278 research outputs found
„Głos” Karola Szymanowskiego w muzyce Henryka Mikołaja Góreckiego, Zbigniewa Bujarskiego i Grażyny Pstrokońskiej-Nawratil. Muzyka w muzyce – muzyka z muzyki – muzyka o muzyce. Rekonesans
No full textIn the text „Vioce” of Karol Szymanowski in the music of Henryk Mikołaj Górecki, Zbigniew Bujarski and Grażyna Pstrokońska-Nawratil. Music in the music – music from the music – music about the music. Reconnaissance, the author attempts to hear voices of Karol Szymanowski, manifesting at various levels of musical work (a methodological base: intertextuality suggested by Mieczysław Tomaszewski, understood as music in the music – music from the music – music about the music). She presents three chosen musical pieces with the messages of religious, where the influence of the attitude of the composer is most significant. These are: Symphony no. 3 Symphony of sorrowful songs Opus 36 – H. M. Górecki (1976), Stabat Mater to a mixed choir and symphony orchestra – Z. Bujarski (2000) and Magnificat to the soprano vioce, a mixed choir and a symphony orchestra – G. Pstrokońska-Nawratil (2004).W tekście pt. „Głos” Karola Szymanowskiego w muzyce Henryka Mikołaja Góreckiego, Zbigniewa Bujarskiego i Grażyny Pstrokońskiej-Nawratil. Muzyka w muzyce – muzyka z muzyki – muzyka o muzyce. Rekonesans autorka podejmuję próbę wysłyszenia głosów Karola Szymanowskiego, przejawiających się na różnych poziomach dzieła muzycznego (podstawa metodologiczna: intertekstualność zaproponowana przez Mieczysława Tomaszewskiego, rozumiana jako muzyka w muzyce – muzyka z muzyki – muzyka o muzyce). Przedstawia trzy wybrane utwory o przesłaniach religijnych, w których wpływ postawy kompozytora jest najbardziej znaczący. Są to: III Symfonia „Pieśni żałosnych” op. 36 H. M. Góreckiego (1976), Stabat Mater na chór mieszany i orkiestrę symfoniczną Z. Bujarskiego (2000) oraz Magnificat na sopran, chór mieszany i orkiestrę symfoniczną G. Pstrokońskiej-Nawratil (2004)
Kornel Ujejski i muzyka
No full textAutor przedstawia obszerną recenzję książki Kingi Fink Muzyka w życiu i twórczości Kornel Ujejskiego, Wydawnictwo Uniwersytetu Rzeszowskiego, Rzeszów 2018). Kornel Ujejski (1823-1897), zwany „ostatnim wielkim poetą romantyzmu”, jest twórcą nieco zapomnianym. Analizowana monografia składa się ztrzech części, w nich autorka zawarła: analizę tła muzycznego, na którym poeta tworzył, poezję Ujejskiego inspirowaną muzyką oraz historię wierszy, dla których powstawała muzyka. Największą wartością rozprawy jest nie tylko ukazanie źródeł i skutków muzycznych inspiracji, ale także dostrzeżenie w twórczości Kornela Ujejskiego motywów i tematów ważnych dla twórców i czytelników kolejnych epok.Kazimierz Maciąg presents an extensive review of the book by Kinga Fink Muzyka w życiu i twórczości Kornel Ujejskiego [„Music in the life and workof Kornel Ujejski”], Wydawnictwo Uniwersytetu Rzeszowskiego, Rzeszów 2018). Kornel Ujejski (1823–1897), known as the “last great poet of Romanticism”, is a poet who is somewhat forgotten. The analyzed monograph consists of three parts, in which the author presents: the analysis of the musical background on which the poet created, Ujejski’s poetry inspired by music and the history of poems for which music was created. The greatest value of the dissertation is not only to show only the sources and effects of musical inspirations, but also to see in the work of Kornel Ujejski motifs and themes that were and are important for the creators and readers of subsequent eras
Muzyka w "Dziennikach" Eugène’a Delacroix
No full textEugéne Delacroix (1798-1863), painter, leading representative of French Romanticism. Since 1822 he noted the major events which occurred in his life, which occurred in Paris of that time. His Journals consist of two volumes: volume 1 encompasses the years 1822-1853, and volume 2 encompasses the years 1854-1863 so till the last years of the artist’s life. The author of the article is focusing mainly on his music interests. Delacroix registered his impressions after the opera events, symphonic concerts in Paris Music Society and also after the cameral concerts which took place in the saloons of Paris Aristocracy including the princess Marcelina Czartoryska. Delacroix is dedicating a lot of attention to Fryderyk Chopin to whom he was attached as a true friend and he painted one of the best pictures of Polish musician. The Journals are providing us a lot of information about the writers and composers working at that time.At that time in Paris the following artists were living and creating: A. Dumas, V. Hugo, A. de Musset or G. Sand, A.Adam, H. Berlioz, J.F. Halévy, G.Meyerber, G. Rossini. The Polish edition of the Journals was published thanks to translating them into Polish by Joanna Guze and Julia Hartwig
