with respect to the relationship between the thematic construction and formal designs in other symphonies by Bruckner.
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    The Many Themes of Beethoven’s Op. 2, No. 3, and Their Stylistic Context
    (Eesti Muusika- ja Teatriakadeemia, 2021) Burstein, L. Poundie; Kotta, Kerri, koostaja
    Musicians have long disagreed about how to parse the exposition of Ludwig van Beethoven’s Piano Sonata in C, Op. 2/3/I, particularly as regards determining the formal function of the G minor theme of mm. 27–46. Many of these disagreements result from viewing the form of this exposition primarily through concepts that developed during the nineteenth century and formal models that are particularly well suited for Beethoven’s later works. However, especially considering the relatively early date of its composition, it might be more fruitful to consider the form of the exposition of Op. 2/3/I in relation to layouts discussed by eighteenth-century theorists, layouts that may be witnessed in many works composed during this era. When viewed in relation to these earlier frameworks, the form of the exposition of Op. 2/3/I may be understood to be quite conventional. Furthermore, such a historically based vantage point can significantly impact the understanding of this exposition’s voice-leading structure.