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Untersuchung zur Rezeption persischer Lyrik in der europäischen Kunstmusik

Untersuchung zur Rezeption persischer Lyrik in der europäischen Kunstmusik am Beispiel der Werke von Saʿdī, Ḥāfeẓ und ʿOmar Ḫayyām. Elgaz Pegah. Heidelberg : Universitätsbibliothek Heidelberg, 2024.

Summary
Betrachtet man das breite Spektrum musikalischer Werke basierend auf persischer Lyrik und ihre daraus resultierende enorme Bedeutung für die europäische Kunstmusik, ist es verwunderlich, wie wenig dieses Thema bislang erforscht ist. Während zur literarischen Rezeption der persischen Lyrik in europäischen Sprachen zahlreiche Studien vorliegen, ist es bei deren musikalischer Rezeption nicht der Fall.

Zehn Rubaijat des Omar Chajjam

Zehn Rubaijat des Omar Chajjam

The research project “Cerha Online”, led by musicologist Univ.-Prof. Dr. Matthias Henke, sets out to make Friedrich Cerha’s work as accessible as possible to the broad public. The project tells the story behind Cerha’s composition, elucidated with illustrations from Dulac’s Rubáiyát, scores, audio-samples and quotes.
Cerha Online

Beperking als uitdaging: kwatrijnen van Omar Khayyam door Karin van der Knoop

Beperking als uitdaging: kwatrijnen van Omar Khayyam door Karin van der Knoop. Hilbrand Adema.
Toonkunst nieuws, (1997), (juni)

Interview met Karin van der Knoop, hoofdvakstudente compositie aan het Conservatorium van Amsterdam, over haar compositie “Kwatrijnen van Omar Khayyam”, voor sopraansolo, drie fluiten, basklarinet en percussie, op teksten vertaald door J.H. Leopold.

Khayyam, Omar x. Musical works based on the Rubaiyat of Omar Khayyam

Khayyam, Omar x. Musical works based on the Rubaiyat of Omar Khayyam. W.H. Martin, S. Mason.
Encyclopaedia Iranica, Online Edition, July 15 2009

The enduring popularity of the verses in the Rubaiyat of Omar Khayyam is reflected in the large number of musical works they have inspired. Not all the works were small-scale pieces. One of the best-known large-scale compositions is Sir Granville Bantock’s (1868-1946) ‘Omar Khayyam’ (1908-10) for soloists, chorus and orchestra. It is a three-part work, setting all the 101 quatrains from FitzGerald’s fifth edition.

Sufi symbolism in Tolib Shakhidi’s televised ballet The Rubaiyat of Omar Khayyam

Sufi symbolism in Tolib Shakhidi’s televised ballet The Rubaiyat of Omar Khayyam. Marina N. Drozhzhina, Sitora D. Davlatova
Music Scholarship, 2018, Nr. 1, pp. 66-73

Summary

In the article devoted to one of the most well-known compositions by the Tajik composer Tolib Shakhidi the means of reflection of Sufi symbolism in the synthetic genre of the televised ballet are researched. Stemming from the essential parameters of the symbol (taking into account the formed traditions of study of this category), the authors propose their own perspective of the issue. The role of the symbol is shown in expounding by artistic means of the Sufi path of perfection (Tarikat) as a bridge between the two worlds. The orientation on the multilevel complex of sets (musical, scenographic, choreographical, scenic or poetical) and the specificity of the chief Sufi principle of zohirbotin (the inner vs. the outer) made it possible to carry out the analysis of the indicated phenomenon on the basis of a differentiated approach toward symbol.