Od pańszczyzny do hipsterstwa. Muzyka ludowa między wsią a miastem. Z Andrzejem Bieńkowskim rozmawia Piotr Grochowski
No full textAndrzej Bieńkowski malarz, etnograf, autor filmów dokumentalnych, profesor Akademii Sztuk Pięknych w Warszawie. Autor książek Ostatni wiejscy muzykanci (2001), Sprzedana muzyka (2007) i 1000 kilometrów muzyki (2009). Od lat 80. XX w. wraz z żoną Małgorzatą prowadzą badania etnograficzne, nagrywają i filmują wiejskich muzykantów oraz śpiewy z Polski, Ukrainy i Białorusi. W roku 2012 założyli fundację Muzyka Odnaleziona, która udostępniania zgromadzone przez nich olbrzymie zbiory archiwalne w formie wydawnictw płytowych, poprzez stronę internetową www.muzykaodnaleziona.pl oraz kanał w serwisie YouTube. Realizują również projekt Archiwum Muzyki Wiejskiej (https://archiwummuzykiwiejskiej.pl/), który służy gromadzeniu, digitalizacji i udostępnianiu fotografii dokumentujących muzyczną kulturę wsi.Andrzej Bieńkowski painter, ethnographer, author of documentary films, professor at the Academy of Fine Arts in Warsaw. Author of the books The Last Country Musicians (2001), The Sold Music (2007) and 1000 Kilometers of Music (2009). Since the 1980s, he and his wife Małgorzata have been conducting ethnographic research, recording and filming rural musicians and singing performances from Poland, Ukraine and Belarus. In 2012, they set up the Muzyka Odnaleziona foundation, which makes their huge archival collections available on CDs as well as on the website www.muzykaodnaleziona.pl and on a YouTube channel. They also implement the Rural Music Archive project (https://archiwummuzykiwiejskiej.pl/), which aims to collect, digitize and make available photographs documenting the musical culture of the countryside
Stories about sound. Style and rhetoric in the descriptions of audio equipment in the periodical "Hi-FI i Muzyka"
No full textThe paper is dedicated to Hi-Fi magazines. The author offers a stylistic analysis of selected texts taken from “Hi-FI i Muzyka” (magazines from the 2012-2014 period), focused on specific types of columns: tests of audio equipment (amplifiers, CD players, gramophones, loudspeakers, etc). The article contains a short description of the magazine and its content, then author has suggested stylistic tools for describing sound (ordered in categories) and offered an analysis with citations
O obszarach muzycznej czasoprzestrzeni w twórczości chóralnej a cappella Andrzeja Koszewskiego
No full textThe article is divided into three parts: Introduction, Space-time Areas and Epilogue. In the first part the author provides the explanation of the term: music space-time taken from the literature. the research of Michaił Bachtin serves here as a support. In the second part the author presents such subjects as: sound zone, ratio zone, spirituality zone and in-between zone which all are related directly to the choral artistic output of Andrzej Koszewski. The author explains the subject of the space-time using the example of choral pieces: Ballata, Muzyka fa-re-mi-do-si, Nicolao Copernico dedicatum. The article ends with the Epilogue in which the author summarizes her research on the space-time in the pieces composed for the a capella choir. This is expressed with the following statement: "Time and space in the artistic output of Andrzej Koszewski proclaim the unique shape of music space-time. This zone exists in the space-time of human voice sound world and music sacrum of Koszewski exists in the space-time"
Muzyka pasyjna w kościele Wniebowzięcia Najświętszej Marii Panny w Katowicach
