234 research outputs found
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No full textSt. Moniuszko ; wydanie przejrzane i sprawdzone przez Piotra MaszyńskiegoSłowa polskie M. Kotarbińskieg
Cyganie sentymentalni i romantyczni (Kniaźnin – Moniuszko) [Gypsies: sentimental and romantic (Kniaźnin – Moniuszko)]
No full textThe paper focuses on the libretto Jawnuta by Stanisław Moniuszko, interpreting it in the context of theory of intertextuality as a type of hypertext created primarily from Cyganie [Gypsies] by Franciszek Dionizy Kniaźnin, as well as from pieces by Józef Korzeniowski, Kazimierz Brodziński, Jan Nepomucen Jaśkowski, Edmund Wasilewski, Władysław Syrokomla and Jan Czeczot. The author is particularly interested in the mechanisms of romantic reinterpretation of a drama of an 18th century sentimentalist. Therefore, first she analyses the works by Kniaźnin, indicating his pionieering character in Poland and how deep-rooted he was in the ideology of the European Enlightenment. Then she confronts her observations with the work by Moniuszko, extracting the conventions of romantic exoticism and individualism characteristic to substantial parts of the libretto Jawnuta and thus presents how romantic stereotypes of a Gypsy and the Gypsy culture modified the meanings inscribed in the Enlightenment’s text
Musicality (in) poetry. The poetic circle of Mickiewicz and Moniuszko
No full textAndrzej Hejmej, in one of his books devoted to the relationship between literature and music, poses important questions, namely “How does literature seduce music? And at the same time, how does music use literature? Why music pieces adapt works of literature? How do they coexist?”. The author also adds that “these questions only seem to be easy, but there is no universal answer.” The abovementioned issues are the subject of the present article. The research is conducted from the perspective of literary studies, including genological and, most importantly, versificational issues. The notions of musicality and vocality, which stem from linguistic order and are present in the work of the poets from the circle of Mickiewicz, which were adopted by Stanisław Moniuszko in his music, also seem to be important in this context. The article focuses on texts by poets who are not frequently analysed from this perspective, such as Jan Czeczot, Aleksander Chodźko, Antoni Kolankowski, Teofil Lenartowicz, Józef Massalski, Wincenty Pol, Jan Prusinowski, Władysław Syrokomla, Stefan Witwicki, Jan Zachariasiewicz, Józef Bohdan [email protected] Filologii Polskiej, Wydział Filologiczny, Uniwersytet Marii Curie-Skłodowskiej w LublinieAntologia zagranicznej komparatystyki literackiej, 1997, red. H. Janaszek-Ivaničková, Warszawa.Bristiger M., 1986, Związki muzyki ze słowem. Z zagadnień analizy muzycznej, Warszawa.Antczak-Zajdel A., 2007, Polskie XX-wieczne badania nad muzycznością dzieła literackiego, „Acta Universitatis Lodziensis. Folia Litteraria Polonica 9”. [online] https://bazhum.muzhp.pl/media/files/Acta_Universitatis_Lodziensis_Folia_Litteraria_Polonica/Acta Universitatis Lodziensis Folia Litteraria Polonicar2007-t9/Acta Universitatis Lodziensi [13.07.2022]Brown Calvin S., 2008, Music and Literature – A Comparison of the Arts, USA, University of Georgia Press.Dłuska M., 2001, Prace wybrane, t. 3, red. S. Balbus, Kraków.Dziadek A., 1997, Słuchanie i rytm. Trzy fragmenty większej całości, „Opcje” nr 3.Dziamski G., 2009–2010, Od syntezy sztuk do sztuki post-medialnej. [online] file:///C:/Users/Ania/AppData/Local/Temp/eik_17-18_4(1).pdf [13.07.2022]Encyklopedia muzyczna [online] https://pl.wikisource.org/wiki/Encyklopedia_Muzyczna_PWM/Moniuszko Stanis%C5%82aw [04.06.2022].Głowiński M., 1980, Literackość muzyki – muzyczność literatury, w: Pogranicza i korespondencje sztuk, Z dziejów form artystycznych w literaturze polskiej, t. LVI, red. T. Cieślikowska, J. Sławiński, Wrocław.Hejmej A., 2012, Muzyczność dzieła literackiego. [online] file:///C:/Users/Ania/AppData/Local/Temp/Andrzej%20Hejmej%20-%20Muzyczno%C5%9B%C4%87%20dzie%C5%82a%20literackiego%20(2012).pdf [13.07.2022].Hejmej A., 2008, Muzyka w literaturze. Perspektywy komparatystyki interdyscyplinarnej, Kraków.Iwanicka-Nijakowska A., 2010, Stanisław Moniuszko, „Pieśni” [online] https://culture.pl/pl/dzielo/stanislaw-moniuszko-piesni-0 [13.07.2022]Jachimecki Z., 1961, hasło: Moniuszko, Encyklopedia muzyczna, Kraków. [online] https://pl.wikisource.org/wiki/Encyklopedia_Muzyczna _PWM/Moniuszko_Stanis%C5%82aw [04.06.2022].Jończyk A., Głos „Jeremiasza polskiego” w dobie upadku Rzeczypospolitej. Kilka słów o twórczości Jana Pawła Woronicza. [online] file:///C:/Users/Ania/AppData/Local/Temp/4-konteksty kultury%202012%20nr%209.pdf. [04.06.2022]Kofin E., 1991, Semiologiczny aspekt muzyki, Wrocław.Maleszyńska J., 2013, Apologia piosenki. Studia z historii gatunku, Poznań.Michalski M., O kilku sposobach przywoływania słowiańskiej przeszłości Polaków pierwszej połowie XIX wieku. [online] https://repozytorium.amu.edu.pl/bitstream/10593/9891/1/Michalski%2C%20Oblicza%20mediewalizmu.pdf [13.07.2022].Muzyka w literaturze. Antologia polskich studiów powojennych, 2002, red. A. Hejmej, Kraków.Moniuszko S., 1842, List z 26 maja 1842 roku Stanisława Moniuszki do Józefa Ignacego Kraszewskiego. [online] https://moniuszko200.pl/en/calendar/146 [16.07.2022]Okulicz-Kozaryn R., 2019, Stanisław Moniuszko w szkole litewskiej, [w:] Życie – twórczość – konteksty, Warszawa.Poprawski M., 2003, Poetycka kontrafaktura jako recepcja dzieła muzycznego. „Winterreise” Müllera, Schuberta i Barańczaka, w: Filozofia muzyki. Studia, red. K. Guczalski, Kraków.Pszczołowska L., 2002, Wiersz styl poetyka. Studia wybrane, Kraków.Scherer J., 1977, Le „Livre” de Mallarmé, Gallimard, Paris.Seweryn A., 2008, „Poezja nutami niesiona”. O muzycznej recepcji twórczości Juliusza Słowackiego, Warszawa.Sokalska M., Dźwiękiem i słowem o poezjach Mickiewicza. Wokół lektury książki Stanisław Moniuszko i inni kompozytorzy wobec poezji Adama Mickiewicza.[online] file:///C:/Users/Ania/AppData/Local/Temp/Konteksty%20Kultury_2_2018_-_rozdzial_7.pdf [16.07.2022]Stępniak Z., 2017, Na kulturowej granicy Polski i Białorusi – inspiracje literackie i wartości artystyczne: Śpiewnika domowego Stanisława Moniuszki, „Studia Wschodniosłowiańskie”, t. 17, s. 383–387. [online] file:///C:/Users/Ania/AppData/Local/Temp/SW_17_2017_Z_Stepniak_Na_kulturowej_granicy_Polski_i_Bia%20orusi-1.pdf [05.06.2022].Strzyżewski M., 2010, Romantyczne sfery muzykalne. Literackie konteksty idei musica instrumentalis, Toruń.Sułek M., 2016, Stanisław Moniuszko i inni kompozytorzy wobec poezji Adama Mickiewicza. Studium komparatystyczne, Kraków.Szulc T., 1937, Muzyka w dziele literackim, „Studia z Zakresu Historii Literatury Polskiej”, nr 14, Warszawa.Tomaszewski M., 1991, hasło „Muzyka i literatura”, [w:] Słownik literatury XIX wieku red. J. Bachórz i A. Kowalczykowa, Wrocław.Woronicz J.P., 1918, Rozprawa druga o pieśniach narodowych, [w:] idem, „Świątynia Sybilli” i inne utwory. [online] http://pbc.biaman.pl/Content/23415/%C5%9Awi%C4%85tynia.pdf. [04.06.2022]2213115
Stanisław Moniuszko, Wiktor Każyński, and adaptations of Lithuanian folk songs.
