Bøker av Daniel Davis

This work consists of analyzing and reflecting on the reactions of classical music composers at the time of the premiere of their work, whether or not they are conditioned by the practical reality of putting on a concert. Based on the existing bibliographical analysis, results and conclusions will be presented on the different reactions and ways of seeing the moment of the premiere. Conclusions will be drawn with a view to relating the practical reality and the final result to future works and/or to the composer's own way of composing. Finally, the processes and dynamics of the phenomenon will be demonstrated through the analysis of various current cases with their own specificities.

Questo lavoro consiste nell'analizzare e riflettere sulle reazioni dei compositori di musica classica al momento della prima del loro lavoro, condizionate o meno dalla realtà pratica della realizzazione di un concerto. Sulla base dell'analisi bibliografica esistente, verranno presentati risultati e conclusioni sulle diverse reazioni e modi di vedere il momento della prima. Si trarranno conclusioni per mettere in relazione la realtà pratica e il risultato finale con opere future e/o con il modo di comporre del compositore stesso. Infine, i processi e le dinamiche del fenomeno saranno dimostrati analizzando vari casi attuali con le loro specificità.

Ce travail consiste à analyser et à réfléchir sur les réactions des compositeurs de musique classique au moment de la création de leur oeuvre, qu'elles soient conditionnées ou non par la réalité pratique de la réalisation d'un concert. Sur la base de l'analyse bibliographique existante, des résultats et des conclusions seront présentés sur les différentes réactions et manières d'appréhender le moment de la création. Des conclusions seront tirées en vue de relier la réalité pratique et le résultat final à des oeuvres futures et/ou à la propre façon de composer du compositeur. Enfin, les processus et la dynamique du phénomène seront démontrés par l'analyse de divers cas actuels avec leurs propres spécificités.

Diese Arbeit besteht darin, die Reaktionen von Komponisten klassischer Musik bei der Uraufführung ihres Werkes zu analysieren und darüber nachzudenken, ob sie durch die praktische Realität der Aufführung eines Konzerts bedingt sind oder nicht. Auf der Grundlage der vorliegenden bibliographischen Analyse werden Ergebnisse und Schlussfolgerungen zu den unterschiedlichen Reaktionen und Sichtweisen auf den Moment der Uraufführung vorgestellt. Es werden Schlussfolgerungen gezogen, um die praktische Realität und das Endergebnis auf künftige Werke und/oder auf die eigene Kompositionsweise des Komponisten zu beziehen. Schließlich werden die Prozesse und die Dynamik des Phänomens anhand der Analyse verschiedener aktueller Fälle mit ihren eigenen Besonderheiten aufgezeigt.

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Este trabalho consiste na análise e na reflexão das reacções dos Compositores de Música Erudita no momento da estreia da sua obra, condicionados ou não pelo estado da realidade prática da montagem do concerto. A partir da análise bibliográfica existente, serão apresentados resultados e conclusões sobre as diferentes reacções e formas de ver o momento da estreia. Serão elaboradas conclusões tendo em vista a relação da realidade prática e do resultado final para com trabalhos futuros e/ou com a forma de compor do próprio compositor. Por fim, serão demonstrados os processos e dinâmicas do fenómeno através da análise de vários casos actuais com especificidades próprias.