No full textLent in the Catholic Church and in Protestant Churches is a time of reflection over the salutary Passion of Jesus Christ, the Redeemer and the final things of man. These reflections are accompanied by a special musical setting of services. In contemporary songs sung, for example during the service of Gorzkie Żale, traces of Gregorian chant as well as ancient church scales are easily perceived. These passion songs deeply rooted in tradition undeniably strongly influenced the work of many Polish composers of different periods. Rev. Bartosz Zygmunt, initiator and implementer of many artistic projects in Upper Silesia, refers to such a lively and extremely rich tradition of Polish singing during the Lent period, and especially choral songs. On March 26, 2018, a special concert of Lent and Passion music was held at the Church of the Assumption of the Virgin Mary in Katowice. Its main goal was to indicate the place and role of music in the celebration of the liturgy of the Lord’s Supper, which is part of the Paschal Triduum being the central celebration of the Roman Catholic Church. The uniqueness of the concert was also the fact that it was the crowning achievement of the artistic work of Rev. Bartosz Zygmunt and was a significant point in the process of the doctoral dissertation in the discipline of artistic conducting. The implementation of the artistic work was proof of scientific research, as evidenced by the written dissertation of Rev. Bartosz Zygmunt’s The role of music in the celebrations of the Lord’s Supper liturgy on the example of choral works of Polish composers, created after the Second Vatican Council. Moving in a strictly defined circle of Polish composers who created after the Second Vatican Council and in relation only to choral music, such a choice was not easy at all. Contrary to appearances, not many works were created during this period that could be performed in the liturgy of Holy Thursday. Composers are much more often focused on the passion content of the Good Friday liturgy. In addition, the selection of works was very well thought out due to not only the value of the text, but also for practical reasons (e.g. length of time that does not disturb the time and proportion of the liturgy). It should be noted that during the concert the conductor properly laid out the space of the temple, placed both choirs relative to each other and to the organs. He provided performers with adequate comfort of mutual hearing and eye contact, and good reception for listeners. He did not abuse the dynamics of the organs, even though they were poorly heard on the empora, which hindered cooperation with choristers. From the position of listeners, however, the dynamics relations were appropriate. In addition, they fit well with the recommendations of the Polish Bishops’ Conference Instruction, which allows the use of organs in the Holy Thursday liturgy only as an instrument supporting singing. The theoretical dissertation was written by a priest and a conductor in one person. The author skillfully combined his own liturgical and musical experiences. The doctoral student gave in his work an example of a proper compilation of musical material which, even though it contains songs written by several composers of both the older and younger generation, creates a stylistically and expressively monolith, in terms of content, music and aesthetics. Both the concert and the theoretical dissertation are proof of the rich musicological content, an interesting concept of analysis of the songs selected for concert presentation and an innovative approach to the methodical and performance issues of the repertoire relating to the celebration of the Lord’s Supper liturgy. An important advantage was the fact that the Choir of the Karol Szymanowski Academy of Music in Katowice (divided into two performing groups) prepared and led by Rev. Bartosz Zygmunt reacted to the smallest elements resulting from the manual gesture, which emphasized many interpretative details and contributed to artistic success.Lent in the Catholic Church and in Protestant Churches is a time of reflection over the salutary Passion of Jesus Christ, the Redeemer and the final things of man. These reflections are accompanied by a special musical setting of