No full textStraipsnio objektas – dviejų žinomų XIX a. viduryje Vilniuje gyvenusių ir kūrusių muzikų, Stanisławo Moniuszkos (1819–1872) ir Wiktoro Każyńskio (1812–1867), tikslingai pasirinktų biografinių faktų bei dokumentų analizė, leidžianti peržiūrėti jų kūrybinio palikimo duomenis bei nustatyti, kuriam iš jų priklauso rankraštis, įvardytas „Medžiaga tolesniam lietuvių liaudies dainų perdirbimui“ (Materiały dalsze do obrabiania pieśni ludu litewskiego). Dokumentas, kurio pavadinimas ir turinys suponuoja reikšmingą kompozitorių vykdytą veiklą – lietuvių liaudies dainų rinkimą, yra svarbus atskiro kūrėjo biografijos faktas bei įdėmesnio žvilgsnio vertas Lietuvos muzikos istorijos tyrimų objektas. Publikacijos tikslas – verifikuoti istoriografijoje įsitvirtinusį galimai klaidingą teiginį apie rankraščio autorystę, priskiriant ją Moniuszkai. Straipsnyje pateiktos naujos įžvalgos bei išvada, teigianti, kad minimo rankraščio autorius yra Każyńskis, papildo ir koreguoja žinias apie šių vilniečių kompozitorių kūrybines biografijas, liudija kūrėjų dėmesį savo krašto muzikiniam folklorui. Reikšminiai žodžiai: Wiktoras Każyńskis; Stanisławas Moniuszko; 19 amžius; Vilnius; Lietuvos muzikos istorija; Wiktor Każyński; Stanisław Moniuszko; Nineteenth century; Lithuania; Vilnius; Music history of LithuaniaThe article analyses carefully selected and research-focused biographical facts and documents of two prominent musicians, Stanisław Moniuszko (1819–1872) and Wiktor Każyński (1812–1867), who lived and created in Vilnius in the middle of the nineteenth century. The research enables us to identify which one of them is the author of the manuscript titled “Material for Further Adaptations of Lithuanian Folk Songs” (Pol., “Materialy dalsze do obrabiania pieśni ludu litewskiego”). The publication highlights the importance of this document the title and content of which entail the activity of collecting Lithuanian folk songs that is so significant for the studies into the music history of Lithuania. New insights into the biographies, creative work, and correspondence of the two musicians provide an opportunity to verify the possibly erroneous statement established in historiography, according to which the authorship of this manuscript is attributed to Stanisław Moniuszko. Clarification of various circumstances associated with the origin of the above-mentioned document presented in the article leads to the conclusion that its authorship should be attributed to Wiktor Każyński, a composer and contemporary of Stanisław Moniuszko
On the cultural borderland of Poland and Belarus – literary inspirations and artistic value of the Home songbook by Stanisław Moniuszko
No full textThe present work focuses on literary inspirations and artistic value of song lyrics included in the twelve-volume anthology of Stanisław Moniuszko’s songs known as the Home Songbook. The composer, who was born in the Minsk gubernia during the period of Russian partition, maintained strong bond with the Eastern frontier of Poland. The research conducted by the author of this study shows that Moniuszko used the texts created by 97 poets including many artists coming from the Eastern part of Poland (e.g. A. Mickiewicz, J. Czeczot, S. Witwicki, W. Syrokomla, J. Prusinowski etc.); in the collection of 364 songs and duos only 40 lyrics were written by foreign authors. Moniuszko’s work, with all their richness and diversity, played an important part in the cultivation of national identity of the Poles living under the Tsar’s rule; the Belarussians claim that a great deal of his songs have their roots in Belarusian folk [email