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Este artigo tem como objetivo discutir a voz interpretativa que se faz presente nos processos de edição e arranjo, discutindo questões editoriais e o ato de transcrever a partir da ideia de que edições práticas e transcrições, enquanto documentos históricos, além de figurarem como representantes das convenções performativas de uma determinada época, nos permitem ouvir a voz desses intérpretes e editores e, portanto, são relevantes quando nos deparamos com períodos anteriores ao advento do registro fonográfico. Ao fim, o artigo aborda a transcrição do coral de Bach “Wachet auf, ruft uns die Stimme” feita por Ferruccio Busoni, com o intuito de contextualizar, em um caso específico, as reflexões anteriormente expostas.

It has long been claimed that opera can give expression to the uneasy relationship between the body and the voice. Operatic voices seem to exceed the capacity of the bodies that produce them in a way that conveys a sense of mechanisation or limited agency, inviting metaphorical comparisons to marionettes. Yet recent studies of gesture have suggested that bodies are not simply passively inscribed with meaning but that they also mediate the process of inscription. Investigating the implications of this claim for opera, this article discusses two recent essays by Judith Butler, in which she draws from Walter Benjamin's account of gesture in Brecht's epic theatre to argue for the performative power of incomplete or decontextualised bodily actions. It then traces this idea to a moment in epic theatre's own prehistory, focusing on Ferruccio Busoni's opera Doktor Faust. The article makes both a theoretical point and an historical claim: it highlights how bodies and words that are decontextualised can perform a critical function despite not enjoying the usual citational supports necessary for a speech act; and it argues that Busoni's Doktor Faust and his theory of opera were a part of the intellectual prehistory to Butler's conceptualisation of bodily performativity. [ABSTRACT FROM AUTHOR]

The theme of this work is to display in detail the arguments for which Puccini's Turandot remains a masterpiece, while Busoni's opera with the same name is barely known and performed. Nevertheless, Busoni's work is not worthless, and deserves our attention. [ABSTRACT FROM AUTHOR]

Musicians are seldom politicians and statesmen. However, as high-ranking representatives of culture, they have a great responsibility toward their community: the legitimacy of their role relies on the society they live in, and therefore they have to reflect in their work this society's thoughts and values. In some cases, a development achieved in the arts by musicians and other artists may anticipate and guide further development in society. This study aims to highlight the ties between musical products and political thought, analyzing specific instrumental pieces straddling the nineteenth and twentieth centuries, and attempting to identify their target audience and its political views. [ABSTRACT FROM AUTHOR]

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Wolpe's one-act buffa Zeus und Elida was one of three theatrical works composed between 1927 and 1929. Wolpe was influenced by the twelve-tone practices of Josef Matthias Hauer and Arnold Schoenberg, the Bauhaus theater of Oskar Schlemmer, the anarchic iconoclasm of Dada, the jazz music of the 1920s, and especially Ferruccio Busoni's Arlecchino and his aesthetic of opera. An essay on film music that Wolpe published in 1926 provides a link between Busoni and the composition of Zeus und Elida. This article examines the musical dramaturgy of the opera, with special attention to the use of dance genres, the scoring for a Kunstjazz orchestra and the technical challenges posed to the musicians. It concludes that Wolpe achieved in this opera a concept of the melos as an unfolding fabric of continuously varied actions that arose from Busoni's concept of polyphony. It proposes that in Zeus und Elida Wolpe achieved a concept of a dialectical musical dramaturgy that formed the basis of his later work as a composer and teacher in Palestine, which prompted Adorno to describe him as 'an outsider in the best sense of the word'. [ABSTRACT FROM AUTHOR]

This article focuses on a possible link between Ferruccio Busoni and Helmut Lachenmann, composers born nearly three-quarters of a century apart. The centrepiece of the comparison is Lachenmann's composition '… zwei Gefühle…' , Musik mit Leonardo , which was presented in Toronto in 2003, an occasion for which a different version of this text was initially written. [ABSTRACT FROM AUTHOR]