services. In contemporary songs sung, for example during the service of Gorzkie Żale, traces of Gregorian chant as well as ancient church scales are easily perceived. These passion songs deeply rooted in tradition undeniably strongly influenced the work of many Polish composers of different periods. Rev. Bartosz Zygmunt, initiator and implementer of many artistic projects in Upper Silesia, refers to such a lively and extremely rich tradition of Polish singing during the Lent period, and especially choral songs. On March 26, 2018, a special concert of Lent and Passion music was held at the Church of the Assumption of the Virgin Mary in Katowice. Its main goal was to indicate the place and role of music in the celebration of the liturgy of the Lord’s Supper, which is part of the Paschal Triduum being the central celebration of the Roman Catholic Church. The uniqueness of the concert was also the fact that it was the crowning achievement of the artistic work of Rev. Bartosz Zygmunt and was a significant point in the process of the doctoral dissertation in the discipline of artistic conducting. The implementation of the artistic work was proof of scientific research, as evidenced by the written dissertation of Rev. Bartosz Zygmunt’s The role of music in the celebrations of the Lord’s Supper liturgy on the example of choral works of Polish composers, created after the Second Vatican Council. Moving in a strictly defined circle of Polish composers who created after the Second Vatican Council and in relation only to choral music, such a choice was not easy at all. Contrary to appearances, not many works were created during this period that could be performed in the liturgy of Holy Thursday. Composers are much more often focused on the passion content of the Good Friday liturgy. In addition, the selection of works was very well thought out due to not only the value of the text, but also for practical reasons (e.g. length of time that does not disturb the time and proportion of the liturgy). It should be noted that during the concert the conductor properly laid out the space of the temple, placed both choirs relative to each other and to the organs. He provided performers with adequate comfort of mutual hearing and eye contact, and good reception for listeners. He did not abuse the dynamics of the organs, even though they were poorly heard on the empora, which hindered cooperation with choristers. From the position of listeners, however, the dynamics relations were appropriate. In addition, they fit well with the recommendations of the Polish Bishops’ Conference Instruction, which allows the use of organs in the Holy Thursday liturgy only as an instrument supporting singing. The theoretical dissertation was written by a priest and a conductor in one person. The author skillfully combined his own liturgical and musical experiences. The doctoral student gave in his work an example of a proper compilation of musical material which, even though it contains songs written by several composers of both the older and younger generation, creates a stylistically and expressively monolith, in terms of content, music and aesthetics. Both the concert and the theoretical dissertation are proof of the rich musicological content, an interesting concept of analysis of the songs selected for concert presentation and an innovative approach to the methodical and performance issues of the repertoire relating to the celebration of the Lord’s Supper liturgy. An important advantage was the fact that the Choir of the Karol Szymanowski Academy of Music in Katowice (divided into two performing groups) prepared and led by Rev. Bartosz Zygmunt reacted to the smallest elements resulting from the manual gesture, which emphasized many interpretative details and contributed to artistic success
„…i pogrążyć się w cichą otchłań zapomnienia…”. Wiersze Przerwy-Tetmajera w pieśni artystycznej Karłowicza i Szymanowskiego. Część 2: Interpretacje pieśni
