In: Musicologica Slovaca , vol. 3, no. 1
Branko Ladič
Details:
Year, pages: 2012, 85 - 97
Keywords:
Sonata form, sonata principle, symphonic opera, number opera, periodicity
Article type: 1 Štúdie
About article:
Tis article has as its theme the tectonic principles in the works of Richard Strauss, taking
account of his first six operatic compositions. Tese 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, tonal equalisation. In Te
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.
How to cite:
ISO 690:
Ladič, B. 2012. Poznámky k tektonickým princípom v operách Richarda Straussa. In Musicologica Slovaca , vol. 3, no.1, pp. 85-97. 1338-2594.
APA:
Ladič, B. (2012). Poznámky k tektonickým princípom v operách Richarda Straussa. Musicologica Slovaca , 3(1), 85-97. 1338-2594.