protected] Warmińsko-Mazurski w Olsztynie, Wydział Nauk Społecznych, Katedra Wczesnej EdukacjiBednarek R.W., Maroszek J., 2011, Stanisław Moniuszko i jego podlaski rodowód, Białystok.Davies N., 1991, Boże igrzysko. Historia Polski, t. I, tłum. E. Tabakowska, Kraków.Davies N., 1991, Boże igrzysko. Historia Polski, t. II, tłum. E. Tabakowska,Kraków.Dąbek S., 2011, Twórczość litanijna Stanisława Moniuszki i jej konteksty, Warszawa.Duszyk K., 2000, Wykaz dzieł Stanisława Moniuszki, [w:] Encyklopedia muzyczna PWM. Część biograficzna, t. 6, red. E. Dziębowska, Kraków, s. 307–327.Dziębowska E., 2000, Moniuszko Stanisław, [w:] Encyklopedia muzyczna PWM. Część biograficzna, t. 6, red. E. Dziębowska, Kraków, s. 303–335.Jachimecki Z., 1983, Moniuszko, Kraków.Klechta J., 2013, Duchowość Moniuszki, Nowy Sącz.Nowaczyk E., 1954, Pieśni solowe S. Moniuszki. Katalog tematyczny, Kraków.Prosnak J., 1980, Stanisław Moniuszko, Kraków.Rudziński W., 1988, Moniuszko i jego muzyka, Warszawa.Rudziński W., 1957, Moniuszko, Kraków.Wielka encyklopedia powszechna PWN, t. 1–12, Warszawa 1962–1970.1737939
Wincenty Pol (1807–1872) — Stanisław Moniuszko (1819–1872) — relacje i korelacje artystyczne
No full textWincenty Pol (1807–1872) romantic poet, guardian of the national tradition — Stanisław Moniuszko (1819–1872) representative of Polish Romanticism in music, restorer of the national opera, author of several hundred solo songs.Pol and Moniuszko knew and inspired each other with their work, which was significantly influenced by folklore from the borderlands. Moniuszko’s masses, litanies and cantatas were one of the incentives for Pola to address the issue of religious music in his lectures.Both were connected with four Polish scientific and cultural centers: Vilnius, Warsaw, Krakow and Lviv, where they met in 1865.The poet and composer had mutual friends and acquaintances: recognized composers-conductors, writers and poets, music critics and actors. They both considered art as one of the means to educate the society living under the partitions. They entered the history of Poland as defenders of the native language and culture.Wincenty Pol (1807–1872) romantic poet, guardian of the national tradition — Stanisław Moniuszko (1819–1872) representative of Polish Romanticism in music, restorer of the national opera, author of several hundred solo songs.Pol and Moniuszko knew and inspired each other with their work, which was significantly influenced by folklore from the borderlands. Moniuszko’s masses, litanies and cantatas were one of the incentives for Pola to address the issue of religious music in his lectures.Both were connected with four Polish scientific and cultural centers: Vilnius, Warsaw, Krakow and Lviv, where they met in 1865.The poet and composer had mutual friends and acquaintances: recognized composers-conductors, writers and poets, music critics and actors. They both considered art as one of the means to educate the society living under the partitions. They entered the history of Poland as defenders of the native language and culture
Commentaries on Moniuszko Research