No full textThe above article is a continuation of the text contained in the previous issue of „Muzyka. Historia. Teoria. Edukacja”. It concerns the verbal-musical relation present in the songs of Karłowicz and Szymanowski, based on the poetry of Przerwa-Tetmajer. It only provides interpretations of the songs (the texts have been spoken in the previous section), which however have been made in a certain thematic order. The author links them with important “isms” of the era: impressionism, secession, decadence, expressionism, as well as analyses them in the context of “Young Poland antinomies” (such as “life - death”) and such motives as: the underworld, childhood, dream, love, water. In the article it is impossible to look for a discussion of all the texts by Przerwa-Tetmajer, musicalized by Karłowicz and Szymanowski, but – as the author hopes – we can find here a complete picture in terms of thematic content there. The framework of the article did not allow for a thorough analysis and interpretation of the entire material, thus the author found it necessary to limit himself to two songs, which were then examined both from the text and the music side: these songs were selected on the basis of contrast (mainly structural). In the last fragment – because we are talking about it at the moment – the author summarizes his concept of the essence of the musical-literary relationship in the song, reaching the conclusion that in this symbiosis, both poetry and music interact with each other. The above article is a continuation of the text contained in the previous issue of „Muzyka. Historia. Teoria. Edukacja”. It concerns the verbal-musical relation present in the songs of Karłowicz and Szymanowski, based on the poetry of Przerwa-Tetmajer. It only provides interpretations of the songs (the texts have been spoken in the previous section), which however have been made in a certain thematic order. The author links them with important “isms” of the era: impressionism, secession, decadence, expressionism, as well as analyses them in the context of “Young Poland antinomies” (such as “life - death”) and such motives as: the underworld, childhood, dream, love, water. In the article it is impossible to look for a discussion of all the texts by Przerwa-Tetmajer, musicalized by Karłowicz and Szymanowski, but – as the author hopes – we can find here a complete picture in terms of thematic content there. The framework of the article did not allow for a thorough analysis and interpretation of the entire material, thus the author found it necessary to limit himself to two songs, which were then examined both from the text and the music side: these songs were selected on the basis of contrast (mainly structural). In the last fragment – because we are talking about it at the moment – the author summarizes his concept of the essence of the musical-literary relationship in the song, reaching the conclusion that in this symbiosis, both poetry and music interact with each other.
Muzyka obrazu. Impresja na temat Riepina
No full textJakkolwiek malarstwo ma zasadniczo inną naturę niż muzyka, która w przeciwieństwie do nieruchomego obrazu rozwija się w czasie, to zdarza się, że dzieło sztuki malarskiej wkracza – w trakcie aktu percepcji – w ów obcy sobie, a immanentny muzyce wymiar. Gdy uważnie wpatrujemy się w obraz, kontemplujemy go z największą intensywnością, angażując wiedzę, erudycję, pamięć, myśl, uruchamiając jednocześnie całą naszą wyobraźnię, to przy takiej właśnie percepcji widniejące na płótnie postacie, widoki, sceny mogą przejść w sferę temporalności. Patrząc bowiem na roztaczające się przed nami znaki plastyczne z ową twórczą koncentracją i najdalej posuniętą przenikliwością, „dopisujemy” do nich dodatkowe sensy, wyposażamy je w nowe atrybuty, symbole, nieprzeczuwane wcześniej treści. Naszą wewnętrzną pracą wprawiamy je w ruch. Rezultatem wszystkich tych niezwykłych doznań rodzących się w naszej jaźni jest to, że przeżywamy jakąś historię, która rozgrywa się już w toku czasowym. Obraz zaczyna żyć w nowej, odmienionej perspektywie; niczym muzyka – w sekwencjach, splotach i nawarstwieniach zdarzeń przeszłych, teraźniejszych, przyszłych. Powstaje rodzaj wielowymiarowej „kompozycji” rozwijanej w przestrzeni czasu. To swoista temporalna eksterioryzacja dzieła malarskiego – które wychodzi poza siebie i rozprzestrzenia się w czasie. Fenomen ten, opisany przed laty przez Gustawa Holoubka, autor artykułu stara