title: ‘Das Floß der Medusa’: About Problem of Henze’s Political Engagement
metadata.name: dc.contributor.author
metadata.value: Ryzhinskii, Aleksandr S.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2024-06-04T16:03:48Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2024-06-04T16:03:48Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2024-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Ryzhinskii, Aleksandr. “‘Das Floß der Medusa’: About Problem of Henze’s Political Engagement”. Vestnik of Saint Petersburg University. Arts 14, no. 1 (2024): 23–33. https://doi.org/10.21638/spbu15.2024.102 (In Russian)
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu15.2024.102
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/45517
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The article is devoted to one of the most famous works of H. W. Henze “Das Floß der Medusa”
  (“The Raft of Medusa”), often seen as an example of Henze’s political engagement. The author
  of the article concludes that the oratorio was recognized as a political composition in large
  part due to the accompanying circumstances of its creation and premiere, but not based on
  the original idea and its realisation. The author demonstrate “Das Floß der Medusa” like a
  example of the protest music as a direction that exposes not only fascism, but also any form
  of social inequality, violence against the person. The study of the features of choral style of
  “Das Floß der Medusa” reveals parallels in the textural structure between Henze’s oratorio and
  Nono’s works of the 1950s (“La victoire de Guernica”, “Il canto sospeso”, “Intolleranza 1960”).
  The use of political text resources, the operation of individual syllables and phonemes of a
  literary text, work with multilingual verbal rows, the active use of diagonal texture — all this
  brings together the choral works of two contemporaries. At the same time, Henze’s composition
  also reflected the searches in the field of vocal timbre, characteristic of other composers
  of Darmstadt Summer Course — the use of various modifications of speech singing (Sprechgesang),
  the latest techniques of vocal articulation (vocal tremolo, prolongation of the anterolingual
  vibrant). All this together allows us to talk about Henz’s oratorio as one of the most
  peculiar choral compositions of the late 1960s.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 14; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: Hans Werner Henze
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: oratorio “Das Floß der Medusa”
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: choral music of post-war avant-garde
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: political engagement
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: word and music
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: choral texture
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: vocal timbres
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: ‘Das Floß der Medusa’: About Problem of Henze’s Political Engagement
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 02.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/45517/1/02.pdf
resources.format: Adobe PDF
resources.size: 726,95 kB