No full textArtykuł obejmuje trzy glosy. Pierwsza dotyczy uznania Litanii Ostrobramskich Stanisława Moniuszki za „muzykę wotywną.” Spełniają one kryteria, m.in.: tytułu utworu, intencji kompozytora, funkcji liturgicznej i symbolicznego atrybutu wotywnego – wprowadzenia do tekstu Litanii loretańskiej nowego wezwania Sancta Mater, odnoszącego się zapewne do Ostrobramskiej Matki Miłosierdzia. Kolejna glosa dotyczy parodii zawartej w poemacie Beniowski Juliusza Słowackiego, z tekstu wiersza Do Ciebie, Panie Józefa Bohdana Zaleskiego. Autor omawia religijną pieśń solową Moniuszki, skomponowaną do tego tekstu. Artykuł kończy krótka glosa odnosząca się krytycznie do badań nad Moniuszką.This article consists of three commentaries. The first concerns the recognition of Stanisław Moniuszko’s Litanies of Ostra Brama as “votive music”. These Litanies meet the criteria of having, amongst other things, a title to the piece, the intentions of the composer, a liturgical function and a symbolical votive attribute, namely the introduction of a new invocation titled Sancta Mater, which undoubtedly refers to the Mother of Mercy of Ostra Brama, to the text of the Litany of the Blessed Virgin Mary. Another commentary draws attention to the parody contained in the narrative poem Beniowski by Juliusz Słowacki, taken from the text of the poem Do Ciebie, Panie/To You, Lord by Jozef Bohdan Zaleski. The author discusses Moniuszko’s religious solo song, which was specially composed for this text. The article ends with a short commentary related to current research on Moniuszko and the basis for further research
Spiritual creation of Stanisław Moniuszko in Vilnius period. Part II: litanies of the Gates of Dawn and masses
No full textKompozitorius Stanisławas Moniuszko (1819-1872) Vilniuje sukūrė didžiąją dalį bažnytinių kūrinių. Straipsnio objektas – „Aušros Vartų litanijos“, mišios ir kiti religinės tematikos vokaliniai-instrumentiniai kūriniai, sukomponuoti Vilniuje (1839-1858). Šis darbas – antroji autorės publikacija, skirta Moniuszkos Vilniaus laikotarpio bažnytinei kūrybai (pirmoje buvo pateikta bendra apžvalga, aptartos giesmės ir kūriniai vargonams). Šiame straipsnyje nagrinėjamos nepelnytai užmirštų Moniuszkos kūrinių sukūrimo prielaidos, aptariama jų reikšmė bendrame to meto Vilniuje skambėjusių bažnytinių kūrinių kontekste, atrandamos naujos įžvalgos muzikos ir liturginio teksto santykyje ir pan. Tai bandymas atskleisti profesionaliosios kūrybos pritaikymo problemą Vilniaus bažnytinių kapelų repertuare ir apskritai kai kuriuos kūrybos sakralumo raiškos aspektus. Remiantis Vilniuje ir Varšuvoje išlikusiais archyviniais šaltiniais, muzikų laiškais, periodika bei specialiąja literatūra tikslinami faktai, aptariamas vietinis ir tarptautinis Moniuszkos kūrinių kontekstas. Darbe taikyti kritinės šaltinių analizės, istoriografinis, lyginamasis metodai. Reikšminiai žodžiai: Vilnius; Stanisławas Moniuszko; Bažnytinė muzika; „Aušros Vartų litanijos“; Mišios; Vilnius; Stanisław Moniuszko; Sacral music; Litanies of the Gates of Dawn; MassesComposer Stanisław Moniuszko (1819-1872) while living in Vilnius created the major part of his sacral compositions. The article’s object is the Litanies of the Gates of Dawn, masses and other vocal-instrumental religious works composed during the Vilnius period (1839-1858). This work is the second publication by the author, dedicated to Moniuszko’s sacral works created during the Vilnius period (the first one, published in the journal "Menotyra", 2011, Vol. 18, No. 3, dealt with the general overview of sacral compositions, analyzed hymns and compositions for the organ). This article analyzes the origin of unfortunately forgotten Moniuszko’s Litanies of the Gates of Dawn and masses, presents new insights into the general context of sacral compositions which were performed in Vilnius in that period. It is an attempt to reveal an uneasy situation of sacral music in Vilnius of the 19th century and the problem of performance and establishment of professional music in church choirs’ repertoires at the time and to point out certain aspects of sacral expression in creative works on the whole
