THE REALITY OF THE SUBSTANCE’S PARALOGISM IN VIOLIN MUSIC, THE „CHACONNE IN G MINOR” CASE. A PHENOMENOLOGIC CIRCULARITY ON THE IDEA OF ‚BEAUTY’ IN THE SOUNDS – THE LINE BACH – VITALI - HEIFETZ
DOI:
https://doi.org/10.24193/subbmusica.2019.2.03Keywords:
‘Beauty’, sounds, violin’s tradition, phenomenological-hermeneutics of violin, substance, sonorous phenomenons, Kant, Tomaso Vitali, Bach, Jascha Heifetz, René-Charles “Zino” Francescatti, Chaconne.Abstract
This article has a precise aim – to develop a deep research in the aesthetic of music and phenomenology of the music. Investigating some traditional sources as Critique of the Pure Reason, and the sources from Johann Sebastian Bach and Antonio Tomaso Vitali, we have observed a natural link between the idea of the ‘substance’ described by Immanuel Kant and the idea of the ‘substance’ in violin music. We have transpositioned the idea of the ‘substance’ in violin music. Even if the work written by Immanuel Kant appears after the signs of the musical Baroque as Bach – Vitali, we had considered that our perspective would be more interested if we will try to fix a paralogism of the substance in a composition named Chaconne. The Chaconne is a composition specific for the Baroque period, but which is well-known to be the most beautiful and the most complicated to be played for the violinists. There is a mysterious debate related to Chaconne, because due to the Partita no.2 in D minor by Bach, Vitali made it Chaconna in G minor. It has complex chromatic structures able to unify sounds which can express the sadness and human suffering with the most fastes sounds which express the tenderness and the silence, in perfection. For the conscience, there is a symmetry in the Chaconne – because the ‘I’ can reach the most painful feelings with the most tender and healing states of the soul through the power of the sounds. Starting with the premise that the sounds have a deeply force for the manifestation of the lived facts of the conscience, we will try to see how Chaconne functions in this way linked by the paralogism of the substance and by the idea of the ‘Beauty’ of the sound.
References
Applebaum, Samuel (2005). The Art and Science of String Performance. Ed. de Thomas Lindsay, first published in 1986. USA: Alfred Music.
Bach, Johann Sebastian (2006). “Partita no. 2 in D minor”, written between 1717-1720, in Lawrence Golan edition, Three Sonatas and Three Partitas for Solo Violin, BWV 1001-1006. USA: Mel Bay Publication Pacific 2006. 70–72.
Bokrum, Jonathan M. “Creativity, Synesthesia, and Physiognomic Perception”, in Creativity Research Journal, nr. 10, vol. 1, 1997, pp. 1–8.
Bruike, Antonio Bruno; Busoni, Feruccio (2013). Ciaconna/ Chaconne (from Partita II for solo violine, BWV 1004), set to a great organ from version for solo piano by Feruccio Busoni – experiment superieur- (Silbermann of French Cathedral BBWV 76). Germany: Neuss.
Buckle, Richard (1988). George Balanchine, ballet Chaconne (1963-1976), with music composed in Orfeo ed Euridice, by Christoph Willibard Gluck (1762), in Richard Buckle, John Taras (eds.), George Balanchine, ballet master: a biography. New York: Random House.
Burke, Edmund (MDCCLXI/ 1759). A philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Third Edition. London: Printed for R. And J. Dodsley.
Byrne, Alex (2015). “The significance of the epistemic experience”, in Philosophical Studies 173 (4). Springer Netherlands: MIT Press: 947–967. Pages cited in text 951–953. DOI: http://hdl.handle.net/1721.1/103433.
Cohen, Selma Jeanne (1982). “Verbs of Motion”, Next Week, Swan Lake: Reflections on Dance and Dancers, Middletown, Connecticut: Wesleyan University Press.
Engel, J.J. (1992). “Über die Musikalische Malerei”. Ivana Bianchi and Richard Davies (eds.), Contemplating Music: Source Readings in the Aesthetics of Music, Vol. III Essence, Aesthetics in Music no. 5. New York: Pendragon Press Stuyvesant. 128–140.
Ferraris, Maurizio; trans. Davies, Richard (2018). “Part I, Chapter 3. Phenomenal experience, epistemic experience, and psychological experience: notes towards an epistemology of the phenomenological exprimental method”. Ivana Bianchi and Richard Davies (eds.). Paolo Bozzi’s Experimental Phenomenology. London: Routledge. 64–78.
Høffding, Simon (2019). A Phenomenology of Musical Absorption. New Directions in Philosophy and Cognitive Science. Switzerland: Palgrave Macmillan. / New Directions in Philosophy and Cognitive Sciences.
Hodgkinson, Tim (2016). Music and the Myth of the Wholeness. Toward a new aesthetic paradigm. Massachusetts, Cambridge: MIT Press.
Kant, Immanuel (1) (1878). Critique of the Pure Reason. Trans. By J.M.D.Miklejohn. London: Covent Garden, York Street, George Bell and Sons. In comparison we have used also, (1956). Kritik der reinen Vernunft. Hamburg: Felix Meiner Verlag.
Keller, Hermann (1964). „Die Chaconne g-Moll von- Vitali?”. Neue Zeitschrift für Musik, vol. 125. Leipzig: B. Schott’s Söhne. 147–148.
