D. Şostakoviç'in müzikal anlayışı ve viyolonsel konçertoları
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Date
2011-10-20
Authors
Edren, Aslı
Journal Title
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Publisher
Uludağ Üniversitesi
Abstract
20. yüzyılın en önemli bestecilerinden olan D. Şostakoviç, yaşamı boyunca çok sayıda eser üretmiş ve bu eserleri ile müzik tarihinde yaşadığı dönemin yönetimi tarafından eleştiri ve suçlamalara maruz kalmış, eserlerinin içeriğine, müziğine müdahalede bulunulmuş ama halkını çok seven besteci, ülkesinden ayrılmamıştır. Dönemin bestecilerine göre çağdaş müziğe daha az yaklaşan D. Şostakoviç’in müziğinde ağırlık merkezini senfonileri oluşturur. Ülkesindeki önemli toplumsal olaylara adadığı senfonilerinde bir yandan 20. yüzyıl geleneğini kullanırken, bir yandan da kendine özgü müzik üslubunu yansıtmaya çalışmıştır. Konçertolarında ise virtüözlüğü ön plana almasına rağmen, kişiliği belirgin, anlatımı ağırbaşlı ve derindir. Viyolonsel repertuarında önemli bir yere sahip olan viyolonsel konçertoları da bu görüşü destekler niteliktedir. Bu çalışmanın, ilk bölümünde Şostakoviç’in yaşamı, bestecilik yönü, müzik tarihindeki yeri, eserlerini ortaya çıkarma sürecinde yaşadığı baskılar ve bu baskılara rağmen müziğinden vazgeçmeyen kişiliği ele alınmıştır. İkinci bölümünde her iki viyolonsel konçertosu form açısından, üçüncü bölümünde de solistik açıdan incelenerek seslendirilmesine yönelik yorumlar yapılmıştır. Günümüzde özellikle birincisi sıkça seslendirilen bu konçertolar, içinde teknik açıdan oldukça zengin öğeleri barındırır ve aynı zamanda yüksek oranda geliştirici öğeler içerir. D. Şostakoviç viyolonsel konçertolarını bestelerken geniş form tekniklerini kullanmış ancak geleneksel form kalıpları dışına çıkmamıştır. Bu çalışma, Şostakoviç’i yaşamını ve viyolonsel eserlerini inceleme amacıyla hazırlanmış ve bu konuda yapılan çalışmaların az olması nedeniyle önemli bulunmaktadır.
One of the most important composers of 20th century D. Shostakovich composed many musical compositions in his lifetime and he had been criticized and accused for these musical compositions by the administration goverment of this period. Inspite of the interference to the content of these musical compositions and his music, he didn’t leave his country because he loved his public so much. In this period, D. Shostakovich approaches less to modern music according to other composers and symphonies are the center of his music. He used not only 20th century tradition in his symphonies that he dedicated to important social events in his country,but also reflected his musical manner. Although he gave priority to virtuosity in concertos, his personality is evident and his expression is grove and deep. Violoncello concertos that have got an important place in violoncello repertoire also support this opinion. In the first part of this work, Shostakovich’s life, composer aspect, position in the music history, pressures that he faced during the process of his musical compositions and his personality that he had never gaven up his music despite these pressures were anlyzed. In the second part, two of the violoncello concertos were investigated in terms of form, and the third part in terms of solistic performance and were interprefers how to play them. These concertos the first of which is especially played often in recent years involves quite rich technical elements and also progressing elements fort he player. When Shostakovich composed violoncello concertos, he used wide range of form techniques and didn’t give up using traditional form pattenrns. This work has been prepared in order analyze the biography of Shostakovich and his violoncellos pieces and it is unique because of the rare examples on this topic.
One of the most important composers of 20th century D. Shostakovich composed many musical compositions in his lifetime and he had been criticized and accused for these musical compositions by the administration goverment of this period. Inspite of the interference to the content of these musical compositions and his music, he didn’t leave his country because he loved his public so much. In this period, D. Shostakovich approaches less to modern music according to other composers and symphonies are the center of his music. He used not only 20th century tradition in his symphonies that he dedicated to important social events in his country,but also reflected his musical manner. Although he gave priority to virtuosity in concertos, his personality is evident and his expression is grove and deep. Violoncello concertos that have got an important place in violoncello repertoire also support this opinion. In the first part of this work, Shostakovich’s life, composer aspect, position in the music history, pressures that he faced during the process of his musical compositions and his personality that he had never gaven up his music despite these pressures were anlyzed. In the second part, two of the violoncello concertos were investigated in terms of form, and the third part in terms of solistic performance and were interprefers how to play them. These concertos the first of which is especially played often in recent years involves quite rich technical elements and also progressing elements fort he player. When Shostakovich composed violoncello concertos, he used wide range of form techniques and didn’t give up using traditional form pattenrns. This work has been prepared in order analyze the biography of Shostakovich and his violoncellos pieces and it is unique because of the rare examples on this topic.
Description
Keywords
Şostakoviç, Stil, Viyolonsel konçertosu, Shostakovich, Style, Cello concertos
Citation
Edren, A. (2011). D. Şostakoviç'in müzikal anlayışı ve viyolonsel konçertoları. Yayınlanmamış yüksek lisans tezi. Uludağ Üniversitesi Sosyal Bilimler Enstitüsü.