się odkryć w obrazie Nie żdali wybitnego malarza rosyjskiego Ilji Riepina (1844-1930).The Music of a Picture. Impressions on RepinSUMMARYAlthough painting is of quite different nature than music which, in contrast to the motionless picture, develops in time, it sometimes happens that the work of art enters – during the perception act – this strange dimension immanent for music. When we attentively look at the picture, we contemplate it with the highest intensity, engaging our knowledge, erudition, memory, thought, and at the same time initiating all our imagination; it is with such perception that the fi gures, views, and scenes observable in the picture may evolve into the sphere of temporality. Looking at these fi ne arts signs in front us, with this creative concentration and furthest reaching perceptiveness we “add” to them additional meanings, we equip them with new attributes, symbols, and content unfelt earlier. Through our inner work we make them move. The result of all these unusual experiences born in our ego is the fact that we experience a history which takes place in a time course. The picture starts living in a new, different perspective; like music – in sequences, tangles, and layers of past, modern, and future events. A kind of multi-dimensional “composition” developed in the temporal space is being composed. This is a unique temporal exteriorization of a painting work – which goes beyond itself and is spread in time. The author tries to fi nd this phenomenon, described long ago by Gustaw Holoubek, in the picture Ne zhdali [Unexpected Return/Visitors] painted by an eminent Russian painter Ilya Repin (1844-1930)
Radio – muzyka – polityka. Z Marią Baliszewską rozmawia Piotr Grochowski
No full textMaria Baliszewska is an ethnomusicologist and a journalist. She has worked for the Polish Radio since 1973. She is the author of many programs on folk themes and recordings of Polish musical folklore, as well as studio and festival recordings. She was the founder and manager of the Radiowe Centrum Kultury Ludowej (Radio Folk Culture Center; 1994–2007), the coordinator of the European Radio Union for traditional and folk music (1998–2009), the judge for traditional music festivals and parades (including the National Festival of Folk Bands and Singers in Kazimierz and the International Competition of Folk Bands and Singers in Zakopane). In 1998, she initiated the Folk Festival of Polish Radio Nowa Tradycja. She is author of many albums in the Muzyka Źródeł series published by the Polish Radio, as well as other albums, incl. Pod Tatrami na dolinie (Polskie Radio, Accord, PolyGram 1996), Pologne. Instruments Populaires (Radio France 1996), Welcome Europe 2004. New European Soundscapes (EBU, Polskie Radio 2004). She is a member of the Polish Composers Union and the Scientific Council of the Folk Artists Association. She was honored, among others, with the Golden Microphone (1993), the medal of Zygmunt Gloger (2003), the Minister of Culture and National Heritage Award (2007) and the Oskar Kolberg Award (2014).MARIA BALISZEWSKA etnomuzykolożka i dziennikarka. Od roku 1973 roku pracuje w Polskim Radiu. Autorka wielu audycji o tematyce ludowej i nagrań polskiego folkloru muzycznego oraz nagrań studyjnych i festiwalowych. Założycielka i kierowniczka Radiowego Centrum Kultury Ludowej (1994-2007), koordynatorka Europejskiej Unii Radiowej ds. muzyki tradycyjnej i folkowej (1998-2009), jurorka festiwali i przeglądów muzyki tradycyjnej (m.in. Ogólnopolskiego Festiwalu Kapel i Śpiewaków Ludowych w Kazimierzu oraz Międzynarodowego Konkursu Kapel, Instrumentalistów i Śpiewaków Ludowych w Zakopanem). W 1998 roku z jej inicjatywy powstał Folkowy Festiwal Polskiego Radia „Nowa Tradycja”. Autorka wielu płyt z serii Muzyka Źródeł wydawanej przez Polskie Radio, a także innych albumów, m.in. Pod Tatrami, Polskie instrumenty ludowe, Welcome Europe. Członkini Związku Kompozytorów Polskich oraz Rady Naukowej Stowarzyszenia Twórców Ludowych. Uhonorowana m.in. Złotym Mikrofonem (1993), medalem Zygmunta Glogera (2003) ), nagrodą Ministra Kultury i Dziedzictwa Narodowego (2007) oraz nagrodą im. Oskara Kolberga (2014)
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