Kopytova, Galina; Heifetz, Albina-Starkova (2004). “First Performances in St. Petersburg”. Jascha Heifetz. Early Years in Russia. Translated by Dario Sarlo and Alexandra Sarlo. Indianapolis & Bloomington: Indiana University Press. 70–82.
Lippman, Edward A. (1993). Chapter “A Humanistic Philosophy of Music”. Ruth Katz, Carl Dahlhaus (eds.) Contemplating Music: Source Readings in the Aesthetics of Music, vol. 4 Community of Discourse, folia Aesthetics of Music no. 5. New York: Pendragon Press Stuyvesant. 184–214.
Lockwood, Lewis (2004). “2. “On the Beautiful in Music”: Beethoven’s Spring Sonata for Violin and Piano, Opus 24” Lewis Lockwood and Mark Kroll (eds.) The Beethoven Violin Sonatas: History, Criticism, Performance. Illinois, Chicago: University of Illinois Press, Urbana Chicago. 24 – 47.
Sarlo, Dario (2015). Performance Style of Jascha Heifetz. First published 2015, secondly published 2016. London: Farnham, printed by Henry Ling Limited, Ashgate, Dorsett Press.
*** (2008). “The Chaconne (Ciaconna) in D minor”, in Sonatas and partitas for solo violin, in The Wikipedians (eds.), Johann Sebastian Bach: The Complete Guide. 420–426.
Thomson, Virgil (2014). In Page, Tim (ed.), Music Chronicles 1940-1954. Musical Scene. The Art of Judging Music. Music Right and Left. Music Reviewed. Other Writings. New York: Literary Classics of the United States.
Vedran,Grahovac (2017). The Promise of Circularity in Husserl’s Phenomenological Investigations. PhD thesis. Ontario: University of Guelph. https://atrium.lib.uoguelph.ca/xmlui/bitstream/handle/10214/12174/Grahovac_Vedran_201801_PhD.pdf?sequence=1&isAllowed=y
Vitali, Tomaso Antonio (1985). Chaconne în G minor for Violin and Piano. USA: Kalmus Classic Edition, K04388, Alfred Publishing. 24 pages.
Waggener, Joschua A. (2016). “9. C.P.E. Bach’s Heilig and the ‘Holy’ of Rudolf Otto: An Eighteenth-Century Experience of the Mysterium Tremendum”. Music and Transcendence. Ed. Férdia J.Stone-Davis. London and New York: Routledge Taylor&Francis Group. 113 - 125.
Walden, Joshua S. (2014). “I. 2. The Rural Miniature in Performance and Sound Recording”. Sounding Authentic: The Rural Miniature and Musical Modernism. Oxford: Oxford University Press.
Zuckerkrandl, Victor (1992). Chapter “Sound and Symbol”. Ruth Katz, Carl Dahlhaus (eds.).Contemplating Music: Source Readings in the Aesthetics of Music, Vol. III Essence, Aesthetics in Music no. 5. New York: Pendragon Press Stuyvesant. 663–756.
Musical periodics:
Bach, Johann Sebastian (2006). “Partita no. 2in D minor”, written between 1717-1720, in Lawrence Golan edition, Three Sonatas and Three Partitas for Solo Violin, BWV 1001-1006. USA: Mel Bay Publication Pacific2006. 70–72.
Bach, Johann Sebastian (1720). Adagio and Fugue for solo Violin in G minor. BWV 1001, in From 6 Sonatas in Violin Solo, in Hans Wessely (ed.), (London: Joseph Williams, 1923).
Gluck, Christoph Willibard (2008). Orfeo ed Euridice, wq. 30. First performed in Viena 5th October 1762, re-performed in Paris, 1774. Partiture by Performer’s Reprints.
***“Guarnieri Exhibition Report”, The Strad, vol. 106, nr. 1260, pp. 375–379. DOI: https://openmusiclibrary.org/article/768503/.
*** ‘Focus on Tononi 1736 Violin’, The Strad,vol 106, nr. 1257, pp. 50–51. DOI: https://openmusiclibrary.org/article/768455/.
Vitali, Tomaso Antonio (1745 or before). Chaconne in G minor.
Vitali, Antonio (1712-1713). L’Estro Armonico/ Libro secundo (6 concertos). Edited by Roger Marchand d’Estienne. Amsterdam: Libraire de Michel Charles Le Cene.
Schleske, Martin (2019). Meisteratelier für Geigenbau. Landsberg am Lech. http://www.schleske.de/, accessed March 18, 2019.
Arrangements and transcriptions of Chaconne in G minor:
Charlier, Léopold (ca. 1911). Tomaso Vitali Chaconne in G Mall. Brüssels für Violine mit Bezzifertem bass nach der Ausgabe von Ferd. David Bearbeitet von Léopold Charlier für Violine mit Klavierbegleitung. Brüssels und Leipzig: Breitkopf und Härtel.
David, Ferdinand (ca. 1900). Chaconne, In Emil Kross (ed.) Mainz: B. Schott’s Sohne.
Hermann, Friedrich (1899). Ciaconna für Violine mit bezzifertem Bass. Leipzg: Breitkopf und Härtel.
Exhibitions on the investigated theme:
***Vioara Guarnieri la Palat. Expoziția viorile lui George Enescu [The Guarnieri Violin on the Palace. The Violins of George Enescu Exhibition]. Museographer Sibianu, Adriana; scientific researcher, Cosma, Viorel. Bucharest: National Museum “George Enescu”. 26th March, 2019.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2019 Studia Universitatis Babeș-Bolyai Musica
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
