No description available.

This study focuses on a comparative analysis of two piano paraphrases, Pastiche on Habanera from ‘Carmen’ by Kaikhosru Sorabji and Variations on a Theme from Bizet’s ‘Carmen’ by Vladimir Horowitz. These compositions idiomatically distort the original material in a manner that was not explored up to the moment of their respective conception. They expose each composer’s free compositional approach, reflecting musical freedom rooted in the originality of their musical thinking. The aesthetic uniqueness of these two compositions strongly stimulates and justifies academic interest to explore their technical construction, musical differences, and artistic significance. This study proposes to undertake a comparative study of these two compositions, analyzing (1) aspects of the musical character, which are linked with embellishment, or rearrangement of original material, and (2) differences in performance approach based on recorded examples and critical observations by others of the performances of these works by Sorabji and Horowitz.

AFRIKAANS: Die doel van die navorsing was om te bepaal wat die status van die klassieke pianis in die postmoderne wêreld is, en hoe hierdie moontlikhede deur die loopbane van Lang Lang (1982- ) en sy model Vladimir Horowitz (1903-1989) vergestalt word. Die verhandeling begin met ‘n oorsig oor Lang Lang as pianis en mens. Dit dien as vertrekpunt vir die res van die besprekings. Lang Lang se pianistiek as ‘n voortsetting van ‘n reeds bestaande klaviertradisie word ook in oënskou geneem. Daar word spesifiek ondersoek ingestel na Horowitz se invloed op Lang Lang se musikale ontwikkeling. Die beeld van Lang Lang as pianis wat in die voorafgaande besprekings na vore gekom het, word aan die hand van tekste oor die Postmodernisme krities bespreek. In die gevolgtrekking word die postmoderne status van die hedendaagse pianistiek, met Lang Lang as verteenwoordiger daarvan, oorweeg. Aangesien die uitvoerende kuns in die eerste plek op kommunikasie met die luisteraar gemik is, speel die menings van ooggetuies ‘n buitengewoon belangrike rol in die bestudering van die uitvoerende kunstenaar se kuns. Data wat in die studie gebruik is, sluit onder andere resensies, koerantberigte, tydskrifartikels, transkripsies van radio-onderhoude, gepubliseerde onderhoude, gepubliseerde CV’s, biografieë en outobiografieë in. Tydens die studie het dit na vore gekom dat Lang Lang se klavierstyl byna parallel met dié van Horowitz loop. Verder is al die simptome van die Postmodernisme wat in hierdie studie in oënskou geneem is in ‘n meerdere of mindere mate in Lang Lang se pianistiek en bemarkingstrategieë teenwoordig. ‘n Interessante aspek is dat hierdie simptome, en spesifiek Lang Lang se herbenutting (“recycling”) van Horowitz se klavierstyl, as postmodern sowel as Romanties geïnterpreteer kan word. Indien die leser Andreas Huyssen en John Butt se siening huldig dat die Postmodernisme se herbenutting van historiese style as gevolg van die tydsverloop in wese nuut en daarom postmodern sal wees, kan Lang Lang se klavierstyl en die huidige klaviertradisie as postmodern beskou word. As die leser in ooreenstemming met Linda Hutcheon voel dat postmoderne herbenutting noodwendig ironies en daarom polities van aard moet wees, kan Lang Lang se pianistiek sowel as die hedendaagse klaviertradisie as Romanties beskou word. ENGLISH: The aim of this research was to determine the status of the classical pianist in the postmodern world, and how these possibilities are embodied by the careers of Lang Lang (1982-) and his model Vladimir Horowitz (1903-1989). The dissertation commences with a summary of Lang Lang as a pianist and a person. This serves as a point of departure for the remaining discussions. Lang Lang’s pianism as a continuation of an already existing piano tradition is explored and Horowitz’s influence on Lang Lang’s musical development is assessed. Lang Lang’s image as a pianist, determined during the preceding discussions, is examined with reference to texts pertinent to Postmodernism. The postmodern status of contemporary pianism, with Lang Lang as its representative, is expanded upon in the conclusion. As performing art is primarily aimed at communication with the listener, the views of eyewitnesses play an exceptionally important role in the study of the performer. Data used in this study include, amongst others, reviews, newspaper clippings, journal articles, transcriptions of radio interviews, published interviews, printed CVs, biographies and autobiographies. During the study it came to light that Lang Lang’s piano style is similar to that of Horowitz. Furthermore, all the symptoms of Postmodernism investigated in this study are to a greater or lesser extent present in Lang Lang’s pianism and marketing strategies. An interesting aspect is that these symptoms, and specifically that of Lang Lang’s recyling of Horowitz’s piano style, can be interpreted as postmodern as well as Romantic. If the reader holds Andreas Huyssen’s and John Butt’s view that Postmodernism’s recycling of historical styles due to the lapse of time will be new in essence and consequently postmodern, Lang Lang’s piano style and the present day piano tradition can be viewed as postmodern. If the reader, following Linda Hutcheon’s views, feels that postmodern recycling should inevitably be ironic and therefore in nature political, Lang Lang’s piano style and the contemporary piano tradition can be considered Romantic. / Thesis (DMus)--University of Pretoria, 2011. / Music / unrestricted