Wolfgang RIHM – Dionysos: a writing on inner spaces
Dionysos -- Scenes and Dithyrambs based on texts by Friedrich Nietzsche an opera fantasy for vocal soloists, choir and orchestra by the German composer Wolfgang Rihm (1953-) is a non-narrative operatic work: an anti-narrative open music theater piece in multiple dimensions, consisting of scenes and...
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Stoianova, Ivanka |
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Stoianova, Ivanka Wolfgang RIHM – Dionysos: a writing on inner spaces |
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Stoianova, Ivanka |
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Wolfgang RIHM – Dionysos: a writing on inner spaces |
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Wolfgang RIHM – Dionysos: a writing on inner spaces |
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Wolfgang RIHM – Dionysos: a writing on inner spaces |
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Wolfgang RIHM – Dionysos: a writing on inner spaces |
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wolfgang rihm – dionysos: a writing on inner spaces |
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Dionysos -- Scenes and Dithyrambs based on texts by Friedrich Nietzsche an opera fantasy for vocal soloists, choir and orchestra by the German composer Wolfgang Rihm (1953-) is a non-narrative operatic work: an anti-narrative open music theater piece in multiple dimensions, consisting of scenes and dithyrambs on four levels or "places". Open music scenes refer to important moments of F. Nietzsche's life (without narrating a story) and above all to the universal ideas of his philosophy.The composing process--Rihm simultaneously writes the music, text and scenic frames– is a continuous invention of multiple and polyvalent musical languages without a preliminary text to be set to music and without a music composition to accompany a dramatic scene. The libretto is a free composition by Rihm taken from fragments of several texts by Nietzsche.If the scenes or sets of the « opera fantasy are « the recipients » (RIHM) for multiple scenic-musical developments, the characters are flexible spaces, moving and varying, having plural roles in constant transformation. The boundaries between the characters–as well as the boundaries between the texts, styles, and scenic situations–become permeable and fluid, yet the lead roles are still easily recognizable as they preserve their familiar integrity in all situations.The processes of the vegetative composition, of metabolic integration of citations with their references to styles and distant times, and the imagistic bontanical metaphors Rihm often employs, confirm his affiliation to the great Western tradition, which is in constant search for organic unity of the overall work despite free associations in the movement of thought. Using only texts from the works of Nietzsche and being strongly influenced by his thoughts, Rihm proposes an innovative scenic-musical interpretation of Nietzsche’s phenomenon, which remains inevitably marked by the great Western Christian tradition.English version: Kathleen S. Martin |
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2015 |
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https://periodicos.ufrn.br/artresearchjournal/article/view/7041 |
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AT stoianovaivanka wolfgangrihmdionysosawritingoninnerspaces AT stoianovaivanka wolfgangrihmdionysosumaescritadosespacosinteriores |
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oai:periodicos.ufrn.br:article-70412020-10-05T21:45:37Z Wolfgang RIHM – Dionysos: a writing on inner spaces Wolfgang RIHM – Dionysos: uma escrita dos espaços interiores Stoianova, Ivanka Opera Fantasy Music-Theater Dithyramb Vegetative Composition Fantasia operística música-teatro ditirambo composição vegetativa obra total Dionysos -- Scenes and Dithyrambs based on texts by Friedrich Nietzsche an opera fantasy for vocal soloists, choir and orchestra by the German composer Wolfgang Rihm (1953-) is a non-narrative operatic work: an anti-narrative open music theater piece in multiple dimensions, consisting of scenes and dithyrambs on four levels or "places". Open music scenes refer to important moments of F. Nietzsche's life (without narrating a story) and above all to the universal ideas of his philosophy.The composing process--Rihm simultaneously writes the music, text and scenic frames– is a continuous invention of multiple and polyvalent musical languages without a preliminary text to be set to music and without a music composition to accompany a dramatic scene. The libretto is a free composition by Rihm taken from fragments of several texts by Nietzsche.If the scenes or sets of the « opera fantasy are « the recipients » (RIHM) for multiple scenic-musical developments, the characters are flexible spaces, moving and varying, having plural roles in constant transformation. The boundaries between the characters–as well as the boundaries between the texts, styles, and scenic situations–become permeable and fluid, yet the lead roles are still easily recognizable as they preserve their familiar integrity in all situations.The processes of the vegetative composition, of metabolic integration of citations with their references to styles and distant times, and the imagistic bontanical metaphors Rihm often employs, confirm his affiliation to the great Western tradition, which is in constant search for organic unity of the overall work despite free associations in the movement of thought. Using only texts from the works of Nietzsche and being strongly influenced by his thoughts, Rihm proposes an innovative scenic-musical interpretation of Nietzsche’s phenomenon, which remains inevitably marked by the great Western Christian tradition.English version: Kathleen S. Martin A “fantasia operística” Dionysos – cenas e ditirambos a partir de textos de Friedrich Nietzche” para solistas coro e orquestra – do compositor alemão Wolfgang Rihm (1953) é uma obra operística não narrativa: uma anti-narrativa aberta de música-teatro em múltiplas dimensões, constituída de cenas e ditirambos em quatro planos ou “lugares”. As cenas musicais abertas remetem aos momentos importantes da vida de F. Nietzsche (sem narrar uma história) e acima de tudo às idéias universais de sua filosofia.O processo composicional – Rihm escreve simultaneamente a música, o texto e os quadros cênicos – é uma invenção contínua da linguagem musical múltipla e plurivalente, sem um texto preliminar a ser musicado e sem a composição musical como acompanhamento de uma dramaturgia cênica. O texto utilizado é uma composição livre de Rihm a patir de fragmentos provenientes de diversos textos de Nietzsche.Se as cenas ou quadros da “fantasia operística” são “os recipientes” (Rihm) de desdobramentos músico-cênicos múltiplos, os personagens são espaços flexíveis, moventes, variáveis, com papéis plurais em permanente transformação. As fronteiras entre os personagens – assim como as fronteiras entre os textos, os estilos, as situações cênicas – se tornaram permeáveis e fluidas, e mesmo assim reconhece-se facilmente os papéis principais que preservam sua integridade reconhecível em todas as situações.Os processos da composição vegetativa, de integração metabólica das citações com suas remissões a estilos e épocas distanciadas, assim como as metáforas imagéticas do domínio da botânica que Rihm frequentemente emprega, confirmam sua filiação à grande tradição ocidental, sempre em busca de uma unidade orgânica da obra-total, e isto apesar das livres associações no movimento do pensamento. Lançando mão unicamente de textos provenientes das obras de Nietzsche e sendo fortemente influenciado pelo pensamento do filósofo, Rihm propõe uma interpretação músico-cênica inovadora do fenômeno Nietzsche, que permanece inevitavelmente marcada pela grande tradição cristã ocidental.Tradução do francês: Guilherme Sauerbronn ABRACE / ANDA / ANPAP / ANPPOM 2015-06-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Invited Essays application/pdf application/pdf https://periodicos.ufrn.br/artresearchjournal/article/view/7041 Art Research Journal: Revista de Pesquisa em Artes; Vol. 2 No. 1 (2015): Music and the Crisis of Contemporaneity; 36-53 ARJ – Art Research Journal: Revista de Pesquisa em Artes; v. 2 n. 1 (2015): Música e a crise da contemporaneidade; 36-53 2357-9978 10.36025/arj.v2i1 por eng https://periodicos.ufrn.br/artresearchjournal/article/view/7041/5507 https://periodicos.ufrn.br/artresearchjournal/article/view/7041/5684 Copyright (c) 2015 Ivanka Stoianova |