Selected 19th-Century Poetic Paeans Celebrating Stanisław Moniuszko
No full textThis article has a nature of a record. It was inspired by the 200th anniversary of the birth of Stanisław Moniuszko, and its main goal is to reference selected celebratory poems created in the 19th century in order to commemorate the composer. The author of this article indicated how different authors interpreted the ideological expressions of Moniuszko’s music, its sources, and the functions it fulfilled. She also discussed the directions of the evolution regarding how the composer was depicted in poetry, as he was initially perceived as a “native busker”, a Vilnius lyrnik, and a compatriot, and he gradually gained the rank of a folk minstrel and a prophet able to reproduce the “lyrical genius of the nation”
On the non-published theatre works of Vilnius period by Stanislaw Moniuszko
No full textStraipsnyje pristatomi žinomo lenkų kompozitoriaus, 1837-1858 m. gyvenusio Vilniuje, Stanisławo Moniuszkos (1819-1872) ankstyvieji sceniniai kūriniai, kurių partitūros nebuvo spausdintos. Remiantis Varšuvos ir Vilniaus archyvų medžiaga, atskleidžiami beveik nežinomi garsaus kompozitoriaus kūrybos puslapiai, kurie buvo savaip svarbūs jo operos vizijos gimimo procesui. Apie tai nuodugniau nerašyta nei Lietuvoje, nei Lenkijoje. Reikšminiai žodžiai: 19 amžius; Vilnius; Stanislawas Moniuszko; Muzikinis teatras; 19th century; Vilnius; Stanislaw Moniuszko; Musical theatreThe article investigates the early theatre works (the scores of which have yet not been published) by the well-known Polish composer Stanisław Moniuszko who lived in Vilnius during 1837-1858. Following the Warsaw and Vilnius archive materials, almost unknown moments of the composer’s work periods are revealed. Despite a very self-critical stance, the one act operetta "Lodging for the night in Ápennìnes" (1838 or 1839, libretto by A. Fredo) was shown with success in Vilnius and Lvov. The types of operetta’s characters prove the influence of the end of the 18th c. - beginning of the 19th c. buffo caricato roles and 16th c. commedia dell’ arte canons. The excerpts of these operettas were sung in Lithuania and Poland by popular singers. Within the group of reviewed works, the two-act opera "Ideal, or the New Precioza" (the end of 1939, libretto by O. Milewski) should be distinguished. In the large and numerous score amount one can see many difficult orchestra and vocal scenes, the developed overture and finale. The composer chose several of the opera’s episodes for his other operas - "Halka" and "Verbum nobile" with a little change. The archival documents of the two-act comedy-opera "Karmanjolo, or the French like joking" (1842-1841 winter, libretto by O. Milewski follwing Théaulon de Torges and Jaime vaudeville) were connected with Vilnius in the most obvious way. It contains the names of Vilnius theatre actors and from the libretto remarks one can foresee the outline of the Vilnius performance in which the best actors of the troupe, J. Rogowski, J. Surewicz, and the singer E. Schmidkoff, took part. In this opera the composer attempted to create the musical characteristics of different role groups - Italian countrymen and French soldiers. In all above-mentioned "little" operas there are arias, duets and quartets as well as clear attempts to make the role of the orchestra more significant. These elements vividly reveal the birth of process of the Moniuszko opera vision and reveal rather mature moments of the Vilnius period of the composer’s work, although today they are little known
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